  No painter has gained so much celebrity by his etchings as Rembrandt, both on account of their number and excellence. Claude, Parmegiano, Berghem, Paul Potter, Adrian Ostade, and others, have all been dextrous in using the etching point. Rembrandt's performances have all the interest and beauty of finished works; his making use of the dry point, which was unknown before his application of it, gives his etchings that richness and softness peculiar to himself, for the process in the hands of others has never since been attended with the same triumphant success. The etchings consist of three hundred and sixty-five plates, accompanied by two hundred and thirty-seven variations. I can only here give their titles and dates: the amateur is referred to the descriptive catalogues of Gersaint, Daulby, Bartsch, Claussin, and Wilson. The catalogue by the latter gentleman is the one adopted by the British Museum; I have, however, numbered them according to the Catalogue RaisonnÉ of Rembrandt's Works by Smith, who made use of the arrangement of the Chevalier Claussin. I have also marked those that are of the greatest excellence with a star before the number. PORTRAIT OF REMBRANDT'S MOTHER -- PORTRAITS OF REMBRANDT AND HIS WIFE PORTRAIT OF REMBRANDT'S MOTHER PORTRAITS OF REMBRANDT AND HIS WIFE Portraits of the Artist. 1. Portrait of Rembrandt when a young man, having frizzly hair. 2. Portrait of Rembrandt with moustaches, and wearing a bonnet put sideways on his head. 3. Portrait of Rembrandt, represented with a falcon on his right hand. 4. Portrait of Rembrandt, with frizzly hair, and the head uncovered; remarkable for thick lips and a large nose. Very rare. 5. Portrait of Rembrandt, seen in nearly a front view, with frizzled hair, and the head uncovered. 6. Portrait of Rembrandt when a young man, wearing a fur cap and a black habit. 7. Portrait of Rembrandt when young, seen in a front view, wearing a slouched hat, and a mantle lined with fur. Dated 1631. 8. Portrait resembling Rembrandt, seen in nearly a front view, with moustaches, short curling beard, and frizzled hair. 9. Portrait of Rembrandt when young, seen in a three-quarter view, with the head uncovered and the hair frizzled. 10. Portrait of Rembrandt, seen in a front view, having an expression of grimace. 11. Portrait of Rembrandt, seen in nearly a front view, with a flat bonnet on the head. 12. Portrait of Rembrandt when young, seen in a three-quarter view, with head uncovered, and the hair frizzled. (Oval.) 13. Portrait of Rembrandt when young, with the mouth a little open, the head uncovered, and the hair frizzled. Dated 1630. 14. Portrait of Rembrandt, seen in a front view, having a fur cap, and a mantle bordered with fur. Dated 1631. 15. Portrait of Rembrandt, seen in a three-quarter view, with the head uncovered, and the hair frizzled; he has on a mantle buttoned in front. Dated 1631. 16. Portrait of Rembrandt, seen in a front view, wearing a fur cap of a round form, and a mantle. Dated 1631. 17. Portrait of Rembrandt, seen in nearly a front view, having on a bonnet of the usual shape, placed sideways on his head, and a kind of scarf round his neck. Dated 1633. 18. Portrait of Rembrandt, seen in a front view, having on a richly-ornamented cap or turban, and an embroidered robe. He holds a drawn sabre in his hand. Dated 1634. 19. Portraits of Rembrandt and his Wife, on one plate. Dated 1636. 20. Portrait of Rembrandt. He has on a mezetin cap, decked with a feather, and a rich mantle. Dated 1638. *21. Portrait of Rembrandt, seen in a three-quarter view; he has long curling hair and moustaches; a cap of the usual shape covers the head, and a rich mantle the body. The left arm leans on some stone work. Dated 1639. *22. Portrait of Rembrandt, seen in a front view, wearing a narrow-brimmed hat, and a plain habit open in front; he is seated at a table, holding a crayon in his hand. Dated 1648. 23. Portrait of Rembrandt, seen in a three-quarter view, with long curling hair; he has on a cap with a small feather in front of it, attached by a ribbon; his mantle is fastened in front by a clasp. Dated 1634. (Oval) (This is the cut plate of the celebrated sabre print.) 24. Portrait of Rembrandt, seen in nearly a front view, having on a fur cap, which covers his forehead to the eyebrows; his curling hair falls on his shoulders, and his robe is bordered with fur. Dated 1630. 25. Portrait of Rembrandt, with the left side of the face strongly shadowed; his frizzled hair falls on the shoulders, and his habit is a little open in front, and lined with fur. Dated 1631. 26. Portrait strongly resembling Rembrandt, seen in a front view, having short frizzled hair, and the mouth a little compressed; he has on a cap, and wears a mantle attached by a little ribbon. 27. Portrait of Rembrandt, closely resembling No. 1. The face is seen in a front view, and the body in a three-quarter position; the hair is frizzled, and a toupÉe is on the left side; the eyes and forehead are in shadow. 28. Portrait of Rembrandt, seen in a three-quarter view, with a small beard and mustacheos; a cap of the usual shape covers his frizzled hair, and the dress is composed of a mantle bordered with fur. This is placed by Bartsch and Gersaint among the fancy portraits. 29. Portrait resembling Rembrandt when young, seen in a front view, with round face, large nose, the mouth a little open, short frizzled hair, and a cap on the head; his mantle is attached by four buttons in front. Dated 1630. 30. Portrait of Rembrandt (styled by some writers, "Titus, the Son of the Artist.") It represents a young man, with ragged frizzled hair falling on the shoulders. He is dressed in a habit with a collar. Dated 1639. 31. Portrait of Rembrandt, or very like him, when a young man; he has frizzled hair, and wears a fur cap. (Octagon.) This is inserted by other writers among the fancy heads. 32. Portrait closely resembling Rembrandt, seen in a front view, with a cap on; the attitude is that of a person drawing. Engraved very lightly, and almost without shadow, on a narrow plate. 33. Portrait closely resembling Rembrandt, seen in a front view, having on a cap of the usual shape, the top of which is cut off by the edge of the plate. Dated 1630. These figures are ill formed. Subjects from the Old Testament. 34. Adam and Eve in Paradise; the latter has the forbidden fruit in her hand, which she has received from the tempter, who is seen in the form of a serpent in a tree, with an apple in his mouth. Dated 1638. *35. Abraham entertaining the three angels at the door of his house. Dated 1656. 36. Abraham offering up his Son. Dated 1655. 37. Abraham sending away Hagar and Ishmael. Dated 1637. 38. Abraham caressing his son Isaac. 39. Abraham with his son Isaac. The subject represents the moment when the son asks his father, "Where is the sacrifice?" Dated 1645. 40. Four Subjects to illustrate a Spanish Book. These were originally engraved on one plate, which was afterwards cut into four. They represent as follows:— Jacob's Dream on the plain of Padan Aran. Four angels are ascending and descending the ladder. Dated 1655. David preparing his Sling to attack Goliath. Dated 1655. The Image seen by Nebuchadnezzar in his Dream. Dated 1655. The vision of Ezekiel. Dated 1655. 41. Joseph relating his Dream to his 42. Jacob lamenting the supposed Death of his Son Joseph. 43. Joseph and Potiphar's Wife. Dated 1634. *44. The Triumph of Mordecai. 45. David on his knees in prayer. Dated 1652. 46. Blind Tobit leaning on a Staff, followed by his Dog. Dated 1651. 47. The Angel departing from Tobit and his Family. Dated 1641. New Testament Subjects. *48. The Angel appearing to the Shepherds, and announcing the Birth of the Saviour. Dated 1634. 49. The Nativity of the Saviour. *50. The Adoration of the Shepherds. 51. The Circumcision. Dated 1654. 52. The Circumcision, differently composed. 53. The Presentation in the Temple. 54. The Presentation in the Temple, differently composed. 55. The Presentation in the Temple, differing from the preceding. Dated 1630. 56. The Flight into Egypt. Dated 1633. 57. The Flight into Egypt, differently composed. No date. 58. The Flight into Egypt, differing from the preceding. 59. The Flight into Egypt, differing from the preceding. Dated 1651. 60. The Flight into Egypt, differing from the preceding. 61. A Reposo of the Holy Family by night. 62. A Reposo of the Holy Family. Dated 1645. 63. A Reposo of the Holy Family, supposed to be unique. *64. The Return from Jerusalem of the Holy Family. Dated 1654. 65. The Virgin, with the Infant Jesus in the Clouds. Dated 1641. 66. The Holy Family. 67. The Holy Family, differently composed. Dated 1654. 68. Jesus amidst the Doctors. Dated 1654. 69. Jesus disputing with the Doctors. Dated 1652. 70. Jesus amidst the Doctors, differently composed. Dated 1636. *71. Christ preaching to the People. 72. The Tribute Money. 73. Christ driving the Money Changers out of the Temple. Dated 1635. 74. Christ with the Woman of Samaria. The third proof is dated 1658. 75. Christ with the Woman of Samaria, differently composed. Dated 1634. *76. The Resurrection of Lazarus; styled the Little. Dated 1642. 77. The Resurrection of Lazarus; styled the Great. No date. *78. Christ Healing the Sick. This beautiful print is known under the appellation of "The Hundred Guilder Print." No date. *79. Christ in the Garden of Olives. Dated 165. The last figure is wanting. 80. Christ before the People. Dated 1655. 81. Christ on the Cross between the two Thieves, styled "The Three Crosses." Dated 1653. *82. The Ecce Homo. Dated 1636. *83. The Descent from the Cross. Dated 1633. 84. Christ on the Cross between the two Thieves. 85. Christ on the Cross. 86. The Descent from the Cross. Dated 1642. *87. The Descent from the Cross; a night piece. Dated 1654. *88. The Entombment. 89. The Virgin lamenting the Death of the Saviour. 90. Christ in the Tomb. *91. Christ at the Table with the two Disciples of Emmaus. Dated 1654. 92. Christ at the Table with the two Disciples of Emmaus. Dated 1634. 93. Christ in the midst of his Disciples, and the incredulity of St. Thomas. Dated 1650. 94. The Good Samaritan. Dated 1633. 95. The Return of the Prodigal Son. Dated 1636. 96. The Decollation of St. John. Dated 1640. 97. Peter and John at the Beautiful Gate of the Temple. Dated 1659. 98. Peter and John at the Gate of the Temple, differently composed. 99. St. Peter on his Knees, with a Key in either hand. Dated 1645. 100. The Martyrdom of St. Stephen. Dated 1635. 101. The Baptism of the Eunuch. Dated 1641. *102. The Death of the Virgin. Dated 1639. Saints. 103. St. Jerome seated at the foot of a tree. Dated 1634. 104. St. Jerome at his devotions. Dated 1632. 105. St. Jerome at his devotions, with a lion behind him. Dated 1634, or 1635. 106. St. Jerome seated, with spectacles on, writing. Dated 1648. 107. St. Jerome seated, reading in a large book held with both hands. 108. St. Jerome seated at a table in a room. Dated 1642. 109. St. Jerome on his knees, meditating before a skull. 110. St. Francis on his knees at his devotions, with a crucifix and a book before him. Dated 1657. Historical, Allegorical and Fancy Subjects. 111. A Youth surprised by the Apparition of Death. Dated 1639. 112. An Allegorical subject, allusive to the demolition of a statue offensive to the Low Countries. Dated 1659. 113. Fortune Reversed, an allegorical subject, allusive to some hero upon whom Fortune has turned her back. Dated 1633. *114. The Marriage of Jason and Creusa. Dated 1648. 115. The Star of the Kings, an ancient Dutch custom on the feast of the kings. 116. A Lion Hunt; several huntsmen on horseback attacking a lion. Dated 1641. 117. A Lion Hunt, differently composed to the preceding. 118. A Lion Hunt, also differing from the above. 119. A Battle. The subject represents a group of horsemen advancing, full speed, with swords, javelins, &c. 120. Three Figures in Oriental dresses, accompanied by a dog. Dated 1641. 121. The Blind Bagpiper amusing some cottagers. 122. The Spanish Gipsy. 123. The Rat Killer. Dated 1632. 124. The Rat Killer, differently composed. 125. The Goldsmith. 126. The Pancake Woman. Dated 1635. 127. The Game of Kolf. Dated 1654. 128. The Jews' Synagogue. Dated 1648. 129. The Schoolmaster. Dated 1641. 130. The Mountebank. Dated 1635. 131. The Draughtsman. 132. A Peasant with his Wife and Child. 133. A Jew wearing a high Cap. Dated 1639. 134. The Onion Woman. Dated 1631. 135. The Peasant with his hands behind him. Dated 1631. 136. The Card Players. Dated 1641. 137. The Blind Fiddler. Dated 1631. 138. A Man on Horseback. 139. The Polander, with his hands united. 140. The Polander, with his sword and staff. 141. The Polander, with a cane in his left hand. Dated 1631. 142. An old Man, standing with his back to the spectator. 143. A Peasant Man and a Woman walking together. 144. A Philosopher seated, with a pen in his hand. 145. A Man seated at a table, on which is an open book. 146. An old Man seated, resting his arm on a book. 147. An old Man without a beard. Dated 1631. 148. An old Man with a short beard, leaning on a staff. 149. An old Man with a long beard, in the dress of a Persian. Dated 1631. 150. The Blind Jew, standing with his back to the spectator, leaning on a staff. 151. Two Figures in Venetian Dresses. 152. A Doctor feeling the Pulse of a Patient. 153. The Skater. *154. The Hog with his Legs tied. Dated 1643. 155. A little Dog lying asleep. 156. A Shell, known under the appellation of "The Damier." Dated 1650. Beggars. 157. A Beggar seated, with his hands united. 158. A Beggar and his Wife. 159. A Beggar standing, resting both hands on a staff. 160. A Beggar standing, holding a stick in his right hand. 161. A Beggar Man and a Woman, standing in conversation. Dated 1630. 162. A Beggar Man and a Woman by the side of a Bank. 163. A Beggar with a Stick in his right Hand. In the manner of Callot. 164. A Beggar in a slashed Cloak. Dated 1631. 165. A Beggar Woman, with a calebash hanging behind her. 166. A Beggar, wearing a fur cap, and resting both hands on a staff. 167. An old Beggar Woman asking Charity. Dated 1646. 168. Lazarus Klap, or the Dumb Beggar. Dated 1631. 169. A Beggar with a wooden Leg, standing with his hands behind him. 170. A Beggar sitting at the side of a Wall. 171. A Beggar sitting on a Bank. Dated 1630. 172. A Beggar sitting, with his Dog by his side. Dated 1651. *173. Three Beggars at the Door of a House. Dated 1648. 174. A Beggar with one Hand in the Breast of his Jacket, in a cold day. Dated 1634. 175. A Beggar with his Hands behind him. 176. A Beggar with a wooden Leg, and a stick in his hand. 177. A Peasant with his Hands behind him, and a basket at his feet. 178. A Peasant Woman with a Bottle attached to her Waist. 179. A Beggar. This is merely a sketch. 180. A Beggar Man and a Woman walking side by side. 181. A Beggar wrapped up in his Mantle. 182. A Sick Beggar lying on the ground. Academical Subjects. 183. The French Bed. Dated 1646. 184. The Friar among the Corn. 185. The Flute Player and the Shepherdess. Dated 1642. 186. An old Man sleeping, and a couple caressing. 187. A pot-bellied Man, with a pack at his back, and a pouch by his side. Dated 1630. 188. A Woman crouching under a Tree. Dated 1631. 189. A Painter drawing after a Model. 190. A naked Man, seated. Dated 1646. 191. Academical Figures of Men. 192. The Bathers. Dated 1631. 193. A Man sitting naked for a Model. Dated 1646. 194. A Woman sitting before a Dutch Stove. 195. A Woman sitting naked on a Bank. 196. A Woman at the Bath. Dated 1658. 197. A Woman sitting naked with her feet in the water. Dated 1558. 198. Venus in the Bath. She is seated at the foot of a tree, with her feet in the stream. *199. A Naked Woman sitting on a Bed, with an arrow in her hand. Dated 1661. 200. Antiope, Jupiter, and a Satyr. Dated 1659. 201. A Woman lying asleep on a Couch. A Satyr in the background. 202. A Negress lying on a Couch. Dated 1658. Landscapes. 203. A Landscape, in which is introduced a cow. 204. A Landscape, distinguished by a large tree growing by the side of a house. 205. A Landscape, with a bridge, styled "Six's Bridge." Dated 1645. 206. A View of Omval, near Amsterdam. Dated 1645. *207. A View of Amsterdam. 208. A Landscape, with a huntsman on a road, followed by two dogs. *209. A Landscape, known under the appellation of "The Three Trees." Dated 1643. *210. A Landscape, distinguished by a man carrying a yoke of pails. 211. A Landscape, with a canal, on the banks of which are two houses embosomed in trees. Washed in bistre, or India ink. 212. A Landscape; the scene is remarkable for a coach passing along a road in the centre of the view. 213. A Landscape, with a terrace, and a road over it in the centre. *214. A Landscape, with a village situate near the high road. Dated 1650. 215. A View of the village of Randorp, remarkable for an old tower, of a square form. Dated 1650. 216. A Landscape, in the foreground of which may be noticed a man seated, drawing. 217. A Landscape, with a pond, on the bank of which sits a woman with a child in her lap; a shepherd stands behind her. Dated 1644. 218. A View in Holland. Some cottages among trees are seen in the centre, and a canal flows along the front. 219. A Landscape, representing a woody scene, with a vista on the right. Dated 1652. 220. A Landscape, with an old tower rising above the roofs of some houses. *221. A Landscape distinguished by a road leading to a village, on which is a shepherd with a flock of sheep. Dated 1636. 222. A Landscape, with a cottage and barn. Dated 1641. 223. A Landscape, with a large tree and a cottage on the left, and divided obliquely by a canal. Dated 1641. 224. A Landscape, remarkable for an obelisk standing on the left, and a village stretching along the distance. 225. A Landscape, with three houses on the left, backed by trees, and near these is a woman followed by a dog; on the opposite side is a canal, with a sailing vessel on it. 226. A Landscape, with a cluster of trees at the side of a road; a second road divides the scene in the centre. 227. A Landscape, with a cottage on the left, and in the centre an alley of trees; close to the front is a man with a stick on his shoulder. 228. A Landscape, with a large piece of water. The name and date are inscribed at the foot of the trunk of a tree on the right. Dated 1645. 229. A Landscape, with a cottage near the middle, on either side of which is a tree, and in front an enclosure of paling. *230. A View, supposed to be that of the house in which the artist was born, and the adjacent windmill. Dated 1641. 231. The Gold-weigher's Field. The scene is remarkable for a mansion placed near the centre, and a wood stretching along the left of it; on the right is seen the steeple of a church rising above some trees. Dated 1651. 232. A Landscape, distinguished by a canal, on which are two swans. Dated 1650. *233. A Landscape, with a canal, and a boat lying alongside the shore. Dated 1650. 234. A Landscape, with a canal in front, at which a cow is drinking. 235. A View of a Village, remarkable for an old square tower. Dated 1653. 236. A Landscape, with a river on the left, on which is seen the half of a boat. 237. A Landscape, in which may be noticed a little man, and in the distance two windmills and a steeple. 238. A Landscape of an upright form, having a large tree in the middle, and a man and a woman in front. 239. A Landscape, with a farm-house partly concealed by trees, and surrounded by a wood fence. 240. A Landscape, with a river, on which are two sailing boats, and on the left of the print is seen a man seated on a barge, angling. 241. A Landscape, traversed obliquely by a canal, on the bank of which sits a man, angling. 242. A Landscape, distinguished by a low house built on the bank of a canal, and above the roof of which rises the gable of a second house; near these are some trees and a boarded fence. 243. A Landscape, in which may be noticed a house of two stories high, a windmill, and a river with a sailing boat on it. 244. A Landscape, divided by a canal; in the centre rises a large tree, near which is a cottage partly concealed by trees. Dated 1659. 245. A Landscape, with a barn filled with hay, adjacent to which is a cottage with a fence in front of it, and a clump of trees. 246. A Landscape, with a canal in front, and a boat on it; the scene is further distinguished by a large cottage, with the upper part of the door open. 247. A Landscape, with a large house on the right, constructed of wood, and having three chimneys; beyond this object are two hovels surrounded by trees, at the foot of which flows a river. 248. A Landscape, on the left of which may be noticed a peasant drawing water from a well, behind which grows a lofty tree. A dray-cart is also introduced. 249. A Landscape. This scene is distinguished by a chÂteau with eight pointed towers. This is doubted by M. de Claussin. 250. A Landscape, with several trees in the distance, in addition to which may be noticed a large trunk of a tree, and in front of it is a bull attached by a cord. 251. A Village Scene. The view represents, on the right, two houses with pointed roofs; above which rises a round tower. 252. This view exhibits a portion of a village, with six thatched houses, only one of which is shadowed and finished. Dated 1659. 253. A Landscape, with a large canal extending throughout the scene, on the banks of which are two men angling. Portraits of Men. 254. Portrait of a Man, seen in nearly a front view, with his left hand resting on a table. Dated 1642. 255. Portrait of a young Man, seated, with his right hand placed on his thigh, and the left on his breast. Dated 1650. 256. Portrait of an old Man. He is in the act of raising the right hand to his bonnet. 257. Portrait of an old Man, seen in nearly a front view. He appears to be seated, and his attention is directed downwards. 258. Portrait of a Man, with long straight hair covered with a cap; a chain is suspended round his neck, to which is attached a cross. Dated 1641. 259. An old Man with a long beard, having 260. A man with a short beard, represented in a front view, with a fur cap on his head, and dressed in an embroidered mantle. Dated 1631. 261. Portrait of Jan Antonides Vander Linden. He wears a handsome robe, and is represented in a garden, with a book in his hand. 262. An old Man, with a square-shaped beard, a fur cap on his head, and the right hand placed on his belt. Dated 1640. *263. Portrait of Janus Silvius. He is represented in nearly a front view, dressed in a robe bordered with fur, a ruff, and a cap, and seated at a table, with one hand placed on the other. Dated 1633. 264. An old Man with a long beard, seated at a table, with both hands on a book. 265. A young Man seated at a table, on which are some books. He has on a cap, and wears a robe lined with fur. Dated 1637. 266. Portrait of Manasseh Ben Israel. He is distinguished by a pointed beard, and is seen in a front view, having on a broad-brimmed hat, and a large collar. Dated 1636. *267. Portrait of Dr. Faustus. This person is represented in a profile view, having on a white cap and a robe, standing, with one hand on a table, and the other on his chair. 268. Portrait of Renier Hanslo. He is seen in a front view, seated at a table, on which is placed a large open book. Dated 1641. 269. Portrait of Clement de Jonge, a print dealer. He is seated in nearly a front view, wearing a slouched hat, a mantle, and a small collar; he wears gloves, and the right hand is placed in front. Dated 1642. 270. Portrait of Abraham France, an amateur of prints. He is seated in an arm-chair examining a print which he holds in his right hand. *271. Portrait of the elder Haaring. He is represented in a front view, seated, resting both arms on the elbows of his chair, and the fingers of his right appear to hold a pinch of snuff. *272. Portrait of young Haaring, son of the preceding Burgomaster. He is seen in a front view, apparently seated, with his right hand resting on the elbow of his chair. Dated 1655. *273. Portrait of young Lutma, a celebrated goldsmith. He is seated, holding in his right hand a metal figure. Upon a table near him are a silver tazza, and other objects relative to his occupation. Dated 1656. 274. Portrait of Jean Asselyn, surnamed Crabatje. He is represented standing in a front view, having on a slouched hat; his body is enveloped in a mantle, and his right hand rests on a table, on which are a palette and several books. *275. Portrait of Ephraim Bonus, a Jew doctor. He appears to be in the act of descending some stairs, and his right hand is placed on the baluster. His dress consists of a high-crowned hat, and a pendent frill. Dated 1647. 276. Portrait of Utenbogardus, a Dutch minister. He is seen in a front view, seated, holding with his right hand a book, which lies open on a table. (Oval.) Dated 1635. *277. Portrait of Jean Silvius, a learned man and a minister. This print is enclosed in an oval, around which is written, Spes mea Christus, &c. *278. Portrait of Utenbogaerd, known under the appellation of the "Gold Weigher." 279. Portrait of Coppenol, a celebrated writing master, styled "The Little Coppenol." He is seated at a table, holding a pen in his right hand, which he rests on some paper, and the left is also placed on the same sheet; a boy stands behind him, with his hat in his hand. *280. Portrait of Coppenol, called "The Great," to distinguish it from the preceding. He is also seated near a table, holding with both hands a sheet of paper, and between the fingers of the right is a pen. *281. Portrait of Tolling, a Lawyer. He is seen in a front view, seated at a table, on which is a large book, resting both arms on the elbows of his chair, and holding his spectacles in his hand; he has on a slouched hat. *282. Portrait of the Burgomaster, Jan Six, when twenty-nine years old. He is represented full-length, standing near an open window, engaged in reading a book, which he holds with both hands. This precious work of Rembrandt is dated 1647. Fancy Heads of Men. 283. A Head of an Asiatic, seen in a front view, having on a calotte. The dress consists of a furred robe, adorned with a gold chain and a medal. Signed, Rembrandt, Venitiis fecit. Dated 1635. 284. A Head of a similar person, seen in a profile view, having on a turban, and a robe bordered with fur. Signed, Rembrandt, Venitiis fecit. 285. A third Head, Asiatic; he has a large beard, and is seen in a profile view, having on a turban, decked in front with a feather. Signed, Rembrandt, Venitiis fecit, 1635. 286. The Bust of a Man, with long hair, and a short frizzled beard, seen in nearly a profile view, having on the usual shaped cap peculiar to the master. 287. The Bust of an old Man, with a long beard, seen in nearly a front view. He has on a fur cap, and wears a mantle, attached in front by clasps. 288. The Bust of an old Man, with a long beard, and a bald head in front; he is seen in a front view, bending a little forward, in such a manner as to throw a shadow over the face. 289. An old Man, seen in a profile view, having a short beard and a bald head. His dress consists of a robe bordered with fur. Dated 1630. 290. The Bust of an old Man without a beard, having a bald head, and seen in a profile view. 291. The Bust of an old Man, seen in a profile view, with a bald head, inclined a little forward. Dated 1630. 292. A small Bust of an old Man, with a bald head, which is bent considerably forward; the face is seen in a three-quarter view. 293. The Bust of an old Man, with a beard and frizzled hair, seen in a three-quarter view. Dated 1631. 294. The Bust of an old Man, with a bald head, which inclines forward, and is turned a little to the right; the mouth is considerably open. Dated 1631. 295. A small Bust of an aged Man without a beard; the face is turned towards the right, and a large fur cap covers the head. 296. The Bust of an elderly Man, with a short frizzled beard. He is seen in a three-quarter view, having on a turned-up cap; the mouth is open, and he appears to be calling to some one. 297. A Head very similar to the preceding, but smaller in size, and extremely rare. 298. A small Bust, the head of which partakes of the character of a Turkish slave. He has on a large high cap, turned up. The body is slightly sketched out. 299. A very small Bust of a Man, similar in character to the preceding; seen in a profile view, having mustacheos. He has on a cap, the upper part of which hangs over, and a frill surrounds the neck. 300. The Bust of a Man, seen in a front view, having on a cap in the shape of a calotte, and a mantle bordered with carmine. 301. The Bust of a Man, with the head uncovered and seen in a front view; his hair is frizzled, and his mouth a little on one side. 302. The Head of an old Man, with a short beard and a bald crown; his neck is enveloped in fur. The shoulders are only slightly indicated. 303. The Bust of a Man, represented in a three-quarter view, with the head bending forward. He has on a fur cap, and a robe bordered with fur, which is open in front, and shows a vest under it. Dated 1631. 304. The Bust of a Man, seen in nearly a profile view, having a pouting mouth, resembling a negro, and a short frizzled beard. He has on a calotte, and a robe bordered with fur, attached in front with a single button. 305. A Bust of an old Man, with a grey beard and bald in front, represented in a three-quarter view, with the head inclining. He has on a hairy coat with a collar. Dated 1630. 306. A Half-figure of a young Man, represented in a profile view, having short frizzled hair. He wears a large cravat enriched with lace, and a coat with large sleeves and girt with a belt. Dated 164; the last figure is omitted. 307. A Bust of a Man, seen in a three-quarter view, having mustacheos. He has on a large hat with a broad brim, a coat buttoned in front, and a pendent frill. Dated 1630. 308. A Bust of an old Man with a large beard, seen in nearly a front view, with a fur cap on. 309. A Bust of an old Man, with a large square-shaped beard, seen in a three-quarter view. He has a cap of the usual shape, and a robe bordered with fur. Dated 1637. 310. A Bust of an old Man, with a similar beard to the last. The face is represented in a three-quarter view, having on a large cap, and a robe bordered with fur. 311. A Bust of an old Man with a pointed beard, seen in a three-quarter view, with a bald front, and the eyes bent downwards; the body is enveloped in a cloak. 312. A Bust of an old Man with a straight beard, seen in a profile view. He has on a small pointed cap. Dated 1631. 313. A Philosopher, with a large square-shaped beard, seen in a profile view, having on a large cap decked with fur; an hour-glass and a skull are faintly introduced. Engraved on wood. This print is doubted by the Chevalier Claussins. 314. An elderly Man, represented in a three-quarter view, apparently seated; he has mustacheos, and a tuft of beard, and wears a large 315. A small Bust of a Man, seen in a front view, with the usual shaped cap on his head, and the body enveloped in a mantle. Dated 1631. 316. A Bust of a Man, seen in a profile view, having on a cap with pendent ear straps; the shoulders are covered with a mantle, relieved by a small frill. 317. A Bust of a Man with a bald head, seen in a three-quarter view; the shoulders are covered with a mantle bordered with fur. Dated 1631. 318. A Bust of an old Man, with a very large square-shaped beard, seen in nearly a front view. The head inclines forward, and the eyes are directed downwards. Dated 1630. 319. A very small Head, of a grotesque character, seen in a profile view, having on a fur cap, surrounded by a band. 320. Another small Head, having the appearance of being that of a beggar; the mouth is open, as if he were calling to some one; he has on a pointed cap, and a coat attached by a single button. 321. A Bust of a young Man, the head only of which is finished. He has on a large slouched hat. 322. A Bust of a young Man, with a hat on, of the same form as the preceding. 323. A Bust of a young Man, with a cap on, decked with feathers, and represented at a window. M. Claussins thinks this to be of a doubtful kind. 324. A Bust of a Man, with mustacheos, and frizzled hair, which falls on the right shoulder. 325. A Bust of an old Man, with mustacheos, and a tuft of beard, represented in a three-quarter view, having on a high fur cap, and a fur cloak. 326. A Bust of an old Man, with a long beard, and a bald head in front, seen in a profile view; a robe, bordered with fur, covers his shoulders. 327. A Bust of a Man, with a cap on, decked with feathers. He is seen in a front view, having a beard and mustacheos, and wearing a frill round the neck. 328. A Bust of an old Man, with a white beard, having on a turned-up cap, and a mantle bordered with fur. 329. A Man, having the appearance of a negro, represented in nearly a profile view. He has on a turban decked with a feather, and holds a cane in the right hand. Portraits of Women. *330. Portrait of a Woman, styled, "The great Jewish Bride." She is seated, resting her right hand on the elbow of her chair, and holding a roll of papers in the left. 331. A Head, similar to that of the preceding print, and supposed by some amateurs to have been a study for it, but M. Claussins, in his catalogue, combats that opinion. *332. Portrait of a Woman, styled, "The little Jewish Bride." Her face is seen in a three-quarter view, and she appears to be standing, with her hands crossed on her waist. Dated 1633. 333. An aged Woman, seated at a table, with her hands placed one on the other; a 334. An aged Woman; she appears to be also seated, and is seen in a three-quarter view, with a kind of bonnet on her head, and a veil over it; her dress terminates in a frill. 335. Portrait of a young Woman, seen in nearly a profile view, seated near a table, on which is a book; her right hand is concealed by her robe, and the left placed on the book. Dated 1634. 336. An aged Woman meditating over a book. She is seated, having her right hand under her robe, and the left on a book lying on a table. A half-figure, looking to the left. 337. Portrait of a Woman, seen in a profile view. Her hair is tastefully arranged, and decked with pearls; two rows of the same adorn her neck, and the sleeves of her robe are open. Dated 1634. 338. Portrait of an elderly Woman, seen in a profile view. She is seated, with the left hand placed on her breast, and the right on the elbow of her chair. Dated 1631. 339. A Bust Portrait of the Mother of Rembrandt, represented in nearly a front view, with a veil on her head. Her left hand is placed on her breast. Dated 1631. 340. An elderly Woman sleeping. She appears to have been fatigued with reading, and having removed her spectacles from her eyes, has fallen asleep while resting her head on her hand. 341. An aged Woman, resembling the Mother of Rembrandt. She is seen in a three-quarter view, with a linen covering over her head, which falls on her shoulders. Dated 1633. 342. A Head of an elderly Woman, having also the resemblance of Rembrandt's Mother. She is seen in a front view, with the mouth compressed. She has on a cap of the usual form. Dated 1628. 343. A Bust of an elderly Woman, having the same character as the preceding. She is seen in a three-quarter view, with a covering on the head, turned up over the right ear, and falling on the left. Dated 1628. 344. A Bust of the Mother of Rembrandt. She is seen in a front view, with the usual kind of cap on the head, and a robe bordered with fur, which is only slightly sketched in. 345. An old Woman in a black veil. This bust represents the face in a three-quarter view; the veil falls on the shoulders, and her robe is turned up with fur. Dated 1631. 346. A young Woman, represented in nearly a profile view, with a basket on her right arm, and a pouch suspended to the left. She has on a small flat hat, and a tippet over her shoulders. 347. A Bust of a Moorish Woman, seen in nearly a profile view, having on her head a scarf turned up in front, decked with a feather, and falling behind her head. 348. A Bust of an aged Woman, lightly etched. She is seen in a three-quarter view, with a bonnet on, in the form of a turban, and lappets hanging on either side, and the dress consists of a fur robe. 349. A Bust of a Woman, seen in a three-quarter view, with the head enveloped in a kerchief, the ends of which hang on either side. The body is unfinished. 350. A Head of an elderly Woman, seen in a three-quarter view, with the eyes bent downwards. 351. A Woman seated, resting her head on 352. An elderly Woman, seen in nearly a profile view, with spectacles on, and holding with both hands a book, which she appears to be reading. Studies of Heads and Other Objects. 353. A Head of Rembrandt, together with studies of old Men and Women, and other objects, on the same plate. 354. A Study of a Horse, two Heads, a part of a House, and other objects, on the same plate. 355. Rembrandt's Wife, and five other Heads, on the same plate. Dated 1636. 356. Five Heads of Men on one sheet,2 one of which, placed on the right, wears a square cap, and another, seen on the opposite side, has on a fur cap. 357. Three Heads of Women on one sheet, one of them, occupying the centre and top, is seen in a front view, with one hand raised to her face. 358. Three Heads of Women on one sheet. This print is distinguished by one of the women resting her head on her hand, asleep. Dated 1637. 359. Two Women in separate Beds; several Heads, and studies of an old Man and Woman, with sticks in their hands; on one sheet. 360. A Head of Rembrandt, and other studies, on the same sheet. Dated 1651. *361. A Study of a Dog, the head only of which is finished. 362. A Sketch of a Tree, and other objects, on the same sheet. 363. Two small Figures, one of which, having on a high crowned cap, is seen to the knees; the form of the other is but imperfectly traced, and the other objects are still more indistinct. 364. Three Heads of old Men on one sheet. They are all seen in a profile view, and placed in the same direction. 365. A Study of a Female Head, very lightly etched. She has on her head a kind of mob cap, and the body is turned to the right. 2 (return) Savill & Edwards, Printers, 4, Chandos Street, Covent Garden. This and all associated files of various formats will be found in: Updated editions will replace the previous one--the old editions will be renamed. |
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