REMBRANDTS ETCHINGS 
 
 
 
 Fifty of the most notable Etchings of Rembrandt, reproduced by the photo- 
 gravure process; with Biography of Rembrandt, and Descriptive 
 and Historical Notes to each picture. 
 
 IEE 
 
 Cle AIR IAT S IB. CW IR WIS, LA 
 
 Author of Velazquez and Murillo 
 
 
 
 Bi VRINGATR DOU AR deer 
 Lonpon, 15 PrccaDILLy 
 
 1889 
 
 
 

 
 
 
COIN i Nigligs: 
 
 ——_+o + 
 
 . ABRAHAM SENDING AWAY HAGAR. 
 . JACOB AND LABAN. 
 . JOSEPH RELATING HIS DREAM. 
 
 TOBIT BLIND. 
 
 . THE TRIUMPH OF MORDECAI. 
 
 THE ANNUNCIATION TO THE SHEPHERDS. 
 
 . THE ADORATION OF THE SHEPHERDS. 
 
 . THE PRESENTATION IN THE TEMPLE. 
 
 . JESUS CHRIST PREACHING. 
 
 . CHRIST HEALING THE SICK, THE HUNDRED-GUILDER 
 
 PIECE. 
 
 . JESUS AND THE SAMARITAN WOMAN. 
 . THE GOOD SAMARITAN. 
 
 . THE PRODIGAL SON’S RETURN. 
 
 . THE DISCIPLES AT EMMAUS. 
 
 . THE BAPTISM OF THE EUNUCH. 
 
 5 SE [PEIN 
 
 . YOUTH SURPRISED BY DEATH. 
 
 . MEDEA, OR THE MARRIAGE OF JASON AND CREUSA. 
 . THE TRAVELLING MUSICIANS. 
 
 . THE RAT-KILLER. 
 
 . THE PANCAKE WOMAN. 
 
 . THE PERSIAN. 
 
 . THREE BEGGARS. 
 
 . SIX’S BRIDGE. 
 
 . VIEW OF AMSTERDAM. 
 
 THE CARER TREES, 
 
 
 

 
 it 
 
 > 
 
 s 
 
 
 
 HE THREE COTTAGES. 
 COTTAGE WITH WHITE PALES. 
 
 LANDSCAPE WITH A COTTAGE AND BARN, 
 
 REMBRANDT’S MILL. 
 
 . CORNELIS CLAESZ. .ANSLOO, 
 
 . EPHRAIM BONUS. 
 
 DOCTOR FAUSTUS. 
 
 ABRAHAM!’ FRANSZ. 
 
 . OLD HARING. 
 
 YOUNG HARING. 
 
 » CLEMENT DE JONGHE. 
 
 JAN ANTONIDES VAN DER LINDEN. 
 JANUS LUPMA: 
 
 
 
 EMBRANDT WITH CAP AND FEATHER. 
 REMBRANDT LEANING ON A STONE SILL. 
 
 Ww 
 
 REMBRANDT DRAWING. 
 
 
 
 REMBRANDT IN AN OVAL. 
 
 
 
 THE BURGOMASTER JAN SEX 
 a Ne COR NET Ss Sv vi Luis: 
 , DE ARNOLDUS PHOLINX. 
 
 
 
 
 
 UITENBOGAERT, OR THE GOLD WEIGHER. 
 
 . REMBRANDT’S MOTHER. 
 . THE GREAT JEWISH BRIDE. 
 . AN OLD WOMAN. 
 
 
 
 
 
INTRODUCTION. 
 
 
 

 
REMBRANDT VAN RYN. 
 
 ITH the possible exception of Raphael, no artist has been more talked 
 about, studied, and copied than Rembrandt. Nor is there one whose 
 influence on art has been more widely and beneficially felt. This influence is 
 not evanescent. It has already existed for more than two centuries, and it 
 shows no signs of diminution. For the tendency at the present time in art, 
 letters, and manners is more and more toward realism, and there the great 
 Dutch master is easily first. He practised in Amsterdam the same method 
 that Velasquez was at the same moment working out at Madrid; and innumer- 
 able artists are striving, with more or less success, to follow the same path at 
 the present day. 
 A person, however wanting in cultivation, who visits for the first time a 
 gallery of paintings by the Old Masters, finds himself irresistibly attracted by 
 a picture which in some subtile way has fixed his attention. It is a portrait 
 
 perhaps of a man plain in feature and costume, not distinguished for character 
 
 
 
 or bearing, low in tone, devoid of ornament or acce ories. It is simply a 
 man, not of high condition, but such as may be seen daily and hourly in the 
 common walks of life. The visitor is captivated without knowing why. He 
 passes on, but the memory of that portrait pursues him. He returns to examine 
 again the work that has charmed him. The catalogue tells him that the artist 
 is Rembrandt. 2 
 
 Much greater is the effect produced by such a picture on the student or 
 artist. For him the fascination is irresistible, the work is a revelation. He 
 
 visits it again and again; he tests it with all his senses. The thing looks simple, and 
 
 
 
 he resolves to copy it. Je sets his palette with the identical tints, but in 
 transferring them to canvas the effect is unaccountably lost. Repeated trials 
 have the same result. The wonderful chiaroscuro, the marvellous depth of color, 
 
 mock his efforts. Every attempt to analyze the method or to reproduce the 
 
 
 
 result is unsatisfactory, and the ambitious and too confident’ artist is compelled 
 
 in the end to confess himself beaten. Rembrandt’s secret is as closely guarded 
 
 
 
 as that of the frozen Polar Sea, from which the daring adventurer is repelled 
 
 by the silent, sullen forces of nature. 
 
 At the beginning of the seventeenth century Leyden was recovering from 
 the effects of the long and sanguinary contest that Spain had waged against 
 the Low Countries. During the siege of 1574 she had made sacrifices and dis- 
 played a fortitude that challenged the admiration of the world. The enemy 
 had no sooner disappeared from her gates than she set about restoring her 
 waste places with an energy and intelligence that was to be promptly and 
 
 generously rewarded, Her first care was to establish a University, which at 
 
 
 

 
 
 
 
 
 
 
 
 ™ 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 once attracted professors and students from all parts of Europe. Within fifty 
 years the city doubled her population, her ruined houses were rebuilt, her dikes 
 repaired, her commerce re-established, and in manufactures she had become the 
 foremost city of Holland. She counted nearly four hundred establishments for 
 making woollen goods alone. Judged by the standard of that day, Leyden was 
 inlaid with white stone 
 trimmings, lined her straight streets and crowded market-places. The sluggish 
 d by one hundred and forty-five 
 
 a beautiful town. Tall gabled houses of red_ brick 
 
 
 
 
 
 
 
 canals which interlaced the city were cros 
 bridges, under and over which her broad beamed boats and men plied with 
 incessant activity. A cordon of windmills stood on the ramparts, giving a 
 picturesque effect to the otherwise monotonous scenery. In activity and com- 
 mercial spirit she outshone Amsterdam, then, as now, the chief city of the 
 Netherlands. 
 
 Here and in this period was born a miller's son whose name has become 
 
 more familiar to men’s ears than the name of De Wit or William the Silent. 
 
 
 
 
 
 In Leyden Rembrandt van Ryn was born July 15th, 1607. 
 
 Harmen Gerritzoon van Ryn was a substantial miller of Leyden, living 
 in a commodious house in a respectable quarter of the town called the /Wed- 
 desteeg, near the Wetteport, or White Gate. A few paces from his house was 
 his windmill, standing on the rampart called the /ed/can, just at the foot of 
 
 the Breedstraat, a broad avenue which every loyal Leydenois then and since 
 
 
 
 has called the finest street in Europe. Both the house and the mill had been 
 long in the family, having come to Harmen partly by inheritance and 
 partly by purchase of the shares of his relatives and co-heirs) The mill was 
 an old structure which had been purchased in the neighboring village of Noord- 
 wyk, and after sundry migrations had found a temporary resting-place at the 
 Witteport. Besides these properties Harmen had a garden outside the Ryns. 
 berg Gate. The family was of the we l-to-do burgher class, having good social 
 connections and a fair amount of worldly goods. 
 
 Harmen was a native of Leyden, where he was born in 1565. On Octo- 
 ber 8th, 1589, he married Neeltjen, daughter of Willem van Suydtbrouck, a 
 
 baker of that city, and Elizabeth Cornelisdochter, his wife. Of this marriage 
 
 
 
 seven children were born: Adriaen, who succeeded to his father’s business in 
 
 
 
 * Much uncertainty has existed as to the date and the circumstances of Rembrandt's birth. Orlers, who 
 
 
 
 wrote a Description of Leyden in 1641, and who was doubtless himself acquainted with the artist, says he was 
 born in that city July 15th, 1606. Houbraken, writing a century later, gives the date June 15th in that year. 
 Smith, the intelligent and careful author of the Catalogue... of Dutch Masters, fixes the date as December 
 isth. Dr. W 
 
 recent and painstaking writers—Doctor Scheltema, the learned Archivist of Amsterdam, and Vosmaer, the 
 
 agen, without assigning a reason for his assertion, gives us June 1oth, 1608. But the more 
 
 
 
 
 
 exhaustive biographer of Rembrandt, whose death is announced while this volume is passing through the press— 
 
 
 
 decide for the date we have given above. Their opinion is based mainly on the entry in the Register of Marriages 
 
 at Leyden, where is still found the declaration made by Rembrandt, June roth, 1634, in which he affirmed that 
 
 
 
 he was then twenty-six years old; by which he evidently meant on his last birthday. Besides this testimony is the 
 
 broidered mantle. Two impressions of this 
 
 
 
 inscription on the etching known as Rembrandt with round hat and 
 
 
 
 print are known, having the date “AT 24, 
 
 
 
 written by the hand of Rembrandt himself. These w \- 
 
 nesses are deserving of the highest credit, and they seem to establish the fact that the artist was born in 1607. 
 
 
 
 The question, however, is not yet altogether free from doubt, for M. Burger, r ing the evidence adduced by 
 Scheltema and Vosmaer, declines to accept their decision. It may also be noted that the date inscribed on the ped- 
 
 estal of the statue of Rembrandt erected in 1852 at Amsterdam is ‘“‘ July 15th, 1606.” 
 
 
 
 
 
the mill; Gerrit; Machteld; Cornelis; Willem, who followed the calling of his 
 maternal grandfather and became a baker; Rembrandt; and Lisbeth. They 
 were a sturdy race, and all lived past middle age. 
 
 The tradition long prevailed, and is not even yet extinct, that Rembrandt 
 was born in his father’s windmill, situated near the Rhine, between Leiderdorp 
 and Koudekerk, not far from Leyden. This story, set afloat by Houbraken, 
 must be dismissed as an idle tale. Possessing a comfortable house in the city, 
 which had been in the occupancy of herself and her father for more than 
 thirty years, we cannot believe that the wife of Harmen would have chosen 
 a noisy and dusty country mill as her chamber on so important and delicate an 
 occasion. The fact undoubtedly is that Rembrandt was born in the house 
 formerly belonging to his grandparents, where his parents passed a great part 
 of their lives, and which formed part of the heritage of their children. 
 
 The fourth son was called Rembrandt probably in honor of one of that 
 name who had intermarried with the family seven years before. After the 
 Dutch fashion, the name of his father was added, and he was called Rembrandt 
 Harmenszoon (Harmen’s son). Whence came the name Jan Ryn has not 
 been ascertained, It cannot be traced in the family beyond the year 1600. 
 Nor can we explain why the artist should by careless writers be called Paul, 
 a name that is not known to have existed in any branch of the family. 
 
 
 
 Being in prosperous circumstances, the parents desired that their youngest 
 son, evidently the favorite of the family, should adopt a liberal profession. To 
 that end he was sent-to a Latin school, where he might fit himself for the 
 Academy and receive such an education as would enable him to be useful to 
 the city and the Republic.* 
 
 Discerning, doubtless with chagrin, that the lad was more given to making 
 pictures than to reciting Latin verbs, the parents decided to allow him to fol- 
 low his bent, and when he was in his. thirteenth year he was placed under 
 the instruction of Jacob Isaacsz, Swanenburch. Probably personal or family 
 
 
 
 * At that time the little band of Puritans under the lead of Rev. John Robinson and Elder William Brewster, 
 having been driven from England, was sheltered in Leyden. In the interval before setting out to found a new 
 empire in America, Brewster, the ‘‘Chief of the Pilgrims,” taught Latin in Leyden. It is not improbable that he 
 gave lessons to the young Rembrandt, and it may have been through Brewster that Sir Richard Saltonstall, one of 
 the earliest of the New England immigrants, when he afterward visited Holland, became acquainted with the artist. 
 
 Sir Richard Saltonstall, Baronet, of Yorkshire, England, born in 1586, was one of the original patentees of 
 Massachusetts and Connecticut. He came to America in 1630. Returning to England about 1640, he was charged 
 by King Charles I. with a mission to the Low Countries, where he remained several years, and while there it is 
 believed that, in 1644, Rembrandt painted his portrait. He is represented at half length, fifty-eight years of age, 
 neatly front, with bare head, long hair streaked with gray, mustache and chin whiskers; his face is thin and his 
 features have a resolute Puritan cast; his costume consists of a close-fitting doublet buttoned in front, with many 
 small buttons, a wide, flat, square-cut linen collar falling on his shoulders, and long gloves trimmed with lace ; 
 his right hand rests on the back of a chair, the left holds the scabbard of a sword which is suspended by a baldric 
 crossing his breast. On panel. Height, thirty-four inches ; width, twenty-four inches. The pedigree of this picture 
 cannot be established with all desirable certainty, but for more than two centuries it has been assigned to Rem- 
 
 
 
 brandt, and, in the opinion of competent judges, it bears in itself satisfactory evidence that it is a genuine work of 
 the master, It was brought to America by a son of Sir Richard, and passed by descent to Gurdon Saltonstall, who 
 was for twenty years Governor of Connecticut. It now belongs to Hon. Leverett Saltonstall, of Boston, a de- 
 en in Bond, Genealogies... of Watertown ; 
 
 
 
 scendant of Sir Richard. A line engraving by H. W. Smith is giv 
 Drake, History of Middlesex County; and in Massachusetts Historical Society Proceedings, Vol. 1. A wood-en- 
 
 graving is in Winsor, Memorial History of Boston. 
 
 
 

 
 
 
 
 
 considerations dictated the choice of a teacher, for there is believed to have 
 been a relationship of some sort between the families of the master and pupil. 
 Van Swanenburch was a native of Leyden, of an artistic family, and possessed of 
 some local reputation. It would be interesting to compare his work with that 
 of his distinguished pupil, but unfortunately his paintings have disappeared from 
 view, except a small one in the gallery at Christianberg.* 
 
 Rembrandt made the best of his advantages, and according to Orlers he 
 showed such astonishing proficiency that, after spending three years with Van 
 Swanenburch, he was sent to Amsterdam and given in charge of Pieter Last- 
 man, with whom he remained about six months. In 1623 he returned to his 
 native city, having, at the age of sixteen, finished his studies so far as depended 
 on masters. 
 
 Lastman was superior to Van Swanenburch, but he was of no special note 
 as an artist, and although his paintings are somewhat widely diffused, they 
 would attract little attention but for the association of his name with that 
 of his famous pupil. 
 
 How Rembrandt passed the four following years we do not know. Evi- 
 dently he was not idle, but we hear nothing from him, and we are able to 
 trace no work of this period. His earliest known painting was executed in 
 1627, when he was twenty years of age. The picture represents Sant Paul in 
 Prison, and it is now in the gallery at Stuttgart. Although somewhat crude 
 in color it is careful in drawing, and displays qualities that characterize the 
 later works of the master. He early imbibed a taste for etching, but we are 
 not informed who was his teacher in this art. Lastman used the needle a little, 
 and there were others in Leyden and Amsterdam who etched, but apparently 
 more for pastime than as a serious pursuit. It is probable that Rembrandt 
 had no further instruction than such as he might receive from the friendly 
 hints of his fellow-students and companions. However that may be, he began 
 to etch as soon as he had learned to paint, and it would seem that he was 
 more interested in the former than in the latter occupation, for during the 
 period of his stay at Leyden we know of but two paintings, while we have 
 five etchings from his hand. 
 
 By the time he was twenty-three years old he had achieved so firm a 
 position that he thought he might safely seek a larger field. Accordingly, in 
 1630, he established himself in Amsterdam, the metropolis of Holland, then an 
 active commercial town, having a population not greatly exceeding that of Ley- 
 den, but with much more accumulated wealth, a larger leisure class, and con- 
 sequently offering a better field for the cultivation and practice of art. He 
 
 
 
 * Competent masters were scarce, for Holland did not then rank high in the world of art. The practice 
 of painting had indeed reached so low a stage that certain painters of Leyden, Delft, and Amsterdam thought 
 the public taste and their own fortunes would be improved by a system of legislative protection. Accordingly, 
 in 1610, they signed a memorial setting forth that their trade was spoiled by too free admission of pictures from 
 Brabant, Antwerp, and other foreign places, and they prayed that the sale of foreign pictures might be prohibited. 
 Similar views have occasionally been held in more modern times, and legislatures have been influenced by them ; 
 but the law-makers of Holland in the seventeenth century were too wise to grant the request. The signers of 
 
 the petition, however, whose names have been preserved, obtained thereby an immortality that their paintings 
 have failed to procure for them. 
 
 
 
took up his residence there over a shop in the Bloemengracht, a quay at the 
 western end of the city. 
 
 His industry was marvellous and his success gratifying. In four years 
 (1630-33) he executed ninety oil paintings and one hundred and eight etchings. 
 Many of these were portraits, but among the more important compositions 
 were Simeon in the Temple and the Lesson in Anatomy, both of which are 
 now in the gallery at the Hague. The latter work is probably as well 
 known by means of copies and engravings as any painting ever executed. 
 His talents also brought him to the notice of the court, and he was em- 
 ployed by the Stadtholder, Frederick Henry, to paint a series of pictures rep- 
 resenting incidents in the life of Christ. His correspondence with Huygens 
 about these works has been preserved and repeatedly published. 
 
 Busy as he was, he did not neglect society and domestic life. Amid the 
 most engrossing labors he found time and opportunity to make the acquaint- 
 ance and win the regard of a person who was in every way worthy of him, 
 who contributed largely to his happiness, and to whom his material success 
 appears to have been largely if not wholly due. 
 
 The name of Saskia is associated with Rembrandt as that of Laura is with 
 Petrarch and Beatrice with Dante. She was a great part not only of his life, 
 but of his art. No work was so agreeable to him as that of fixing her image 
 on copper or on canvas. We have no less than twelve oil paintings and seven 
 etchings for which she served as the model. The earliest is the portrait in the 
 gallery at Cassel, where she is presented to us as a smiling, bright-eyed girl 
 with full, round features and long waving tresses, adorned with a jaunty hat 
 and feather, pearls and embroidered dress. Again, in the well-known picture 
 in the Dresden Gallery, we see her full of life and animation, in the flush 
 of womanly beauty, seated triumphantly on the knee of her proud and 
 happy husband. Her image continued to occupy his thoughts and pencil to 
 the last, and we have a melancholy interest in believing that the etching 
 called Zhe Stck Woman is a portrait of Saskia in her last illness—the final 
 effort of the anxious husband to preserve the features of her who, for eight 
 years, had been not only his faithful wife, but his trusted counsellor and 
 friend. 
 
 Saskia van Ulenberg was the youngest of ten children born to Rom- 
 bertus Ulenberg, a man highly esteemed in Leeuwarden, the capital of Fries- 
 land, where he had held several important public trusts. Her parents were 
 dead, and her brothers and sisters were all well settled in life. One brother 
 was an artist; a sister had married an artist, Wybrand de Geest; and a 
 cousin was a print dealer. With such connections it is easy to imagine how 
 she made the acquaintance of the rising young painter from Leyden. 
 
 The Register of Marriages at Amsterdam records that on June toth, 
 1634, a marriage contract was concluded between Rembrandt Harmensz. van 
 Ryn, aged twenty-six years, and Saskia van Vuilenberg. The record is signed 
 by Jan Cornelius Sylvius, whose amiable features are depicted in the etching 
 (No. 45). The formal marriage was solemnized at Bildt, in Friesland, on June 
 22d, and the young couple marked the event by a journey to Leeuwarden, 
 
 
 
 
 

 
 
 
 the home of the bride's family. This journey of nearly sixty miles was doubt- 
 less the longest the artist ever undertook. 
 
 Being now well known and prosperous, Rembrandt felt justified in taking 
 his wife to a more commodious house than that he had before occupied, and 
 he fixed his menage in a house in the Breedstraat, a spacious street in the 
 new quarter of the cit 
 
 The eight years of his marriage were doubtless the happiest, as they 
 
 
 
 were certainly the busiest and most creditable, of his life. Nearly one third 
 of his etchings and one half of his paintings are assigned to this period. 
 Besides these labors, he was much occupied as a teacher. Among the young 
 artists who resorted to him were many who afterward made themselves illus- 
 trious—Gerard Dow, Ferdinand Bol, of whom Rembrandt was the only master, 
 Govaert Flinck, Jacob Backer, Jan Victor, Gerbrand van den Eeckhout, Philip 
 Koninck, Nicholas Maes, Carel Fabritius, Samuel van Hoogstraaten, Arnout 
 de Gelder, and Godfried Kneller. Bol was a favorite pupil, and painted a 
 portrait of Rembrandt and one of Saskia, now in the Brussels Museum. 
 Flinck also painted his master’s portrait in 1637. The mention of these names 
 is of itself sufficient to show the esteem in which Rembrandt was held by 
 artists, and his influence on art. 
 
 In September, 1640, the mother of the artist died at Leyden, having 
 attained the scriptural age of threescore years and ten. She left a good 
 
 estate, amounting to 9960 guilders, to be divided among her four surviving 
 children, Her estate comprised nine parcels of land, one of which was the 
 house in the Weddesteeg, where she resided when Rembrandt was born, valued 
 at 1800 guilders. Another piece was one half the windmill on the rampart, 
 estimated at 3064 guilders. The share that fell to Rembrandt in the division, 
 amounting to 2490 guilders, he sold at once, doubtless on disadvantageous 
 terms, He early gave indication of habits of improvidence that pursued him 
 through life, entailing on him, as we shall see, many annoyances and_hard- 
 ships.+ 
 
 Before this time three children had appeared in his house and vanished. 
 Rombertus, the eldest, was baptized in the Oude Kerk, December 15th, 1635. 
 He probably died young, as we find no further record of him. The second 
 child, Cornelia, was baptized in the same church on July 22d, 1638. She was 
 buried in the Zuider Kerk on the roth of the following month. Another 
 Cornelia was baptized July 29th, 1640, in the Oude Kerk, and doubtless died 
 young. These were followed by a son, Titus, born September 22d, 1641, who 
 grew up to man’s estate, but did not survive his father.t 
 
 
 
 * The house Nos. 2 and 3 Breedstraat, then in the Jewish quarter, is still standing. An etching of it by 
 Flameng is given in C. Blanc, Rembrandt, edition of 1859, 2 vols., 8vo. 
 + Six oil portraits and seven etchings bear the title of Rembrandt's Mother. They are dated from 1628 
 
 to 1654, an interval of twenty-six years, the first being twelve years before and the last fourteen years after the 
 
 
 
 mother’s death. They all represent a woman aged seventy years or more. But at the first of these dates Elizabeth 
 was only fifty-eight years old. Mr. Koehler suggests that the person represented may have been the maternal 
 grandmother of the artist, concerning whose death we have no account. It is probable that more than one per- 
 son is represented in these different portraits. One of the etchings is reproduced here (No. 48). 
 
 $~ A well-known portrait of this period is The Gilder, or The Frame Maker, belonging to William Schaus, 
 
 
 
 
 
The year 1642 is specially marked in the artistic life of Rembrandt by 
 the production of that masterpiece representing The Czuic Guard, by which 
 title it was known in the artist’s lifetime, or at least as early as when Houbra- 
 ken wrote in 1678. Toward the end of the last century some Frenchmen, not 
 comprehending the piece, called it the Ronde de Nutt, and hence The Night 
 Watch, overlooking the fact that it does not exhibit a night scene, but, on 
 the contrary, a group of figures lighted by a strong gleam of sunshine. M. 
 Vosmaer has vainly thought to rebaptize the work by the clumsy name of 
 The Sortie of the Company of Captain Franz Banning Cock, but this is too 
 awkward for popular acceptance. It is to be hoped that, in place of the 
 inappropriate and misleading title, the original one may be restored, The 
 Civic Guard. 
 
 The war with Spain had given great impetus to the patriotic spirit of 
 the people, and a soldierly feeling everywhere prevailed. Independent com- 
 panies were formed, whose periodical reunions and drills served for both 
 military and social purposes. The walls of their meeting rooms were adorned 
 with pictures illustrating some incident in the history of the band, or com- 
 memorating its prominent members. Several paintings of this class, preserved 
 in the museums of Holland, executed by Frans Hals, De Keyser, Van der 
 Helst, Ravensteyn, Van Everdingen, and others, supply us with faithful records 
 of the customs and costumes of the day. Rembrandt undertook this painting 
 at the request of the members of the Company of Captain Cock, the cost 
 
 
 
 being met partly by the company and partly by the persons portrayed, who 
 seem to have contributed sums proportioned to the importance of the position they 
 
 
 
 
 
 filled in the scene. The entire sum received by the artist was 1600 guilde 
 
 
 
 Esq., New York. M. Vosmaer thinks this is a portrait of the painter Doomer, but the supposition is inadmissible, 
 for Doomer was in 1640, when the portrait bears date, only twenty years old, while the person represented had 
 evidently lived forty-five years at least. The picture first appeared in the collection of An. Cousin, when it was 
 engraved in line by N. Dupuis, Jr. It belonged to the Duke of Ancaster in 1769, when it was engraved in 
 mezzotint by Dixon, with the title Rembrandt's Frame Maker. In the Van Helsleuter sale at Paris, 1802, it sold 
 s in 1826 offered at private sale in Paris 
 
 for 500s francs, Smith, who mentions it twice (Nos. 334 and 335), says it v 
 
 
 
 for 15,000 francs. In the sale of Mme. Gentil de Chavagnac, June 2oth, 1854, it sold for 25,000 francs to the Duc de 
 
 
 
 Morny. M. Dutuit relates that after this sale some doubts were raised as to the authenticity of the picture, and the 
 Duke wished to cancel his purchase, but he was dissuaded from doing so by M. Malinet, the well-known dealer of 
 Quai Voltaire, recently deceased. When the canvas was once placed in the Morny Gallery it was appreciated at 
 
 it was bought in by the fam- 
 
 
 
 ale, May 31st, 186. 
 
 
 
 its worth, and the journals praised it to the skies. At the Morny 
 ily of the Duke at 155,000 francs. The present owner purchased it in 1884 at the price, it is said, of 200,000 francs, 
 
 He paid a duty of thirty per cent for the privilege of bringing it to America. Besides the engravings by Dupuis 
 
 
 
 and Dixon, there is an etching by Flameng in the Gazette des Beaux Arts, 1863, Vol. XIV.,and in Dutuit, Remérandt ; 
 an etching by Waltner ; a line engraving by an unknown engraver of the last century, inscribed A Portrait of Paul 
 Rembrandt van Rhyn by himself ; and a line engraving, J. G. Hertel, Exc. 
 
 * Early in the last century the picture was removed from the room for which it was painted to the City 
 Hall, where it occupied a space between two doors at the end of the Chamber of the Council of War. In 
 order to fit it to this position, it was cut down, and in the process some of the figures at each end were removed 
 
 ix inches wider and eleven inches higher than it now 
 
 
 
 or mutilated. The canvas was originally about twenty 
 appears. This fact has been recently brought into notice by M. Durand-Greville in a letter published in the Gasefte 
 des Beaux Arts, November, 1883, pp. 406-15, where an engraving is given showing the original composition, with 
 lines indicating the portions cut away. The observations of M. Durand-Greville are based on a comparison of 
 the present painting with an early copy by Lunders, now in the London National Gallery, where the figures 
 now wanting are fully given. We may also add that De Frey's engraving, executed in the last century, con 
 tains the missing parts, and confirms the supposition that the picture has been cut down, Van Dyck first 
 mentioned this fact, but his statement was overlooked or discredited. 
 
 
 
 
 

 
 The next year after his mother’s death, Rembrandt purchased a spacious 
 house in the Jodenbreedstraat, which he fitted up and furnished with great 
 taste and at a cost far beyond his means. He had three working rooms, 
 one of them divided into five compartments for his pupils, and seven other 
 rooms for residence, all filled with paintings, models, prints, and studio prop- 
 erties of every description; for he was an amateur as well as an artist, and 
 took delight in all that could please the eye or gratify the taste. He 
 haunted auctions and markets, he bought with money and on credit, he traded, 
 and took in exchange curiosities and works of art. 
 
 In this house he lived seventeen years. The locality was in the newer 
 quarter of the city, and the street was, as its name suggests, inhabited largely 
 by Jews. His relations with the people of this race appear to have been 
 friendly and intimate for many years. They were his best and most trusted 
 friends. A large part of his life was spent in their service. Without count- 
 ing compositions from the Old Testament, where many of his subjects are 
 
 
 
 ceremonial, as distinguished from religious or historical, we find among his oil 
 paintings no less than thirty-two portraits of Jews, Jewesses, and Rabbins, 
 beginning with the portrait called Phzlo, the Few, dated 1630, the year in 
 which the artist established himself at Amsterdam. 
 
 The Jews of that city were numerous and prosperous, and, as ever, clan- 
 
 
 
 nish. There was much in their strong features and picturesque attire to make 
 them appropriate subjects for an artist of Rembrandt's quality; but this is 
 not sufficient to explain his manifest predilection for them. We cannot help 
 feeling that there must have been something in the private or social life of 
 the artist, or in his business necessities, to account for his marked intimacy 
 with them. He was careless and profuse in his expenditures, living far beyond 
 his means. He was an insatiate buyer of bric-A-brac and curiosities, which 
 commerce was mostly in the hands of these people. He was constantly in 
 want of money. Associating with Jews as traders and lenders, he doubtless 
 ound it expedient or profitable to obtain the discharge or forbearance of his 
 debts by the use of his pencil. This supposition is confirmed by the fact 
 that when he fell into pecuniary difficulties, when his credit was gone and 
 he was no longer able to purchase or borrow, these intimacies came to an 
 
 
 
 end. After 1654 we can identify no picture by him of Jewish subjects. It 
 would seem that, having broken with these friends, he ceased to struggle with 
 ate, and soon afterward the bankruptcy which, with their assistance, he had 
 hoped to avoid, was finally declared. 
 
 In the years following his marriage Rembrandt was a diligent and _pro- 
 ific worker, but he does not seem to have been at any time a “popular” 
 artist. The tide of fashion never bore him on. He did not count the nobil- 
 ity or the aristocracy among his intimates. He painted no portrait of any 
 
 
 
 erson higher in rank or official position than burgomaster, nor had he asso- 
 ciations or friendships with men of greater consequence. When the Stadt- 
 holder, Frederick Henry, was collecting pictures for his numerous galleries and 
 country houses, he gave orders to many of the Dutch artists of the day, and, 
 anong others, to Rembrandt. With this exception, we find no person of high 
 
 
 
 
 
station among his patrons. But the Stadtholder did not employ Rembrandt 
 to paint his portrait, nor does it appear that the artist was ever at court, 
 or that he and the prince ever met. When Marie de Medicis visited Am- 
 sterdam, artists were employed to celebrate the event— Keyser, Honthorst, 
 Sandrart, Vlieger, and others—but the services of Rembrandt were not called 
 into requisition. The Peace of Westphalia was an occasion where Rembrandt 
 was distinguished only by being overlooked, and the picture which the event 
 inspired him to paint remained on his hands unsold. The decoration of the 
 City Hall was intrusted to Bol, Flinck, Danckerts, Bosboom, and several 
 other inferior artists, but Rembrandt had no part in the work. His 
 friends were mostly men of small estate and moderate condition — surgeons, 
 artists, authors, ministers, and Jews; men of credit and _ respectability, no 
 doubt, but known to us rather for their association with our artist than for 
 any other distinction they achieved. But by far the larger number of the 
 subjects of his pencil are unknown to us even by name. Out of two hun- 
 dred and eighty-five portraits described in Vosmaer’s list, those of his family 
 being excepted, the names of only forty-six of his sitters have been 
 preserved. 
 
 The large proportion of family portraits cannot fail to excite surprise. In- 
 cluding etchings, upward of eighty of his works, or more than one eighth 
 of the whole, were representations of his own features; many others are 
 members of his family, and still more are known simply as Old Fews, etc. Re- 
 viewing these facts, we are forced to conclude that although Rembrandt was 
 noticed by Orlers and Angel, praised by Sandrart and sung by Vondel, yet 
 he was not estimated by his contemporaries at the value we now put on 
 
 
 
 him. 
 
 In the year 1641 Rembrandt painted the portrait of Anna Wymer, the 
 mother of Jan Six. No incident in the artist’s life is better known than his 
 connection with this estimable family. It was not simply that Six was the 
 patron, he was also for many years the faithful and intimate friend. Six was 
 by eleven years the younger of the two, but the disparity in years was 
 compensated for by the maturity of his mind, His father was a successful 
 merchant and a man of good estate at Amsterdam, having also a country 
 residence at Elsbrock. The son was a man of affairs, a magistrate, a burgo- 
 master, and otherwise honored and trusted by his fellow-citizens. He was 
 besides a man of letters, and had even courted the Muses, who, however, do 
 not seem to have responded favorably to his addresses. He was more suc- 
 cessful with Margaret Tulp, daughter of Nicholas Tulp the surgeon, whom 
 we find as the chief figure in the Lesson zm Anatomy. Margaret had been 
 contracted to John De Wit, the Pensioner of Holland, but the engagement 
 having been broken off, she married Jan Six in 1655. Possessing ample means 
 and elegant tastes, generous and hospitable, his house was the resort of artists, 
 men of letters, and the Jdeaxz monde. Vonders, the poet, Lievens, Flinck, and 
 Rembrandt celebrated him in verse and in color. He was especially noted as 
 a collector of books, pictures, and engravings. His cabinet, comprising 
 examples of Titian, Tintoretto, Andrea du Sarto, Poussin, Palma, Holbein, 
 
 
 

 
 Van Dyck, and others, was sold by Zoomer in 1702, after the owner’s 
 deatl 
 
 
 
 We give the Portract of Six (No. 44); also the landscape called Stax's 
 Bridge (No. 24), and Medea, etched to illustrate the tragedy of that name 
 (No. 18). In 1656 Rembrandt painted Six'’s portrait in oil, which still remains 
 in the possession of the family, one of the most important works of the artist, 
 whose hand in this case was manifestly inspired and directed by affection rather 
 than interest. The date is noticeable, since it shows that the friendship between 
 the two had survived the scandals of 1654 and the financial disaster that 
 culminated in 1656. 
 
 IX, 
 
 Rembrandt was now fully employed, his fame had increased, his purse 
 though often emptied was as often refilled, his social circle was widened, and 
 he had a discreet and faithful wife. Though only thirty-five years of age, he 
 had reached the meridian of his career. He had painted the Lesson in An- 
 atomy and the Czvze Guard, pictures that, had he accomplished nothing else, 
 would have made him immortal. A great cloud was gathering. Saskia was 
 ill. On June 5th she sent for a notary, and, full of solicitude for her 
 family, she executed her will, in which she testified not only her affection for 
 her husband, but her confidence in him. She gave him the use for life, or 
 
 
 
 until he should marry, of all her property, with reversion to their son Titus. 
 She appointed her husband guardian of the son, and specially provided that 
 no bonds should be required of him. Saskia was buried in the Oude Kerk 
 
 
 
 on June roth, 1642. 
 The world began to go wrong with Rembrandt then. The influence of 
 
 
 
 his wife over him had been wise and salutary, and while she lived he was 
 laborious, stable, and prosperous. Freed from her watchful care, there is much 
 reason to believe that he declined in self-respect, his moral tone became 
 weakened, his habits unsteady. He grew neglectful in person and careless 
 in business. In the portraits of himself, painted after this event, there is a 
 noticeable change in his appearance. He is no longer the gay, laughing cava- 
 lier, smart in dress and jaunty in pose. We no more see him radiant with 
 velvet and jewels and plumes. He is not ashamed to present himself before 
 us negligent in attire, and even in his working clothes. His capacity for la- 
 
 
 
 bor was unimpaired, his hand was as firm and his eye as true, but he had 
 lost his elasticity of spirit and pride of character. His finances fell into dis- 
 order, and the latter part of his life was overcast with shadows, the result 
 in great part of his own imprudence. 
 
 Although in a lawsuit with his kinsmen, the Van Loos, in 1638, he had 
 declared that he and his wife were “richly and superabundantly provided with 
 
 
 
 * Jan Six had two cousins, Peter and William, who were also noted amateurs and patrons of art. The col- 
 jection of the former was sold in 1704; that of William was brought to the hammer in 1734; it contained two 
 hundred and fifty-seven pictures, including twenty-two by Rembrandt ; also a complete set of Rembrandt’s etchings 
 of the first quality, which sold for 572.5 florins, about one-fiftieth part of the price that would now be realized for 
 
 a single print, 
 
 
 
 
 
 
 
wealth, for which they could not sufficiently thank the Almighty,” yet we find 
 him soon after, and often, pressed for money. As we have seen, he sold 
 promptly his share in his mother’s estate, he borrowed on his own notes and 
 on mortgage of his house in the Jodenbreedstraat, he sent through Huygens 
 urgent demands on the Stadtholder for moneys due him. 
 
 He had many pupils, who paid him 100 florins for their tuition ; his paint- 
 ings and etchings brought him much money; his wife was an heiress, having 
 inherited an estate inventoried at 40,750 florins. His legitimate expenditures 
 should not have been large. His collections, although rich and beautiful, could 
 not have cost an inordinate sum, for in 1659 two dealers in curiosities, Lodevyck 
 van Ludick and Adrien de Wees, friends of Rembrandt, testified that the 
 engravings, objects of art, and curiosities he possessed between 1640 and 1650 
 were worth 11,090 florins, and the pictures 6400 florins. But he was unable 
 to maintain proper proportion between his income and his expenses, and always 
 wanted money. The result was what might have been expected—pecuniary ruin 
 and a saddened old age. 
 
 He might perhaps have saved something from the wreck of his fortunes 
 if delay had been granted, but his embarrassment came just at a time, and 
 doubtless in consequence of, a commercial crisis. There was in 1653 a crash 
 in the money market. Merchants failed, incomes fell off, houses were unoccu- 
 pied, and the question was seriously agitated of leaving off, for reasons of 
 economy, the upper story of the Town Hall, then building. Not only did his 
 creditors harass him, but the guardian of Titus put in his claim. Although it 
 does not appear that he did. more than the protection of his trust demanded, 
 yet proceedings were begun to compel Rembrandt to account for the money 
 that came to his hands under the will of Saskia. All things taken together, 
 the load was too great for the artist, now growing old, to bear. In +1656 
 he transferred to Titus the house in which he lived, and he was soon after 
 formally adjudged a bankrupt. By order of the Insolvent Court, his property 
 was inventoried for sale. The inventory is very curious and interesting, giv- 
 ing us a clear view of the man, and of the tastes and opportunities of a 
 
 collector of that day.* 
 
 
 
 sion of Rembrandt 
 
 
 
 * The ‘Inventory of the paintings, furniture, and household utensils found in poss 
 van Ryn, living in the Breedstraat, near St. Antony's Bridge,” bearing date July 25th, 1656, was discovered 
 among the records of the Insolvent Court early in this century. It comprises one hundred and forty-four 
 
 paintings by the following artists : 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 Rembrandt. . 5 42) I Pinas ....+ a haaiiqaistalenees: niatate Ob 
 Titus van Ryn 3 Govaert Jans Raphael, a head...... Make I 
 Aert v. Leyden. . 3 P. Lastman..... Sides yer Seeghers. 8 
 H. Antonis.....- se oseabee I Relyausctees. ee Van Eyck I 
 Bassano I Lievens 9 Van Volckenburgh. Rae 
 Brouwer....- 8 Lucas v. Leyden. i A, Viinch. .....eceesecsenes I 
 Carracci 2 Michael Angelo........- bon 23 Vlieger .. Ghopeaso 
 Giorgione.. .....-+ Sppoodg aE Palma Vecchio. . Tr Unknown.. 4 
 Grimmer... s..eeseereer eee I Persellius ....... 5 
 
 
 
 Of the Great Masters of Italy, only seven 
 
 
 
 It will be observed that nearly all are by Dutch ar 
 specimens are named. There were also seventy-nine portfolios of drawings and engravings, the most precious of 
 which were undoubtedly thirty portfolios of drawings by Rembrandt himself, and one complete set of his etchings. 
 
 
 
poe 
 
 | 
 i 
 
 
 
 
 
 
 
 
 
 The house, which had already been transferred to Titus, was also ordered 
 to be sold to satisfy the demands of the creditors. It brought 11,218 florins, 
 reserving to Rembrandt two stoves and some partitions which had been used 
 for making separate rooms or cells for his pupils. Litigation continued as to 
 the disposition of the money arising from these sales, and it was not until 
 1655 that the claims of the guardian were finally adjusted by the payment 
 to him of 6952 florins, all that remained of the 40,750 florins that Saskia left. 
 
 Rembrandt was at last freed from the clutches of the law. His debts, 
 if not paid, were at least settled, but at the age of fifty-eight he found 
 himself turned out of his home, poor and desolate. 
 
 Xx. 
 
 All the biographers inform us that Rembrandt had for a second wife 
 Hendrickie Stoffels (or Jaghers), concerning whom, however, their accounts 
 are meagre and unsatisfactory.* 
 
 After the death of Saskia, Rembrandt had as a nurse for his son Titus, 
 then less than a year old, a widow named Géeertie Dierckx, who became 
 greatly attached to the child, so much so that she made testamentary 
 dispositions in his favor. But discord reigned in the household which required 
 the interposition of the courts to quell. The result was that, October Ist, 1649, 
 a settlement was made by which Geertie accepted a sum of money and 
 disappeared from the scene. Thereupon Hendrickie Stoffels, who may have 
 been the cause of the discord, took Geertie’s place. When she assumed the 
 management of the artist’s domestic affairs she was twenty-three years old, and 
 from that time until her death she was, in all but name, his wife. 
 
 Perhaps we may be able to recover her features in the pictures painted by 
 the artist after she became part of his family. We know that he was 
 accustomed to find under his own roof the models that served him—Saskia, 
 his mother, and even himself. There is every reason to believe that he 
 continued this practice, and we may fairly look for Hendrickie in the pictures 
 painted after the death of the wife whom she replaced. Three of these, all 
 produced in the same year, 1654, bear internal evidence of being from the 
 same model. They represent a woman of less than middle age, warm with 
 life, plain of feature, with fresh complexion, light hair, gentle expression, and 
 a form inclining to stoutness. One of these is the Portrazt of a Woman in 
 
 
 
 There were portfolios of drawings and engravings by Breughel, Brouwer, Callot, Carracci, Durer, Goltsius, 
 Heemskeerck, Lastman, Lucas van Leyden (2), Michael Angelo, Raphael (4), Rubens, Savry, Tempesta (3), Titian, 
 Van Dyck, and others. Rembrandt was not a great reader, for he had but nineteen books, of which the 
 titles of only three are given—viz., a Bible, Josephus, and Six’s tragedy of Medea. Besides these there were 
 upward of fifty pieces of statuary and casts, armor, arms, casques, guns, pistols, swords, a cross-bow, musical 
 instruments both wind and stringed, costumes, stuffs, fans, canes, stuffed animals, birds and fishes, a cabinet of 
 medals, porcelain and Venetian glass, coral, minerals and shells, furniture, etc. The sale took place at the inn 
 called the Kaiserskroon, kept by Barend Schurrman in the Kalverstraat, in December, 1657, under the direction 
 of Thomas Jacobsz. Haring (see Pl. 35), but the greater part of the drawings and engravings were sold in 
 September of the following year. The entire sum realized was only about sooo florins. 
 
 * It is only recently that documents have been discovered that cast much light on this obscure point in the 
 artist's history. They were first given to the world by A, Bredius and N. de Roever, Rembrandt, nieuwe bijdragen 
 
 
 
 fot sijne levensgeschicd Oud., Holland, 1885 
 
 
 
 
 
the Louvre. She is decked, like Saskia, with velvets, laces, ribbons, and 
 diamond, Another picture from the same model is in the Lacaze collection, 
 Bathsheba in the Bath, The same plump, round figure is seen in the Woman 
 Bathing in the London National Gallery. Two years later we find the same 
 face in Facob Blessing the Sons of Foseph in the Cassel Gallery. 
 
 The relations between these two became so notorious that on July 23d, 
 1654, Hendrickie was called before the Consistory, and received the censure 
 of the Church. On September 30th following a child of Rembrandt van Ryn 
 and Hendrickie Stoffels was baptized in the Oude Kerk, receiving the name 
 of Cornelia, which Rembrandt bestowed in remembrance of his mother and of 
 the two daughters he had lost. It also appears that another child of 
 Hendrickie had preceded this one, and had been buried in the Zuider Kerk, 
 August 15th, 1652. 
 
 On December 15th, 1660, a contract was entered into between Hendrickie 
 Stoffels, Titus van Ryn, and Rembrandt van Ryn, the latter acting for 
 himself as guardian of his son, then only nineteen years of age, whereby it 
 was agreed that the two first named should carry on during the life of Rem- 
 brandt, and for six years longer, a partnership, which had already existed 
 for two years, for the trade in pictures, curiosities, and engravings. The profits 
 were to be divided equally between Hendrickie and Titus. Rembrandt was not 
 to be considered a partner, but he bound himself to give his services in the 
 business. He acknowledges the receipt of 950 florins from Titus and 800 florins 
 from Hendrickie, for the repayment of which sums he pledges all his pictures 
 then on hand and those he might thereafter make, and in consideration of his 
 services he was to be maintained out of the~profits of the business. It is 
 evident the association thus formed was for the benefit of Rembrandt rather 
 than of the actual partners, and that its object was solely to provide a home 
 and support for the artist in his declining years. Being incapable of engaging 
 in trade, or of holding property in his own name, he was compelled to resort 
 to this shift to secure for himself a living. Perhaps he had a sincere 
 attachment for Hendrickie, and might have married her when she first came 
 under his roof but for the fact that such a step would have precipitated the 
 bankruptcy that finally overtook him. For we have already seen that Saskia 
 had left to him the use of her estate only so long as he should remain 
 unmarried. 
 
 There remains but little to be said of Hendrickie. She died two or three 
 years after entering into the above agreement, having made a will, dated August 
 17th, 1661, by which she left her property to her daughter Cornelia, with rever- 
 sion to Titus van Ryn. She appointed as Cornelia’s guardian “ Rembrandt, 
 her father.” 
 
 XI. 
 
 Rembrandt applied himself diligently at first to the work assigned him 
 under the terms of the partnership agreement, and he acquitted himself in a 
 creditable manner. In 1661 he executed eight pictures in oil, among them The 
 Syndics, a masterpiece of pure art, painted for the Clothworkers’ Hall, and now 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 in the Amsterdam Museum. It is a group of portraits, like Zhe Lesson i 
 Anatomy and The Czvic Guard, but, unlike them, it is nothing more. Yet 
 how massive and grand, and with what life their faces shine! It is evident 
 he had lost none of his force, that he was capable of as powerful work as 
 in his younger and more prosperous days.* But he had lost his pride of 
 character, which his association with Hendrickie and the consequent scandal 
 made it impossible for him to maintain. The loss of self-respect was neces- 
 sarily followed by the sacrifice of the esteem of many of his friends, who 
 willingly accepted an excuse for abandoning an erring and unsuccessful man. 
 His work was nearly finished. In the last four years of his life he painted 
 only a dozen pictures, four of which were portraits of himself. He etched no 
 more. After his bankruptcy his hand seldom held the needle. In the last 
 twelve years of his life he produced not more than twelve etchings, and sev- 
 eral of these were sketches and academic studies, which indicated in choice of 
 subject and treatment that he had no longer those higher aims that charac- 
 
 
 
 
 
 
 
 terized the days of his prosperity and strength. 
 
 To add to his distress, the affairs of his kinsmen were going to the bad, 
 for unthrift appears to have been a family infirmity. It may be that his own 
 difficulties were caused or aggravated by those of his relatives. His brother 
 Adrien died in straitened circumstances in 1654; another brother came to 
 want; and the affairs of his sister Elizabeth were in as bad a condition as his 
 
 own, 
 XII. 
 
 After the sale of his house, Rembrandt removed, with Titus and Hendrickie, 
 to a house in the Rosengracht, an obscure quarter at the eastern extremity 
 of the city, where his remaining years were spent. Of those years and of the 
 occupations with which they were filled we know but little. His old age could 
 not have been happy. He had outlived all his legitimate children —at least, all 
 he had by Saskia. Two children are mentioned in the mortuary records as 
 having been left by him, one of whom was doubtless the daughter of Hen- 
 drickie Stoffels; the other may have been of Catherine van Wyck, but of this 
 Catherine or her child our only knowledge is derived from an entry in the rec- 
 ords of the Wester Kerk, March 21st, 1674, in which she is called the widow of 
 Rembrandt. Vosmaer and Scheltema accept this entry as proving that Rem- 
 brandt left a widow of that name, but the evidence does not seem conclusive. 
 
 
 
 * About 1660-62, according to Dr. Bode, Rembrandt painted the Portrait of a Man, now belonging to Henry 
 G. Marquand, Esq., New York. The person represented is about thirty-six years old, half length, the body slightly 
 
 
 
 to the right, the face turned front; his long black hair falls on both sides over his wide, flat linen collar, which 
 is seen in shadow on the left side, with the corner turned up; he wears a black hat with high crown and 
 wide brim; his left hand, with embroidered cuff at the wrist, is partly seen thrust in a fold of his black habit ; 
 no mustache or beard. Life size. Canvas about 30x22 inches. The picture was purchased in 1883 by Mr. Marquand 
 from the Marquis of Lansdowne for £5000. 
 
 Mr. Marquand has also an Adoration of Shepherds, a repetition, with slight variation, of that in the National 
 Gallery at London. On panel about 26 3 
 tioned in Smith’s Catalogue, Vol. VII, 
 
 inches. It was purchased recently in London. Is it the one men- 
 
 
 
 
 66, as having formerly belonged to E, Higginson of Saltmarshe, 
 
 ‘ose collection was sold in 1846? 
 
 
 
 
 
All the history of Rembrandt after his financial disaster needs more careful 
 investigation than it has yet received. 
 
 The closing scene was at hand. We do not know when he died. The 
 records only inform us that on Tuesday, October 8th, 1669, the grave was 
 opened in the Wester Kerk to receive “Rembrandt van Ryn, painter, residing 
 in the Roosegraft, opposite the Doolhof. He left two children.” 
 
 Titus, the last of the children of Rembrandt and Saskia, was educated as 
 an artist, but he evidently lacked capacity for painting. When he was twenty- 
 seven years of age he married, February roth, 1668, Magdalena van Loo, resid- 
 ing “on the Singel, opposite the apple market.” The pair immediately went to 
 live with the mother of the wife, leaving Rembrandt completely alone, for 
 Hendrickie had already died. Their married life was brief. Titus died the fol- 
 lowing September. In the last half of January, 1669, his widow gave birth to 
 a daughter, who was baptized in March of that year by the name of Titia, 
 
 
 
 Rembrandt assisting. This was a fatal year for the family of the painter. 
 Rembrandt had died in October, and Magdalena only thirteen days later. Three 
 days after the death of Rembrandt the Orphans’ Court appointed Francis van 
 Bylaert guardian of the property of Titia, which amounted to 10,000 florins. 
 On August 30th, 1686, Titia, then in her seventeenth year, married Francis 
 Bylaert, Jr, the son of her guardian, who receipted for her fortune, which had 
 increased to 16,000 florins, And so the name of Rembrandt van Ryn disap- 
 pears from the record. 
 
 XIII. 
 
 The influence of Rembrandt on art has been important and lasting. He 
 had not Raphael's genius for drawing and composition; he was surpassed in 
 brilliancy of color by Rubens, Van Dyck, and, above all, by Titian. Many 
 artists have excelled him in discrimination, taste, and appreciation of the beau- 
 tiful, qualities in which he was manifestly deficient, owing partly to his defec- 
 tive training and partly, perhaps, to his surroundings. Italy he never saw, nor 
 France, nor even Belgium. His journeyings were restricted to the villages 
 neighboring on Amsterdam. Living within a morning’s walk of the sea, there 
 is no indication in his works that he ever saw it; certainly it had no charms 
 for him. Little favored in his masters or in his opportunities, he yet achieved 
 remarkable results. His drawing, while not always grand, was correct, especially 
 the extremities of his figures, which were never slighted or distorted; his com- 
 position was unstudied, clear, and expressive; his coloring, if not rich, was solid 
 and harmonious, such as is to-day the despair of artists. The subjects he drew 
 and painted were those that were present to him in his daily walks about the 
 streets or in the neighboring fields, and although not always well chosen, yet they 
 never fail to be natural and life-like. He had a keen eye, a sure and dexterous 
 hand, and what he saw he was able to record with the most absolute truth; 
 but he had no imagination, no ideality. His studio was filled with costumes, 
 objects of art, curiosities, books of prints, but he counted little on these. He 
 made use of few accessories in his pictures, scarcely even a flower. His taste 
 
 
 

 
 
 
 
 
 
 
 was not elevated by his associations, by reading, or by study, and we see by 
 his inventory that he had no taste for books. 
 
 The passion for his etchings is not simply a phase of the love of collect- 
 ing, like the gathering of postage-stamps or fans or china. It is an instinct 
 prompted by a love for pure art. No test of one’s taste and higher cultiva- 
 tion is more sure than the love for and capacity of appreciating these marvel- 
 lous works. They furnish an inexhaustible source of refined pleasure. Every 
 line has its motive, every figure its purpose. One never tires of studying them, 
 and each new examination develops new beauties. They range in character, 
 through all the successive gradations, from homely to grand. We are content 
 
 
 
 to overlook the want of beauty in our admiration for the masterly fidelity with 
 which the objects are presented to us. We seek, as artists have for ages sought, 
 to detect and expose the secret of the artist’s power, but we are in the end 
 forced to the conclusion that he had no secret, except that he did the work 
 before him better than any one else could do it. It was not a trick of the 
 hand, but the intelligence of the brain that served him so well. Doubtless his 
 work will stand pre-eminent until some new artist shall rise equally keen in 
 
 
 
 mind, steady of eye, supple of hand, and zealous in purpose. 
 
 
 
 
 
 We need not speak of Rembrandt’s etchings in public museums further than 
 to say that almost every large city in Europe has them, but those of London, 
 Paris, Amsterdam, and Vienna rank first. Many private persons in Europe have 
 devoted time, skill, and money to the accumulation of these prints, the most 
 successful of them being the late M. Dutuit, of Rouen, the author of the work 
 on Rembrandt which is the basis of the engravings in the present volume. In 
 America a number of cabinets may be found, some of which deserve to be men- 
 tioned. The oldest and most expensive of these is owned by Henry F. Sewall, 
 Esq., of New York. Mr. Sewall contributed to the exhibition at the Boston 
 Museum of Fine Arts in 1887 specimens of no less than two hundred and forty-two 
 different etchings, besides forty-one other states of the same plate. He has been 
 
 
 
 engaged many years in the pursuit which he has followed with such gratifying 
 success. Theodore Irwin, Esq, of Oswego, N. Y., has some fine examples of the 
 prints, but he has not aimed to make his collection complete. Another amateur, 
 George W. Vanderbilt, Esq., of New York, has recently begun to collect, and 
 has already acquired a considerable number of prints, his aim being to obtain 
 fine specimens rather than a great number. 
 
 XIV. 
 
 Should any reader of this volume be inspired with a desire to enter the lists, 
 he will be interested in knowing at the outset something of the difficulties he 
 must be prepared to encounter and the probable outlay that will be required of 
 him. He will find that some of the prints—the rarest and therefore the highest 
 priced, but not necessarily the most valuable in an artistic sense —are so limited in 
 number and so firmly held that he must at once surrender the hope of being 
 able to acquire them, even though his zeal were unbounded and his purse un- 
 
 
 
 
 
 
 
 
 
limited. Probably he might procure within a few years at least one state of 
 nearly all the plates, but at what cost! 
 
 The Rembrandts in the British Museum are estimated by Mr. Wiltshire to 
 be worth £30,000, but duplicates of these would be unattainable at any price, 
 for some of them are unique. Mr. Hamerton thinks a complete set would be 
 worth £12,000 or £14,000, if it could be got. 
 
 In recent years two important and nearly complete series have been dispersed 
 at public sale. In 1876 that belonging to Sir Abraham Hume, comprising two 
 hundred and twenty-nine prints, brought £4294 16s. 6d. It included a fine impres- 
 sion of the Hundred Gudlder Piece on India paper, with an inch and a half of 
 margin, from the Pole Carew cabinet, which brought £215 5s. The finest collec- 
 tion that has been brought to the hammer in many years, as well in quality as 
 in extent, was that of the Duke of Buccleugh, sold in June, 1887. The whole 
 number of etchings was three hundred and sixty - eight, besides some con- 
 sidered doubtful. There were seventy - two duplicates, or rather different states 
 of the plates, and seventy-five prints were wanting. The price realized 
 was £17,350 10s. This was an unusually interesting and valuable set, most 
 of the prints having pedigrees, by which they could be traced back a cen- 
 tury or more, consequently the prices were high. These prices, however, should 
 not discourage the amateur. The value of these prints has been constantly 
 and steadily increasing, and the purchaser may reasonably hope to get his 
 money back should he decide to part with his accumulations. If we may 
 judge from the past, there is nothing whose value is more sure than the etch- 
 ings of Rembrandt. 
 
 
 

 
 
 
 
 
 = ee es 
 
 
 
ABRAHAM SENDING AWAY HAGAR. 
 
 
 

 
 
 
 
 
 
 
ABRAHAM SENDING AWAY HAGAR. 
 Date 1637. 
 
 BartTscuH, 30; CLaussin, 37; Witson, 37; C. Bianc, 3; MippLeTon, 204; 
 
 Dutuit, 37. 
 
 NLY one state of the plate is known. An impression was sold in the 
 Didot sale, 1877, for 800 f. One in the Duke of Buccleugh sale, 1887, 
 brought £6 16s. 6d. 
 
 This print exhibits in a high degree the best qualities of Rembrandt's 
 work, The composition is rich and elaborate, the drawing correct, the history 
 simply and effectively told. The faces are admirably touched, indicating in a 
 few light and rapid lines the keenest feeling and the most poignant emotion. 
 The delicacy of the work is surprising. There are but few strokes in the 
 faces; the beard of Abraham is made up of light touches at the ends, but 
 nothing is wanting. The old face and hands of Sarah are as perfectly represented 
 as those of the principal figures. The background is rich, warm, and fully 
 finished, and the chiaroscuro leaves nothing to be desired. Abraham's regretful 
 feeling is clearly depicted, and we perceive that he is filled with compassion for 
 the weeping woman whom he sends out into the wilderness, and with regret 
 
 that the disagreeable duty has been imposed on him. 
 
 
 
II 
 
 JACOB AND LABAN, OR THREE ORIENTAL FIGURES. 
 
 
 
JACOB AND LABAN, OR THREE ORIENTAL FIGURES. 
 
 Stgned and dated 1641. 
 
 BartscH, 118; Ciaussin, 120; Wison, 122; C. Bianc, 7; MippLEeTon, 212; 
 Duturt, 119. 
 
 WO states of the plate are known: the first brought in the Duke of 
 Buccleugh sale, 1887, £37; the second sold in the Didot sale, 1877, 
 for 20 f. 
 
 The plate still exists in fair condition. It was used by P. G, Hamerton 
 as an illustration in “The Etcher’s Handbook,’ London, 1871. 
 
 “Three Oriental Figures” is the title by which this piece has been commonly 
 known to amateurs, but M. Charles Blanc believed that he saw in it the 
 rendering of an incident in the history of Jacob and Laban, and this view has 
 been adopted by Hamerton and Middleton. The reference is to Genesis 
 Xxxl. 36, etc.; but the reader who thinks to verify the scene by comparison 
 with the Scripture narrative will be apt to conclude that the more recent title 
 has been adopted rather for convenience of nomenclature than because of an 
 
 exact illustration of the history. 
 
 
 

 
 
 
 
 
 
 
Ill 
 
 JOSEPH RELATING HIS DREAM. 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
JOSEPH RELATING HIS DREAM. 
 Date 1638. 
 
 Bartscu, 37; Ciaussin, 41; Witson, 41; C. Bianc, 9; MIDDLETON, 205; 
 
 Dutuit, 41. 
 
 HERE are two states of this plate. A print in the Didot sale, 1877, 
 brought 7oof In the ‘Duke of Buccleugh sale, 1887, were two im- 
 pressions: the first state sold for £16; the second state for £2. 
 This is a specimen of pure etching, no traces of the burin being visible. 
 It is highly finished and admirably composed. Thirteen figures are brought 
 into a small space without disorder or confusion. The variety of faces, all of 
 the Jewish type, is noticeable, as well as the different emotions displayed by 
 the listeners. This plate was greatly esteemed in the lifetime of the artist. 
 
 
 
 
 
t 
 ' 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 
 
 
 IV 
 
 TOBIT BLIND. 
 

 
 
 
 
 
 
 
 
 
 
 

 
 
 
 
 
 i] a 
 PR 
 
 is 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 « 
 
 
 
 Ree 
 
 al 
 
 ly 
 
 
 
 nie 
 
 
 
 
 
 \ 
 
 AL 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 ‘ E 
 htt bafakt hg HAAS |, ff 
 
 
 
 
 
 
 
 
 
 
 
 ——— 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
TOBIT BLIND. 
 Date 1651. 
 
 Bartscu, 42; Craussin, 46; Wuitson, 46; C. Bianc, 15; Mippieron, 226; 
 
 Dutuit, 45. 
 
 HERE are two states of this plate as some assert, although the differ- 
 ences are not very clearly marked. A specimen sold in the Duke of 
 Buccleugh sale, 1887, for £6 tos. 
 
 The history of Tobit had an extraordinary fascination for Rembrandt. It 
 has been often illustrated by artists, who have found much in the simple, naive 
 story to captivate the imagination. But Rembrandt surpassed all in his fond- 
 ness for the subject, for we find that he treated it in etching twice, and in 
 painting twelve times; besides which there are no less than twenty-one draw- 
 ings by him illustrating this Apocryphal Book. M. Vosamer points out the 
 singular fact that it was never treated in art until about the date of Rem. 
 brandt’s birth. 
 
 This etching testifies to what we have before remarked—the unaccountable 
 fondness of the artist for Jewish subjects. 
 
 The drawing is careful, the movement simple and life-like, and the timid, 
 tentative groping of the old man in seeking the door is rendered with great 
 
 truth and naturalness. 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
hae ERIOMPEHSOR MOR DEECAT: 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
 

 
 ' 
 | 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 ——=— a 
 
THE TRIUMPH OF MORDECAI. 
 
 Date assumed 1640 to 1650. 
 
 Bartscu, 40; Cxaussin, 45; WuiLtson, 44; C. Bianc, 12; Mrpperon, 22 
 : Dururt, 48. 
 
 HERE is but one state of the plate. Impressions sold in the Didot 
 sale, 1877, for 7oof.; Duke of Buccleugh sale, 1887, for £39 185. 
 We have here a scene full of life and animation. A dense throng has 
 been drawn together to witness an imposing pageant. Mordecai, richly 
 apparelled and mounted on a white horse, comes forth from the palace gate 
 and presents himself to the people, who exhibit their respect and reverence 
 in many characteristic ways. Ahasuerus the King and Queen Esther are seen 
 in a balcony on the right. Haman presents Mordecai to the populace and 
 seems to proclaim, “Thus shall it be done unto the man whom the King 
 
 
 
 
 
 delighteth to honor” (Esther vi. 11). The kneeling men, the ad miring women, 
 the crying children, and even the barking dog, are vividly portrayed. 
 
 This is one of the many pieces wherein Rembrandt shows how he 
 loved the representation of Jewish faces, costumes and history. The plate was 
 used to illustrate the fourth edition of a folio entitled “Some Years’ Travel 
 into Africa and Asia, etc,” by Sir Thomas Herbert, Bart, London, 1677. 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
VI 
 
 THE ANNUNCIATION TO THE SHEPHERDS. 
 
 
 
 
 

 
 
 

 
 
 
 
 
 
 
 
 
 
 

 
 | 
 | 
 | 
 i 
 
 
 
 
 
 
 
THE ANNUNCIATION TO THE SHEPHERDS, 
 
 Signed and dated 1634. 
 
 Bartscu, 44; Ciausstn, 48; Wrizson, 49; C. Buanc, 17; MrppueTon, 191; 
 Dutuit, 49. 
 
 HERE are three states of the plate, but of the first only two specimens 
 
 are known. A third state sold in the Buccleugh sale, 1887, for £8 5s. 
 
 The conception of this scene is original and daring, It is the blackness 
 
 of night. Above, in a burst of light, is seen the Holy Spirit in the form 
 
 of a dove, surrounded by cherubim; lower down the angel, standing on clouds, 
 
 announces the birth of the Saviour to the awe-struck shepherds. Even the 
 
 flocks partake of the terror which the scene inspires, and the animals tumble 
 over each other in their haste to escape. 
 
 This is one of the most celebrated of Rembrandt’s etchings. The wild 
 
 
 
 landscape, the blaze of light, the deeply contrasted shadows, and the weird 
 gloom that covers all, produce an effect such as we can look for in Rem- 
 
 brandt alone. 
 
 
 
VII 
 
 ANSE, AIDORUNIPIOIN Ole Wiss, Sieve) PavsIRIDIsy, 
 
 
 

 
 
 
 
 
 
 

 
 
 
 
 
 > 
 

 
 
 
 
 
 
 
 
 
 
 

 
 THE ADORATION OF THE SHEPHERDS. 
 
 Date assumed about 1652. 
 
 BartscuH, 46; Ciaussin, 50; WiLson, 50; C. Bianc, 19; MIDDLETON, 230; 
 Dutuit, 51. 
 
 HERE are six states of this plate. A second state sold in the Didot 
 sale, 1877, for 495 f. An impression called the first state brought £5 
 in the Duke of Buccleugh sale, 1887. 
 
 This is a night scene, in the dark manner of the artist, a manner which 
 he seldom employed, his preference being for a rapid, dashing style. Some 
 critics have questioned if the plate is really by Rembrandt, but there is not 
 much reason to doubt that the design is by him and that he executed it in 
 its original form. After the third or perhaps the fourth state, he appears to 
 have passed the plate over to an assistant, who completed the work as we now 
 
 see it. 
 
 
 

 
 
 
 
 
VIBE 
 
 TisUS, IMR SEIN IVAINON, JUN) T80S, TeWIPILIE,. 
 
 
 

 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 a! 
 SS 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
 ed , 
 
THE PRESENTATION IN THE TEMPLE. 
 
 Date assumed about 1654. 
 
 Bartscy, 50; Ciaussin, 54; Witson, 55; C. Bianc, 23; Mrpp.eron, 243; 
 Duturt, 55. 
 
 HERE is but one state of the plate. Impressions have sold in the 
 Schloesser sale, 1880, for 825 f; in the Duke of Buccleugh sale, 1887, 
 on Japan paper, for £42. 
 
 This plate is in the manzre noire or dark manner, and is one of the 
 important works of the master. In the earlier impressions there is so much 
 burr caused by the free use of the dry-point, that many of the figures can 
 hardly be distinguished. The shadows are soft and velvety, and the whole 
 composition is full of grandeur and mystery. The lines are coarse without 
 being heavy, and they are laid in with so much power and _ intelligence that 
 they suggest the splendor of the robes, the jewels, and the crosier as precisely 
 as if everything was minutely expressed in color. The figure of the High 
 Priest is one of the most imposing of all the creations of Rembrandt. The 
 more one examines this engraving the more beauties he will discern in it, and 
 
 the more he will be sensible of its power. 
 
 
 
Ix 
 
 
 
 JESUS CHRIST PREACHING. Cauen LA PETITE 
 TOMBE. 
 
 ——— ee eee ———— 
 
 
 

 
 
 
 
 
Yj LJ HY Yi i ase 
 ZO j 7 y 
 
 a 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
JESUS CHRIST PREACHING. Caren LA PETITE 
 TOMBE. 
 
 Date assumed 1652. 
 
 Bartscu, 67; Cxiaussin, 71; Witson, 71; C. Branc, 39; MipDLETON, 229; 
 Dutuit, 71. 
 
 HERE are two states of the plate. Prints have been sold in the Gali- 
 chon sale, 1875, for 31100f; in the Duke of Buccleugh sale, 1887, 
 for £31. 
 
 The plate became the property of Pierre Norblin, who greatly retouched 
 it. After Norblin’s death in 1830, it was sold to Mr. Colnaghi, of London. 
 
 The print is commonly called “La Petite Tombe,” but for what reason is 
 not positively known. It may be from the stone, resembling a tomb, on 
 which the Saviour stands. An old tradition, however, connects it with one 
 “Ja Tombe,” a dealer in works of art, who had A shop on the Vijendam in 
 Amsterdam, at the sign of the “ French Bible.” He had some relations with 
 Rembrandt, for we know that among the effects of the artist at the time of 
 his bankruptcy were two pictures, one by Giorgione, the other by Palma Vec- 
 chio, in which la Tombe had an interest. He also owned the copper and was 
 the publisher of this and other prints, and hence perhaps the name. 
 
 The piece is finely composed and executed, the lights are harmoniously 
 distributed, although unusual difficulties are presented by the introduction of the 
 open door in the rear of the centre of the picture. The earnest attention 
 paid by the outsiders to the words of the Saviour is well indicated, each of 
 the faces being a study by itself. The figure of Christ is neither beautiful nor 
 dignified, but it is full of sympathy and holiness, clearly and simply expressed. 
 
 
 
 
 

 
 
 
 
 
 
 
CHRIST HEALING THE SICK. Caren rus HUNDRED 
 CGAUIDLIDIEIR IPIUBCIE, 
 
 an 5 —— — a ——___——___—__— 
 
 
 
 
 

 
 
 
 
 
 
 

 

 
 
 
 
 
 i 
 
 ! 
 Piha 
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 f Hie 
 
 } 
 
 t 
 
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 HW t 
 
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 rs 
 
 
 
 toca aaa SS SEES =3 rN 
 
 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
CHRIST HEALING THE SICK. Catien mus HUNDRED 
 GUILDER PIECE. 
 
 Date assumed 1649. 
 
 Bartscu, 74; Ciaussin, 78; Wutson, 78; C. BLanc, 49; MrippLeTon, 224; 
 Dutuit, 77. 
 
 HERE are only two veal states of this plate, although some writers enu- 
 merate five. After the second state, Captain William Baillie, a retired 
 officer of the 17th Light Dragoons, purchased the plate in Holland. This 
 gentleman was a connoisseur and an amateur engraver of remarkable talent, es- 
 pecially noted for his imitations of Rembrandt's prints and drawings. By him 
 this plate was entirely reworked, and with such skill and _ intelligence that 
 the impressions taken under his editorship are designated as third states. They 
 have even passed occasionally as second states, and sold for a high price. 
 After having served Captain Baillie’s purposes the copper was destroyed by cut- 
 ting it in four pieces. A few impressions were taken of the separate fragments, 
 and these constitute what is called the fourth state. 
 The second state is not rare, but of the first only nine impressions exist. 
 
 
 
 These have pedigrees that have been jealously preserved, by which their history 
 can be traced for one, and even two centuries, with as much accuracy as the 
 title to a peerage. Six of them are in public collections, from which they can 
 never emerge. Amsterdam and London have each two. Vienna and Paris have 
 specimens. The only prints of this state in private hands are those belonging 
 to R. S. Holford, Esq.; M. E. Dutuit; and that which was sold in the sale 
 of the Duke of Buccleugh in 1887, for £1300, the highest price that was 
 
 
 
 
 
 ever paid for an engraving in all the history of art. 
 
 The print belonging to M. Dutuit was born in the purple, and it has 
 descended through the noblest line of collectors to the present day. It be- 
 longed at first to Zoomer, the friend of Rembrandt, who doubtless had it 
 from the artist himself. It was owned successively by Zanetti, the celebrated 
 engraver; by Baron Denon, whose heirs sold it to Mr. Woodburn; by Wilson, 
 author of the Catalogue of the Etchings of Rembrandt, and by Baron Verstolk, 
 at whose sale in 1847 it was purchased by Mr. Smith, the well-known dealer 
 in prints, for £140. At the sale of Mr. Price, in 1867, it fell to Mr. Palmer, 
 for the great sum of £1180. When Mr. Palmer's collection was dispersed the 
 
 
 
 following year, M. Dutuit bore off the prize at £1100. 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 It is interesting to trace the steady increase in the prices paid for this 
 
 print at the different sales in which it has appeared. It sold in the 
 
 
 
 Burgy Sale, 1755..-------.--+- Ay Rolen@arewselSo5eteeeeerert ee LOS 
 ohne Barnard yao Stiri t tert osn tO Igor UV cooocnvanodnscou ao ARs 
 George Hibbert, 1809 Hie, Gy leh oles We) vac 1180 
 Webhoiss 18t47. oe LO? Ralimer 1S OCP mentite rs ee 1100 
 AVrerstolle sr SAV a ras ef citessrelsts store 140 Buccleugh, GS87 ewes le teete 1300 
 
 Johnson, 1860.......-.-..-... 160 
 
 Candor requires us to admit that the high prices in some of these sales 
 were paid, not because of the superior excellence of the prints, but because of 
 their rarity. The changes made after the first state were slight, and they were 
 presumably considered by the artist to be improvements, but whether or not 
 he succeeded according to his desire is a point on which critics are not 
 agreed, some insisting that the second state is the best condition of the plate. 
 
 This has always been considered the last expression of the engraver’s art. 
 Elsewhere in Rembrandt’s works we may find as much delicacy of touch, 
 chiaroscuro, masterly arrangement of draperies, skill in drawing, but nowhere 
 do we find all these qualities so admirably combined in a single work. For 
 unity of composition, for skill in massing a great number of figures without 
 confusion, for impressiveness, power, majesty and sublimity, this piece has no 
 rival. It is also one of the largest of. Rembrandt’s etchings, and it carries 
 with it a momentum proportioned to its size. It was executed in the middle 
 period of the artist's career, when he was in the full maturity of his powers, 
 and when he had command of all the resources and mysteries of his art. 
 
 The origin of the name, the Hundred Guzlder Piece, by which the print 
 is popularly known, has never been satisfactorily settled. There is a tradition 
 that the print was sold by Rembrandt for that sum, which is doubtful. Bartsch 
 informs us that he had heard a story that a dealer in prints having offered 
 Rembrandt some engravings by Marc Antonio, which he valued at 100 guilders, 
 finally accepted this print as an equivalent. 
 
 
 
 The value of the florin or guilder was about forty cents; but its pur- 
 chasing power at that time is estimated at four times that sum. One hun- 
 dred guilders was therefore equivalent to one hundred and sixty dollars, or 
 eight hundred francs in money of the present day. 
 
 
 
Xi 
 
 JESUS AND THE SAMARITAN WOMAN. Tue Axcuep 
 
 PLATE, 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
JESUS AND THE SAMARITAN WOMAN. Tue Arcuep 
 
 PLATE. 
 
 Signed and dated 1658. 
 
 Bartscu, 70; Craussin, 74; Wutson, 74; C. Branc, 45; MIppLeTon, 253; 
 Dutuit, 73. 
 
 HERE are two or perhaps three states of the plate. An impression sold 
 in the Didot sale, 1877, for 451f.; a second state in the Duke of Buc- 
 cleugh sale, 1887, for £20. 
 
 The copper is still in existence and prints have been made from it in 
 recent years. 
 
 Some of the proofs are so printed as to appear to be in mezzotint, and it 
 is due to the use of this method, here and elsewhere, that Rembrandt has been 
 thought by some to have invented that process of engraving. But this effect 
 is produced simply by an artifice in printing. 
 
 The figure of the woman is full of grace and dignity. It is by far the 
 finer and more attractive of the two. The buildings are massive and the 
 material of which they are constructed is unmistakably indicated. 
 
 
 

 
 
 
 
 
XII 
 
 THE GOOD SAMARITAN. 
 
 
 

 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
THE GOOD SAMARITAN. 
 Signed and dated 1633. 
 
 Bartscu, 90-; Ciaussin, 74; Witson, 95; C. Buanc, 41; Mippieton, 185 ; 
 Dututr, 75. 
 
 HERE are five states of the plate. In the sale of the Duke of Buc- 
 cleugh, 1887, a first state, which had been sold in the Debois sale, 1844, 
 for 1800 f,, was resold for £60. , 
 
 The composition is apparently borrowed from a picture of the same subject 
 by Jan Van de Velde. Mr. Seymour Haden expresses a doubt if the work 
 is really by Rembrandt, but his doubt is not shared by other critics, who, 
 however, are willing to admit that the plate is not one of the most successful 
 of the artist’s efforts What should be decisive as to the authorship is the 
 fact that it was signed and published by Rembrandt and passed for his in 
 his lifetime. Even if he was not the author, he assumed the responsibility 
 of it by giving it his name, for as M. Charles Blanc pithily says, “the flag 
 covers the cargo.” At all events, the observer who is not too critical will 
 find much to admire. The tone is pleasing, the drawing good, and the land- 
 scape well rendered. Certainly nothing can surpass the simple and life-like 
 figures of the Samaritan and the innkeeper who engage in animated conver- 
 sation at the door of the hostelry. The scene is homely and the actors plain, 
 as befits the subject, but the story is concisely and agreeably told, and, in spite 
 of its faults, the piece has been celebrated from the time of Rembrandt to the 
 present day. 
 
 Sir Richard Wallace has an identical picture in oil, without the dog, and 
 there are two drawings of the subject, one in the British Museum, the other 
 
 in the Museum of Rotterdam. 
 
 
 

 
 
 
 
 
 
 
XIII 
 
 THE PRODIGAL SON’S RETURN. 
 
 
 

 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 Er ip Tee Se 
 
 y 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 
 
 
 
 
THE PRODIGAL SON’S RETURN. 
 
 Signed and dated 1636. 
 
 BarTScH, 91; CLaussIn, 95; WuLson, 96; C. Bianc, 43; MIppLerTon, 201 ; 
 Dutuit, 76. 
 
 NLY one state of the plate is known. Impressions have sold in the 
 Galichon sale, 1875, for 1cof.; Liphart sale, 1876, 312f.; Didot sale, 
 
 1877, 115 f.; Duke of Buccleugh sale, 1887, £9 tos. 
 The two principal figures are admirably treated and they abound in sen- 
 timent and pathos. The grouping is masterly, the drawing is careful, round and 
 free, the drapery is bold in outline, and the whole composition is dignified and 
 
 graceful. 
 
 
 

 
 
 
 
 
 
 
XIV 
 
 THE DISCIPLES AT EMMAUS. 
 
 
 
Mo 
 \\ 
 
 ZS 
 
 aaa \) 
 LEZ ZZ IZLE 
 
 ZEA 
 
 aa 
 
 Z 
 
 
 
 ZZ 
 
 
 
 ———— 
 SSS 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
 

 
 THE DISCIPLES AT EMMAUS. 
 Szgned and dated 1654. 
 
 Bartscu, 87; Ciaussin, 91; WILson, 92; C. BLANc, 63; MIDDLETON, 237; 
 Dutuit, 94. 
 
 “THERE are two states of the plate. Specimens of the first state sold in 
 
 the Liphart sale, 1876, for 500 f.; Didot sale, 1877, 250 f.; Schloesser 
 sale, 1880, 450 f. In the Duke of Buccleugh sale, 1887, were two impressions: 
 a_ first state sold for £14 7s. 6d.; a second state for £6 ros. 
 
 This subject has been often treated by Rembrandt. There are two etch- 
 ings, of which the present is the larger one. An oil painting is in the Louvre, 
 and another in the gallery at Copenhagen. All these are different in com- 
 position, There are also three or four drawings; in one of the most remark- 
 able of them we see only two figures and the vacant chair from which our 
 Lord has just disappeared, leaving the disciples stupefied with amazement. This 
 composition is finely engraved in Houbraken’s (Amold) “De Groote Schonburgh 
 der Nederlamtsche Konstschilders en Schilderessen.” S’Gravenhaghe, 1753, vol. i, 
 
 p- 258. 
 
 i 
 
 
 

 
 
 
 
 
 
 
 
 
 
 

 
 XV 
 
 THE BAPTISM OF THE EUNUCH. 
 
 
 

 
 
 
 
 
 ——= Oa = = - 
 = —— Terra rene 
 
 
 

 
 
 
 SS 
 
 
 
 
 
 
 
 | 
 fh 
 i 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
THE BAPTISM OF THE EUNUCH. 
 Signed and dated 1641. 
 
 Bartscu, 98; Ciaussin, 101; WILSON, 103; C. Buanc, 69; MIDDLETON, 210; 
 DuruiT, 101. 
 
 HERE are two states of the plate. A first state sold in the Galichon 
 sale, 1875, for 345 f.; second states sold in the Didot sale, 1877, for 
 sof; Duke of Buccleugh sale, 1887, for £3 58. 
 A truly Oriental scene as to the figures, costumes and accessories. The 
 plate is lightly etched and yet completely finished. Observe in the foreground 
 and in the foliage how much a few strokes are made to suggest rather than 
 
 to express. 
 
 
 

 
 
 
 
 
XVI 
 
 SAINT JEROME. 
 
 
 

 
 
 

 
 
 
 
 
 
 

 
SAINT JEROME. 
 Executed about 1653. 
 
 BartscH, 104; CLaussIn, 107; Witson, 109; C. Bianc, 75; MIDDLETON, 234; 
 Dutuit, 107. 
 
 HERE are two states of the plate. Impressions of the first state sold in the 
 Debois sale, 1843, for 905 f.; Galichon sale, 1875, 2605 f; Didot sale, 1877, 
 2100 f.; Duke of Buccleugh sale, 1887, 4124. Impressions of the second state 
 sold in the Liphart sale, 1876, 626f; Duke of Buccleugh sale, 1887; £16. 
 This plate was left unfinished, but what we are able to recognize of his 
 work makes us regret that the artist was interrupted before his task was 
 finished. The conception is bold and spirited, but some critics profess to doubt 
 if Rembrandt did much except to lay in the figure of the saint, and the lion 
 where the dry-point was liberally used. The method is different from that 
 the artist usually employed, and the plate is sometimes called “St. Jerome in 
 
 the style of Albert Diirer.” 
 
 
 
 
 

 
XVII 
 
 YOUTH SURPRISED BY DEATH. 
 
 
 

 

 
 
 

 
 
 
 
 
 
 
YOUTH SURPRISED BY DEATH. 
 Stgned and dated 1639. 
 
 BarTscuH, 109; Curaussin, 111; WiLson, 113; C. BLANc, 79; MIDDLETON, 265 ; 
 Dutuit, 110. 
 
 HERE is but one state of the plate, and impressions are somewhat rare. 
 They were sold in the Didot sale, 1877, for 390 f; Schloesser sale, 1880, 
 187f.; Duke of Buccleugh sale, 1887, £9 10s. 
 
 This is a charming little piece, full of feeling and delicate in execution, 
 especially the head of the woman. The whole figure of the man is carefully 
 studied in every part, and it has no superior in all Rembrandt's works for 
 elegance and grace, qualities in which the artist was not pre-eminent. 
 
 It was executed the year after death had invaded, perhaps for the first time, 
 the household of the artist and had. borne away his second daughter, Cornelia. 
 It may be that this is a memorial of that sorrow, for there is much in the 
 t 
 
 costumes of the two persons represented to recall the portraits of Rembrand 
 and Saskia as we see them in the prints Nos. 19 and 20 in this volume. 
 
 
 
 The subject was doubtless suggested by Holbein’s “Dance of Death,” for 
 we know that Rembrandt had prints of that artist in his possession. 
 
 
 
 
 
 
 

 
 
 
 
 
XVIII 
 
 MEDEA, OR THE MARRIAGE OF JASON AND CREUSA. 
 
 
 

 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 
 
 
 
 
 pciahanasaibacen ees Na csienets cis. ae aati oat 
 
MEDEA, OR THE MARRIAGE OF JASON AND CREUSA. 
 Signed and dated 1648. 
 
 Bartscu, 112; Cxaussin, 114; Witson, 116; C. Bianc, 82; Mippieron, 286; 
 Durum errs) 
 
 HERE are five states of the plate. Prints of the first state sold in the 
 Didot sale, 1877, for 720 f.; Schloesser sale, 1880, 762 f. 50c.; Duke of 
 Buccleugh sale, 1887, £32; a fourth state sold in the Didot sale for 60 f. 
 
 Jason and Creusa are seen in the centre kneeling at the smoking altar 
 before the High Priest who pronounces the nuptial benediction. The slighted 
 Medea stealthily approaches the steps, meditating vengeance. Beneath the 
 canopy on the right is the statue of Juno accompanied by her emblem, the 
 peacock. 
 
 The plate was etched as an illustration for the tragedy of “ Medea,” written 
 by Jan Six, the friend of Rembrandt, and published at Amsterdam the year 
 in which the print is dated. 
 
 In the first and second states of the plate, Juno wears a cap, which in 
 the third and subsequent states was replaced by a crown. The difference was 
 noted as early as Houbraken’s day, for he says, “such was the passion of 
 collectors that those who did not possess the little Juno with and without a 
 
 crown, etc, were not counted among real curzosos.” 
 
 
 

 
 
 
 
 
XIX 
 
 THE TRAVELLING MUSICIANS. 
 
 eee 
 
 
 

 
 
 
 
 

 
 
 
THE TRAVELLING MUSICIANS. 
 
 Date assumed 1635. 
 
 BarTScH, 119; CLAUSSIN, 121; WuLson, 123; C. BLanc, 90; MIDDLETON, 263; 
 Duruit, 120. 
 
 HERE are two states of the plate. Impressions sold in the Didot sale, 
 1877, for 36f; Duke of Buccleugh sale, 1887, 41 5s. 
 
 This cannot be considered one of Rembrandt's successes. Some critics 
 have even gone so far as to question if he had any hand in the work, but 
 it has been included in every list of his etchings, and we know not to whom 
 it can be ascribed if not to him. Although the execution is coarse, yet the 
 scene is animated and the figures natural and life-like. 
 
 
 

 
 
 
 
 
 
 
XX 
 
 ASUS, TRAVIPSIIULILIS IR, 
 
 
 
 
 

 
 
 
 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
TRUS, IU SIIUL IEE 18. 
 
 Signed and dated 1632. 
 
 BartTscu, 121 ; CLAussINn, 123 ; Witson, 125; C. BLanc, 95; MIDDLETON, 261; 
 Durtuit, 122. 
 
 HERE are two states of the plate. The first state is rare; the second 
 sold in the Didot sale, 1877, for 810 f.; Duke of Buccleugh sale, 1887, £14. 
 A country wayside incident, which appears to have been popular with the 
 Dutch artists of the period. It has been treated by Van Vliet, Visscher, 
 Dietrich, Renesse and others, each in his way, but Rembrandt has made the 
 subject his own. The tone is agreeable, the accessories well chosen, and the 
 costumes carefully rendered. The foliage is treated in a peculiar manner, and 
 the results have been pleasing and successful. 
 There is another print by Rembrandt of this subject, but much inferior to 
 
 the present one 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
XXI 
 
 Zz 
 < 
 = 
 O 
 = 
 2 
 < 
 < 
 O 
 Z 
 < 
 Ay 
 2 
 a 
 & 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 se as ex. toes ae 
 — xe a el anisichinns 
 z 2 — — ae = 
 ———— A oS ER ——— Sa 
 

 
 
 
 
 
 
 
 
 
THE PANCAKE WOMAN. 
 Stgned and dated 1635. 
 
 Bartscu, 124; CLAussIN, 126; Witson, 128; C. Bianc, 93; Mrppieron, 264; 
 Dururt, 125. 
 
 HERE are four states of this plate. The second state sold in the Gali- 
 
 chon sale, 1875, for 250f.; Duke of Buccleugh sale, 1887, £5 5s. 
 
 A characteristic street scene, in which we see no less than eleven figures, 
 if we include the cat and dog, brought into the compass of a child’s hand. 
 The different characters and emotions are well expressed in the faces of the 
 various persons grouped around the central figure. 
 
 The same subject has been engraved by Visscher, but the treatment is 
 
 in quite a different manner. 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
XXII 
 
 Pi SPER STAN: 
 
 ™ ———— 
 
 
 

 
 
 
 
 
 
 
 La =~ si a 
 en SSS a Sa ee ee a 
 == A a — A — — NO CN 7 ~ 
 

 
 
 
 
 
THE PERSIAN: 
 Signed and dated 1632. 
 
 BartTscu, 152; CLaussIN, 149; WILSON, 150; C. Branc, 105; MippLeTon, 91; 
 Dortuit, 148. 
 
 HERE are two states of the plate. Impressions of the second state sold 
 in the Didot sale, 1877, for 140 f.; Schloesser sale, 1880, 888 f.; Duke’ of 
 Buccleugh sale, 1887, £4. 
 
 An early work, but delicate and careful. The costume is elaborate and 
 laboriously executed; the face, on the other hand, is dashed off with a few 
 masterly strokes, and yet it is complete and very expressive. 
 
 The later impressions show the labors of the successive owners of the 
 copper, who have vainly endeavored to restore the ravages that time and hard 
 
 usage have made in it. 
 
 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
XXIII 
 
 TAREE BEGGARS TAL THE sDOORZOR VAS HOUSE, 
 
 
 
 
 

 
 
 
 
 
 
 

 
 
 
 
 
 
 
THREE BEGGARS AT THE DOOR OF A HOUSE. 
 
 Signed and dated 1648. 
 
 Bartscu, 176; Ciaussin, 173; Witson, 173; C. Bianc, 146; Mippeton, 287 ; 
 Dutuit, 172. 
 
 HERE are three states of the plate. The first state sold in the Galichon 
 sale, 1875, for 7oo ff; Didot sale, 1877, 830f.; Duke of Buccleugh sale, 
 1887, £29. 
 
 It would be difficult to find in all Rembrandt’s works a more delicate 
 and beautiful etching than this. The tone is bright, clear and harmonious, 
 the faces characteristic, and the hands admirably modelled. In the darker parts 
 the dry-point- has been freely used, producing strong contrasts with the lighter 
 portions of the work. 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
XXIV 
 
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SIS BRIDGE: 
 Signed and dated 1645. 
 
 BartscH, 208 ; CLAussIN, 205; WILson, 205; C. BLanc, 311; MIDDLETON, 313; 
 DurtuIt, 205. 
 
 HERE are three states of the plate. The third state sold in the Didot 
 sale, 1877, for 280f.; Schloesser sale, 1880, 1125 f.; a second sold in 
 the Duke of Buccleugh sale, 1887, for £35. 
 
 The view is taken, it is said, at Elsbroek, the country-seat of John Six, 
 of whose friendship for the artist we have already spoken. The tower seen in 
 the distance between the trees marks the village of Hillegom. 
 
 The print sometimes goes by the name of “The Mustard-Pot,” in allu- 
 sion to the following apocryphal story told by Gersaint : 
 
 “Rembrandt used to visit his friend the burgomaster at his country 
 house, and one day, dinner being served, behold there was no mustard! The 
 burgomaster sent his servant into the village to get some, and Rembrandt 
 made a bet that before the mustard was placed on the table he would etch 
 a plate. He etched this scene, which was visible from the dining-room 
 window.” 
 
 The execution of the plate is so slight and rapid, but pleasing withal 
 that the story is not incredible, though hardly probable. 
 
 = eee 
 
 
 

 
 
 
 
 
XXV 
 
 VIEW OF AMSTERDAM. 
 
 
 

 
 
 
 
 

 
 
 
 
 
VIEW OF AMSTERDAM. 
 Date assumed 1640. 
 
 Barrscu, 210; CLausstn, 207; WILSON, 207 ; C. Bianc, 313; MIppLeTon, 304; 
 Duturt, 207. 
 
 ba have sold in the Liphart sale, 1876, for 325 f.; Didot sale, 1877 
 zoo f.; Duke of Buccleugh sale, 1887, 415. 
 
 little in the scenery itself to make us pause, but the masterly 
 flat and monot- 
 
 There is 
 treatment of the subject by the artist throws a charm over a 
 
 onous landscape. The execution is remarkably fine and delicate. 
 
 
 
 
 
 
 

 
XXVI 
 
 WisUs, INSURIEIS, ARIS, 
 
 
 

 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 
 
 
AMSUE, IMSURIOIS, AIRISIES,. 
 Signed and dated 1643. 
 
 Bartscu, 212; CLaussin, 209; WILSON, 209; C. BLaNnc, 315 ; MIDDLETON, 309 ; 
 Dururt, 209. 
 
 HERE is but one state of the plate. Prints have sold in the sale of 
 Count Harrach, 1867, for 2080 f; Liphart sale, 1876, 4062 f.; Didot 
 sale, 1877, 2000 f.; Duke of Buccleugh sale, 1887, £16 5s. 
 
 The scene itself is nothing. There is little to catch the eye except three 
 trees, not over-shapely, standing formally in line on a slight embankment, but 
 the black, mysterious clouds drifting over the plain, the contrast with the bit 
 of bright sky on the right, the vast depth of the horizon, inspire one with a 
 profound admiration for an artist who could produce so great effects with 
 such scanty material. Of all Rembrandt's landscapes this is the crown jewel. 
 He has here displayed in the fullest manner all the resources of his wonder- 
 
 ful genius, 
 
 
 

 
XXVII 
 
 THE THREE COTTAGES. 
 
 
 

 
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 SER 
 = 
 Sone 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 i it 
 
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 Se 
 
 
 
 
 

 
 
 
DELVE EC Ome AGES: 
 Signed and dated 1650. 
 
 Bartscu, 217; Ciaussin, 214; Witson, 214; C. Bianc, 318; MIDDLETON, 325; 
 Dutuit, 214. 
 
 HERE are three states of the plate. A first state sold in the Debois sale, 
 1843, for 1700 f.; second states in Verstolk sale, 1847, 421 f.; Duke of 
 Buccleugh sale, 1887, £275; a third state in Galichon sale, 1875, rooo f. 
 This is in respect of technique not inferior to “The Three Trees.” It 
 makes up in picturesque effect what it lacks in solemn grandeur. The dry- 
 point has been largely employed. 
 
 
 

 
XXVIII 
 
 A COTTAGE WITH WHITE 
 
 BALES: 
 
 
 
 
 

 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
A COTTAGE WITH WHITE PALES. 
 
 Signed and dated 1642. 
 
 Bartscu, 232; CLAussIN, 229; WILSON, 229; C. BLanc, 332; MIDDLETON, 308; 
 Dutuit, 229. 
 
 HERE are two states of the plate. A first state sold in the Duke of 
 Buccleugh sale, 1887, for £100; second states sold in the Galichon sale 
 1875, for 600 f.; Didot sale, 1877, 550f 
 We have here one of the best of the artist's landscapes. It is fine and 
 delicate in execution, the water is clear and limpid, the foliage well expressed, 
 and the distant scenery carefully treated, 
 
 
 
 
 

 
 
 
 
 
 
 
 
 

 
 XXIX 
 
 LANDSCAPE WITH A COTTAGE AND BARN. 
 
 
 
 
 
 
 

 
 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
LANDSCAPE WITH A COTTAGE AND BARN. 
 Signed and dated 1641. 
 
 Barrscu, 225; CLaussin, 222; Witson, 222; C. Branc, 327; MippLeron, 306 ; 
 Dutult, 222. 
 
 NLY one state of the plate is known. Impressions have been sold in the 
 
 Debois sale, 1844, for 272 f.; WVerstolk sale, 1847, 262 f, 50 c.; Galichon 
 
 sale, 1875, 1511 f.; Didot sale, 1877, 1420 f.; Duke of Buccleugh sale, 1887, 
 475: 
 
 A massive, solid piece of work. The cottage stands out like a mountain 
 
 against the clear sky. 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
XXX 
 
 REMBRANDT’S MILL. 
 
 
 

 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
REMBRANDT’S MILL. 
 Stgned and dated 1641. 
 
 BarTscu, 233 ; CLaussin, 230; Witson, 230; C. Banc, 333 ; MIDDLETON, 305 ; 
 Duruit, 230. 
 
 HERE is but one state of the plate. Impressions have been sold in the 
 Galichon sale, 1875, for 630 f.; Didot sale, 1877, 410 f; Duke of Buccleugh 
 sale, 1887, £26. : 
 
 The original mill depicted in this print is supposed to have stood at 
 Carwijk op der Riju. Although the etching is called “Rembrandt's Mill,” it 
 must not be supposed to represent the mythical mill in which the artist was 
 said to have been born. That legend long ago received its quietus, as we 
 
 have already stated. 
 
 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 

 
 
 
 
 
 XXXI 
 
 CORNELIS CLAESZ. ANSLOO. 
 
 
 
 
 

 
 
 
 
 
CORNELIS CLAESZ. ANSLOO. 
 Signed and dated 1641. 
 
 Bartscu, 271 ; CLAussin, 268 ; Wixson, 273; C. BLanc, 170; Mipprzron, 146; 
 Dutuit, 254. 
 
 HERE are four states of the plate. In the Duke of Buccleugh sale, 
 1887, a first state sold for £200. Second states brought in the Gali- 
 chon sale, 1875, goof; Liphart sale, 1876, 1625 f.; Didot sale, 1877, 1oro f. 
 
 The plate still exists in England. 
 
 Cornelis Claeszoon Ansloo (not Renzer Ansloo, as he is sometimes called) 
 was a Mennonite minister at Amsterdam, and may have been a first or second 
 cousin of Rembrandt, whose aunt Maritje married Pieter Claes. 
 
 In the sale of M. E. Galichon was the original drawing for this etching, 
 done in red chalk, and still bearing along the principal lines marks showing 
 that from it a tracing had been made on the prepared copper for the purpose 
 of etching. The drawing was sold for 7300f, and it is now in the British 
 Museum. A facsimile engraving is given in the Gazette des Beaux Arts, 
 Vol XX ip: 234) 
 
 Lord Ashburnham had a portrait in oil of Ansloo and his wife on one 
 canvas. It was offered in his sale in 1850 and withdrawn at £4200. 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
XXXII 
 
 EPHRAIM BONUS. 
 
 
 

 
 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
EPHRAIM BONUS. 
 Stgned and dated 1647. 
 
 Bartscu, 278 ; CLaussin, 275 ; Witson, 280; C. Buanc, 172; Mippieton, 158; 
 Dutuir, 256. 
 
 i Riper: are two states of the plate, but of the first only three impressions 
 are known. Prints of the second state have sold in the Didot sale, 1877, 
 for 1550 f.; Duke of Buccleugh sale, 1887, A120. 
 
 This is one of the most famous and most coveted of all the etchings by 
 Rembrandt. Nothing can surpass it for strength of expression, for chiaroscuro, 
 and for masterly effect. 
 
 Ephraim Bonus was a Portuguese Jew who established himself as a phy- 
 sician at Amsterdam, where in 1651 he obtained the rights of a burgher. 
 
 A portrait of Bonus in oil (probably the original after which this etching 
 was made) is still in the collection of the Six family at Amsterdam. 
 
 
 
 
 
 
 
 
 
XXXIII 
 
 
 
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DOCTOR FAU 
 
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 Date assumed about 1650. 
 
 Bartscu, 270; Cuaussin, 267; Witson, 272; C. Bianc, 84; MippLeTon, 291 ; 
 
 Duturt, 259. 
 
 HERE are three states of the plate. Fi 
 chon sale, 1875, for 850f.; Didot sale, 
 sale, 1887, £55. 
 The plate formerly belonged to Basan and 
 of careless or uninstructed amateurs. 
 This can hardly be considered a_ portrait, 
 
 rst states have sold in the Gali- 
 1877, 240 f.; Duke of Buccleugh 
 
 it still exists, to the confusion 
 
 although it has the air of one, 
 
 so faithfully has the artist preserved the features of the model who served 
 
 him. The Doctor is intently observing a s 
 
 trange vision of a luminous in- 
 
 scribed circle, to which his attention is directed by a shadowy hand beneath. 
 
 The weird story of Doctor Faustus has 
 
 for ages been a favorite theme 
 
 of German tradition and romance. It is so well known that it is not neces- 
 
 
 
 sary to repeat the legend here, but those w 
 account of the origin and progress of the leg 
 sentatives of the type—Theophrastus Paracelsu 
 
 no choose may find a scholarly 
 end, and of the historical repre- 
 s and Cornelius Agrippa—in an 
 
 article by G. Belfont Bar, published in Macmzllan's Magazine for April, 1888, 
 
 pp. 428-4309. 
 
 
 

 
 
 
 
 
 
 

 
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ABRAHAM FRANSZ. 
 
 Date assumed 1655. 
 
 Bartscu, 273 ; CLaussin, 270; Wirson, 275; C. BLANc, 176; MippDLETON, 172; 
 Dutuit, 260. 
 
 IGHT or ten states of this plate are described; of the first three it is 
 
 said that only one impression of each state is in existence. The first 
 
 and second are in the British Museum, the third in the Museum at Amster- 
 
 dam. A fourth state brought 199 f. in the Verstolk sale, 1847. An eighth 
 
 ate sold for 130f. in the Didot sale, 1877. In the Duke of Buccleugh sale, 
 1887, a print described as the second state sold for £510. 
 
 Si 
 
 
 
 The changes that were made in the plate during the process of engraving 
 were numerous and important, and of great interest to the amateur. Among 
 them were the introduction of a curtain above the head of Fransz, a com- 
 plete alteration in the pose of the figure, the substitution of an armchair for 
 a stool, etc. It is evident that in this work Rembrandt was not at his best, 
 and that he used extensively the dry-point to make up for the lack of vigor 
 and firmness in the drawing. The plate was executed during the period of 
 the financial troubles that bent if they did not break the spirit of the artist. 
 
 Fransz was an amateur and dealer in objects of art, and evidently a 
 friend of the artist, since we find that in 1665 he signed the petition of Titus 
 when the son of Rembrandt applied to be made a burgher of the city of 
 Amsterdam, 
 
 
 
 
 
 
 
 
 

 
 
 
 
 

 
 XXXV 
 
 
 
 Known as OLD HARING. 
 
 JACOB HARING. 
 

 
 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
JACOB HARING, Known ss OLD HARING. 
 
 Date assumed 1665. 
 
 BartTscu, 274; CLaussIN, 271; Witson, 276; C. Banc, 178; MIppLETon, 168 ; 
 Dutult, 261. 
 
 HREE states of the plate are described. Impressions sold in the Didot sale, 
 1877, for 2900 f.; in the Duke of Buccleugh sale, 1887, were two speci- 
 mens which sold for £70 and £26 respectively. 
 The elder Haring was Concierge or Auctioneer of the Insolvent Court, 
 with whom Rembrandt came in contact when financial distress brought him 
 before that tribunal, 
 
 
 
XXXVI 
 
 THOMAS JACOBSZ HARING. Kxown ss YOUNG HARING. 
 
 
 

 
 
 
 
 
 
 
 
 
 
 

 
 
 
THOMAS JACOBSZ HARING. kKrowy as YOUNG HARING. 
 Stgned and dated 1655. 
 
 Bartscu, 275; Ciaussin, 272; Witson, 277; C. Bianc, 179; MIDDLETON, 169; 
 Dutuit, 262. 
 
 F this plate five states are known; in the last the plate has been cut 
 
 in an oval form. Proofs of the first state sold in the Verstolk sale, 
 
 1847, for 672 f.; Duke of Buccleugh sale, 1887, £105. This last impression 
 is now in New York. 
 
 The sad-faced, melancholy man whom we see here was son of Old Har- 
 mg and succeeded to the office which his father held as Concierge of the 
 Insolvent Court. 
 
 These two rank among the best of Rembrandt’s portraits, 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 
 
 
 
 
 = Se : 
 
 
 

 
 
 
 XXXVII 
 
 
 
 CLEMENT DE JONGHE. 
 
 
 
 
 
 
 
 
 

 
 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
CLEMENT DE JONGHE. 
 Signed and dated 1651. 
 
 Bartscu, 272; CLaussiNn, 269; Witson, 274; C. BLanc, 180; MIDDLETON, 164; 
 Dutuit, 262. 
 
 HERE are six states of the plate. Impressions of the first state sold in 
 the. Galichon sale, 1875, for 250f; Didot sale, 1877, 520 f.; Duke of 
 Buccleugh sale, 1887, £38. 
 
 This is considered by amateurs as one of the very best plates of its class. 
 The arrangement is happy, the effect pleasing, the pose natural, the drapery 
 boldly and simply drawn. 
 
 De Jonghe was a celebrated engraver and also a dealer in prints, having 
 a shop in the Calverstraat, at Amsterdam. His name is often seen on en- 
 gravings of the period. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 XXXVIII 
 
 
 
 JAN ANTONIDES VAN DER LINDEN. 
 
 
 
 
 
 
 
 
 

 
 
 
JAN ANTONIDES VAN DER LINDEN. 
 Date assumed 1653. 
 
 Bartscu, 264; Craussin, 261; Wison, 266; C. Bianc, 181 ; MrppLeTon, 167; 
 Dururt, 264. 
 
 HERE are six states of the plate. Impressions of the first state sold in 
 
 the Verstolk sale, 1847, for 210f; Duke of Buccleugh sale, 1887, £80. 
 
 Van der Linden was an eminent physician practicing in Amsterdam, 
 
 where he was Inspector of the College of Medicine, and, later, Professor in 
 
 the University of Leyden. In the year 1653, when the plate is assumed to 
 
 have been executed, he was in Amsterdam supervising the printing of a work 
 
 on medicine, “Medicina Physiologica.” This beautiful and expressive portrait 
 
 represents him standing in a garden, an allusion, doubtless, to the interest he 
 
 took in the enlargement of the botanic garden at Franeker. An account of 
 him is given in Bayles’s “ Dictionary.” 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 XXXIX 
 
 JANUS LUTMA. 
 

 
 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
JANUS LUTMA. 
 Date 1656. 
 
 Bartscu, 276; Ciaussin, 273; Wison, 278; C. BLanc, 182; MIDDLETON, 171; 
 Dutuit, 265. 
 
 OUR states of the plate are known. First states sold in the Galichon 
 sale, 1875, for 3600 f.; Didot sale, 1877, 3900f; Duke of Buccleugh 
 Salem SS 7410s 
 
 We have here a strong and vigorous piece of portraiture. The massive 
 face is strongly marked, full of character and individuality. The texture of 
 the garments, the solidity of the wall, the strength of the wood, are differently 
 characterized. 
 
 Lutma was a distinguished engraver and goldsmith, as well as an amateur 
 and collector. Rembrandt shows him to us in these characters, for we see in 
 the right hand a statuette, and lying on the table a mallet and other objects 
 pertaining to his profession. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 
 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 XL 
 
 
 
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REMBRANDT WITH CAP AND FEATHER. 
 Date 1638. 
 
 Bartscu, 20; Craussin, 20; Witson, 20; C. Banc, 233; MrIppLeTon, 134; 
 
 DutulIrt, 20. 
 
 RINTS have sold in the Heimsoeth sale, 1877, for 335 f.; Didot sale, 
 1877, 205 f£.; Duke of Buccleugh sale, 1887, £8 10s. 
 
 The plate is still in existence, and has been used in recent years, Only. 
 one state is known. 
 
 We are here enabled to discover the taste the artist displayed in his 
 younger days for dress and finery. This print is carefully worked, and with 
 great minuteness and skill. We readily distinguish the different textures the 
 artist has desired to represent. The silk of his mantle, the linen of his 
 chemise, the velvet of his cap, the fur of the collar, are all distinctly charac- 
 terized, 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 XLI 
 
 
 
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REMBRANDT LEANING ON A STONE SILL. 
 
 Executed in 16309. 
 
 Bartscu, 21; Criaussin, 21; Witson, 21; C. Bianc, 234; Mippeton, 137; 
 
 Dutuit, 21. 
 
 HERE are two states of this plate. An impression sold in the Didot sale 
 
 for 5750 f.; Duke of Buccleugh sale, 1887, £135. 
 
 This is the most characteristic and pleasing of all Rembrandt’s portraits 
 of himself. The position is graceful, original, and unconstrained; the expres- 
 sion is agreeable and rendered to the life; the technique is admirable. We 
 see again, as in the previous print, the picturesque costume the artist affected 
 in his younger days, before the shadows came. The face expresses life, 
 decision, and character, the sharp eyes seem to look you through. As in the 
 previous plate, the textures of the garments are characteristically rendered. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 

 
 
 
 
 
 
 
 
 
 
 
 
 
 XLII 
 
 REMBRANDT DRAWING. 
 
 
 
 
 

 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 
REMBRANDT DRAWING, 
 Date 1648. 
 
 Bartscu, 22; Craussin, 22; Witson, 22; C. Bianc, 235; MIppLeTon, 160; 
 
 Dutuvit, 22. 
 
 HERE are seven states of this plate, some say ten. A second state 
 
 realized in the Didot sale 1000 f. A _ sixth state in the Duke of 
 
 Buccleugh sale brought £80. 
 We have here a portrait entirely different from the previous ones. A 
 
 dozen years have been full of experiences, most of them sad ones. Rem- 
 
 brandt has lost the wife of his youth and three of the children she bore to 
 
 We no longer see the flowing curls, the plumed cap, the jaunty air, 
 He has grown older than the 
 He has gained in flesh, and in 
 
 him. 
 the richly embroidered dress, and the jewels. 
 lapse of the years would appear to justify. 
 the finely modelled face we note that wrinkles have begun to show themselves. 
 
 In color and fineness this etching is a superb example. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 

 
 
 
 
 
 
 
 
 
 
 
 
 
 XLIII 
 
 OVAL. 
 
 REMBRANDT IN AN 
 
 
 
 
 

 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 | 
 a 
 
 
 

 

 
 REMBRANDT IN AN OVAL. 
 Date 1634. 
 
 Bartscu, 23; Ciaussin, 23; Wuson, 23; C. Bianc, 232; MrippLeTon, 111; 
 
 Dutuir, 23. 
 
 HERE are three states of this plate. In the first, the figure is seen to 
 the knees, and he holds with his left hand a sword, whence the plate is 
 sometimes called Rembrandt with a sword and aigrette. Only four impres- 
 sions of this state are known, of which the only one in private hands is that 
 belonging to Robert S. Holford, Esq. The specimen in the British Museum 
 was purchased at the Verstolk sale, 1847, for 3990 f, 50c. A second state 
 sold for £46 at the Duke of Buccleugh sale in 1887. 
 
 The more recent writers, while they do not deny that this plate is by 
 Rembrandt, generally agree in the opinion that the portrait does not represent 
 the artist himself, this doubt being founded on a want of resemblance, and 
 especially on the presence of a mole on the right cheek, which is not seen in 
 any other portrait of Rembrandt. The head bears a general resemblance to 
 that of the Prznce Adolphus of Gueldres in the noted picture of the Berlin 
 Gallery, where that personage, sometimes called Sampson, is represented as 
 menacing his father-in-law in prison. : 
 
 The costume is such as the artist may have drawn from the rich collec- 
 tion of studio properties which we know by his inventory that he possessed. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 

 
 
 
 
 
 
 
 
 
 
 
 XLIV 
 
 THE BURGOMASTER JAN SIX. 
 
 
 

 
 = — a = poe or 
 SS —— er a — my 
 

 
 
 
 
 
 
 
 
 
 
 

 
THE BURGOMASTER JAN SIX. 
 Date 1647. 
 
 Bartscu, 285; Cxiaussin, 282; Witson, 287; C. Branc, 184; Mippieron, 159; 
 
 Dutuir, 267. 
 
 HERE are three states of this plate. Of the first state only two spec- 
 imens are known—one in the Museum at Amsterdam; the other was 
 purchased in 1755 for the collection of prints in the Bibliothéque Nationale at 
 Paris for 864f. A second state sold in the Didot sale, 1877, for 17,000 f. 
 Another of the same state sold in the Duke of Buccleugh sale, 1887, for 
 £500. 
 
 This plate is still in the possession of the family of J. P. Six, at Amster- 
 dam. 
 
 Jan Six will always be affectionately remembered for the friendship he 
 bore to the great Dutch painter, although he had other titles to respect and 
 honor. His grandfather was a Huguenot refugee who settled at Amsterdam 
 in 1585. Jan was born in 1618, and was only twelve years old when Rem- 
 brandt settled in Amsterdam. He was twenty-nine years old when this por- 
 trait was made. He married a daughter of Nicholas Tulp, whose features we 
 see in that masterpiece of Rembrandt’s art, the “Lesson in Anatomy.” Six held 
 several public offices, among them that of Burgomaster of the City, and 
 Member of the Council of the States-General. But what constituted the 
 strongest tie between him and the artist was identity of their pursuits and 
 tastes, for Six was, like Rembrandt, a zealous collector of paintings, prints, and 
 objects of art. He died in the year 1700, and his collections were sold two 
 years later, comprising, besides many rich and rare curiosities, several paintings 
 and etchings by Rembrandt. Among these were twenty-five impressions of this 
 print, which were sold for fifteen to eighteen florins each. Six was also a 
 poet, and wrote the tragedy of “Medea,” which is referred to in this volume 
 (Plate No, 2). At his country-seat of Elsbrock Rembrandt was a welcome 
 visitor, and there he etched the plate known as “ Six’s Bridge” (No. 2). 
 
 This is one of the most esteemed of Rembrandt's etchings. It is very 
 carefully and patiently worked, the labor expended upon it being an expression 
 of the friendship existing between the artist and the sitter. The fineness of 
 the work, the soft velvet tone, and the rich chiaroscuro make this etching a 
 marvel in art. The pose is easy and natural, and Six is evidently occupied 
 solely with his reading, having no thought for the artist or the spectator. In 
 this plate the burin is used freely and with good results. 
 
 Spee tence 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 XLV 
 
 JAN CORNELIS SYLVIUS. 
 
 
 
 
 

 
 
 
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 Nec fala voluit fronterplacere* onis ; 
 Sic slakuit- Tetum vita me hore? docere 
 Rechius, et @ocwm fulmina z of? muunad « 
 Mise, Ly memor eactinucht gu v condidit Celene 
 Ma LEE, lane yuo flag ille Deo . 
 
 ie C. Barlens. 
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 Quas a. ie fr Gague i hae TICGUOT PCTEU . 
 —C Ss 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
JAN CORNELIS SYLVIUS. 
 Signed and dated 1646. 
 
 Bartscu, 280; Ciaussin, 277; Witson, 282; C. Banc, 187; MIDDLETON, 155; 
 Dututt, 269 
 
 HERE is but one state of this print. It has sold in the Didot sale, 
 
 1877, for 900f. An impression formerly in the possession of Sylvius 
 
 himself, probably the finest existing, was sold in the Duke of Buccleugh sale, 
 1887, for £125. 
 
 This serious, intellectual old man was a minister of the Reformed Faith, 
 settled at Leeuwarden, where he married Aeltje, daughter of Pieter Van Ulen- 
 burg and cousin to Saskia, afterwards wife of Rembrandt. He was also 
 Saskia’s guardian after the death of her father, and his signature was affixed 
 to the contract of her marriage as consenting thereto. He was born in 1554 
 and died in 1638, eight years before the date of this engraving. 
 
 A study for the print is in the British Museum. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 
 
 

 
 XLVI 
 
 
 
 DR. ARNOLDUS THOLINX, Sometimes Cattep THE 
 ADVOCATE VAN TOL. 
 
 
 
 
 
 
 
 
 

 

 
 
 
 
 
 
 
 
 
 
 
 
 

 
DR. ARNOLDUS THOLINX, Somermes Catren THE 
 ADVOCATE VAN TOL 
 
 Date about 1655. 
 
 Bartscu, 284; Ciaussin, 281; Witson, 286; C. Branc, 188; MrIppDLEToN, 170; 
 
 
 
 Dutuir, 270. 
 
 HOLINX was Inspector in the College of Medicine at Amsterdam, from 
 which position he had retired before this portrait was made, being suc- 
 ceeded in that office by Dr. Deyman. He was one of the editors of the new 
 Dispensatory, having for one of his colleagues in the work Nicholas Tulp. 
 Rembrandt painted two pictures in oil, representing “Lessons in Anatomy.” In 
 one of these the demonstrator is Dr. Tulp, in the other Dr. Deyman. 
 
 There are two states of this plate. Of the first state only four impres- 
 sions are known, three of them having “taken the veil” in public collections. 
 The only impression in private hands was sold in the sale of Dr. Griffiths, 
 London, 1883, for £1510, being the highest price ever paid for an engraving 
 by any master. The purchaser was Baron Edmund de Rothschild, of Paris. 
 
 
 
 An impression of the second state, formerly in the Pole Carew collection, was 
 sold in the Duke of Buccleugh sale, 1887, for £800, to a dealer in New 
 York, and is now in a private collection in that city. This is the identical 
 print referred to by M. Charles Blanc in the following amusing story, which 
 he received from a French amateur who was in London at the time: 
 
 “ At this auction [of the Pole Carew collection in 1835] were present—viz., 
 Lords Aylesford and Spencer, Sir Jacob Astley, W. Esdaile, Chambers Hall, 
 Maberly, and Mr. Donnadieu. Beside these, there was to be seen not less a 
 person than the Chevalier de Claussin, the author of the well-known catalogue of 
 Rembrandt’s works. Such well-known dealers as Messrs. Colnaghi, Tiffin, Smith, 
 Graves, Evans, and others were likewise there. Probably a finer assemblage of 
 prints had never been seen. Nearly the whole Pole Carew collection had been 
 formed out of the cabinets of Messrs. Barnard, Haring, Hibbert, and Lord Bute. 
 The first state of the portrait of ‘Asselyn with the Easel’ (No. 2 in this 
 volume) brought £39 18s. ‘The Hundred Guilder Print) £163. At length 
 the ‘Advocate Tolling’ made its appearance. It was a first-rate impression, 
 nearly unique, loaded with burr, the edges uncut, and the print less worked 
 than in the impression in the Museum at Amsterdam. It had been purchased 
 by Mr. Pole Carew for only £56 at the Hibbert sale in 1809. The warmth 
 of the bidding was at its height. Every countenance became changed. M. de 
 Claussin could scarcely breathe. As the print finished the circle of the table 
 the bidding rose to £200. Le Pauvre Claussen became pale; a cold sweat 
 
 
 
 
 
 
 
 Sa ae pee eee 
 
 
 

 
 
 
 ran down his temples. Not able to restrain himself any longer, and feeling 
 certain that he had to deal with a powerful competitor, he strove to soften his 
 unknown rival who thus waged with him so hard a fight. After having stam- 
 mered out some words in English, ‘Gentlemen, said he, in this language, 
 which he could speak almost as well as his mother-tongue, ‘you know me. I 
 am the Chevalier Claussin; I have devoted a portion of my life to preparing 
 a new catalogue of the works of Rembrandt, and to copying the rarer etchings 
 of this great master. It is now twenty-five years that I have been in search 
 of the “ Advocate Tolling,” and it has been only in the National collections of 
 where the 
 
 
 
 Paris and Amsterdam, and in the cabinet of the late M. Barnard 
 present example then existed—that I have met with the object of my search. 
 If this example escape me, I cannot at my age have the hope of ever meeting 
 with the print again. I beseech then, my competitors, to take into consideration 
 the services which my work may render to amateurs, my quality of stranger, the 
 sacrifices which I have all my life imposed on myself in order to form a 
 collection enabling me to institute fresh observations on the masterpieces of 
 
 
 
 Rembrandt. A little generosity, gentlemen, added Claussin, as a peroration. The 
 tears were already in his eyes. The unexpected speech produced some sensation ; 
 many were touched with it. Some smiled and whispered to each other that 
 this same M. de Claussin who was capable of running up the price of a print 
 to £200 might be often met of a morning in the streets of London going to 
 fetch in a little pot twopennyworth of milk. But after a moment’s pause a 
 sign was made to the auctioneer, a bidding was declared, and the fatal hammer fell 
 
 to the offer of £220. It was only then known that the fortunate possessor of 
 the ‘Van Tolling’ was M. Verstolk de Soelen, Minister of State in Holland.” 
 
 We may add that the print which was the subject of this interesting story 
 was sold at the sale of Baron Verstolk de Soelen in 1847 for 3780 f. 
 
 
 

 
 XLVII 
 
 UITENBOGAERT, OR THE GOLD-WEIGHER. 
 
 
 
 
 
 ii = 
 
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UITENBOGAERT, OR THE GOLD-WEIGHER. 
 Signed and dated 1639. 
 
 BartTscH, 281; Ciaussin, 278 ; WILSON, 283; C. BLanc, 189; MipDLETon, 138; 
 Dutuit, 271. 
 
 HREE states of the plate are known. In the Didot sale, 1877, a first 
 state sold for 6500 f, In the Duke of Buccleugh sale, 1887, a first state 
 sold for £160 and a second state for £110. 
 
 This plate was executed only in part by Rembrandt, his work being vis- 
 ible chiefly in the principal figure and in the two small figures on the left. 
 The accessories are attributed to an assistant, perhaps F. Bol. It can hardly 
 be called an etching, so largely has it been worked with the burin. 
 
 Uitenbogaert was Receiver of the Estates of Holland and resided at 
 Amsterdam, but beyond these facts little is known of him. 
 
 
 
 
 
 
 

 

 
 XLVIUI 
 
 REMBRANDT’S MOTHER, WITH BLACK VEIL. 
 
 
 
 
 

 

 

 
REMBRANDT’S MOTHER, WITH BLACK VEIL 
 
 Signed; date assumed 1631. 
 
 BarTScH, 343; CLaussiINn, 333; WILson, 339; C. BLanc, 196; MIDDLETON, 54; 
 Dutuit, 332. 
 
 HERE are four states of the plate. In the Didot sale, 1877, a third 
 state sold for 590f.; a second state in the Duke of Buccleugh sale, 
 1887, brought £28. 
 This is one of the best of Rembrandt’s female portraits. The face is 
 finely modelled, and the veil skilfully arranged and worked. 
 
 
 

 
 
 
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THE GREAT JEWISH BRIDE. 
 Signed with the letter “R.” and dated 1634. 
 
 Bartscu, 340; CLaussin, 330; Witson, 337; C. Branc, 199; MIDDLETON, 108 ; 
 Dutult, 329. 
 
 HERE are four states of the plate, three of which were in the sale of 
 
 the Duke of Buccleugh, in 1887. The first sold for £150, a second for 
 
 £260, and a fourth for £21. In the first state the plate is unfinished, all 
 the lower part being left white. 
 
 M. Charles Blanc, in his note on this print, professes to recognize a por- 
 trait of Saskia, but a comparison with the authentic pictures of the wife of 
 Rembrandt will not, to the ordinary eye, justify the assertion. 
 
 There is an obscure legend that the title, “The Great Jewish Bride,” has 
 some reference to a daughter of Ephraim Bonus, the Jewish physician, whose 
 
 portrait we have given at No. 256. 
 
 
 

 
AN OLD WOMAN WITH HER HAND ON HER BREAST. 
 
 
 
 
 

 
 
 

 
 
 
 
 
AN OLD WOMAN WITH HER HAND ON HER BREAST. 
 Signed and dated 1631. 
 
 BartTscu, 348; CLaussin, 338; Witson, 343; C. BLanc, 198; MIDDLETON, 55; 
 
 Duturt, 336. 
 
 Ne impression of the second state was sold in the Duke of Buccleugh 
 sale, 1887, for £12. 
 
 This print is sometimes called a portrait of “Rembrandt’s Mother,” and 
 that by persons who give the same title to the preceding plate (No. 332). 
 It is difficult to realize that both represent the same person. 
 
 
 
 
 

 
GETTY RESEARCH INSTITUTE 
 
 
 

 

 
 
 

 
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