Rembrandt's prints

Trained by Joris van Schooten in Leiden and by Pieter Lastman, Rembrandt quickly incorporated chiaroscuro into his etchings. Initially, Rembrandt produced a large number of reproductive or commercial prints. He began etching around 1625, at the same time as launching his career as an independent painter. Initially very close to the style of Jan Lievens, with whom he shared his studio, Rembrandt left the sculptural effects to work more on faces and the play of light – a characteristic he would develop throughout his career. Living in Amsterdam since 1630, Rembrandt sought to break into the art market by innovating both in subject and technique, producing compositions captured on the spot of great quality. From 1636 onwards, Rembrandt distinguished himself by his mature treatment of self-portraits, a more humanistic representation of biblical subjects, and his growing mastery of engraving techniques. ), is an etching heightened with drypoint and burin, executed over almost 10 years and completed around 1649. Rijksmuseum Amsterdam. Rembrandt found his true style in the less productive 1640s, abandoning a sometimes exaggerated Baroque for a more intimate Classicism, in both religious subjects and landscapes. He also gradually changed his approach to subjects, concentrating on the moment whose dramatic tension comes from putting the action on hold. Initially meticulous in the treatment of textures, Rembrandt concentrated on the structure of objects and lighting effects, the apogee in terms of composition and technique being the Hundred Guilder Print (completed in 1649, after a decade of work). In the 1650s, Rembrandt became more productive and artistically liberated. "But what set this artist apart was a way he invented for making engravings. This one, entirely his own, was never used by others nor seen since and consisted of strokes of points of different strengths, with irregular, isolated strokes, which created a deep chiaroscuro of great intensity. And in truth, in a certain kind of engraving, Rembrandt was much more esteemed by professionals than in painting, in which he seems to have had exceptional luck more than merit of his own." - Philippe Baldinucci, art historian and contemporary collector of Rembrandt, 1681-1728. “In the history of graphic art, it rarely happens that a technique can be completely identified with the genius of a single artist; however, it can be said that etching, in the seventeenth century, is Rembrandt.” - Karel G. Boon, Director of the Prints and Drawings Department, Rijksmuseum Amsterdam, 1963 == Rembrandt and engraving ==

The years 1626–1640 Training in Leiden and Amsterdam Rembrandt's teachers in Leiden were Jacob van Swanenburgh (from 1621 to 1623, with whom he learned pen drawing) and Joris van Schooten. However, his six-month stay in Amsterdam in 1624, with Pieter Lastman and Jan Pynasc, was decisive in his training: Rembrandt learned pencil drawing, the principles of composition, and working from nature. André-Charles Coppier speaks of a time when Rembrandt's production was limited to an overproduction of commercially-oriented prints – “sales subjects” for which he was content with a purely linear style – associated with the painters Jan Lievens, Gerrit Dou, Hendrick Cornelisz. van Vliet and Jacques des Rousseaux. Personal style and etching debut ). Rembrandt's works become more intimate and “reveal a new subtlety in the treatment of chiaroscuro” (B. 88, B. 51). He soon found a very free and personal style for self-portraits and visages. Installation in Amsterdam ). Rembrandt moved to Amsterdam in 1631 and opened his studio in the home of his friend, the publisher and art dealer Hendrick van Uylenburgh. He married the latter's niece, Saskia, who had a social network in the local bourgeoisie from which he benefited. ). At the age of 40, he discovered the work of Leonardo da Vinci and Andrea Mantegna, who had a major influence on his future work, notably on The Hundred Guilder Coin (B. 74) and B. 34). Despite his setbacks, Rembrandt evolved through more human experiences and aesthetic concerns in tune with “the general trends of his time”. His technique as an aquafortist developed “considerably”: he abandoned the meticulous treatment of textures so dear to him – as seen in Le Persan (B. 152) or La Liseuse (B. 345) – to concentrate on the structure of objects and lighting effects, as in ''Mendiants recevant l'aumône à la porte d'une maison'' (B. 176). He also made greater use of drypoint; La Pièce aux cent florins (1649) represents "all the aspirations, if not all the achievements of an entire decade", thanks to the harmony achieved by exploiting different techniques. It was also a difficult period for him, both economically and socially (with, for example, his partner Hendrickje, pregnant with his child, being accused of concubinage by the Dutch Reformed Church in 1654, a particularly humiliating episode for Rembrandt). He suffered the effects of a period of economic crisis for Holland, the consequences of British protectionist shipping acts. He was unable to pay off his house in full, debts on the purchase of collector's items, and his paintings earned him less than before. So, in 1656, he formalized his bankruptcy and petitioned the High Court (Hoge Raad van Holland, Zeeland en West-Friesland) for an inventory of his assets (see box) to repay his creditors. Last years In 1663, Hendrickje died and Titus married, leaving Rembrandt completely alone. These events left their mark on Rembrandt's contemporaries, and Joost van den Vondel, the great national poet, like them, drew a parallel with his works, which were considered more obscure than before, describing him as “the friend and son of the shadow, like the nocturnal owl”.), Arnold Houbraken (Le Grand Théâtre des peintres néerlandais, 1718-1721) and Gérard de Lairesse (Le Grand Livre des peintres, ou l'Art de la peinture considéré dans toutes ses parties, et démontré par principes ... auquel on a joint les Principes du dessin, 1787) praised his genius, but criticized “his lack of taste, his vulgar naturalism, his careless drawing, and the scarcity of noble subjects in his work”. Rembrandt followed the evolution of the international Baroque towards a more classical phase, According to Sophie de Brussière (Petit Palais), Rembrandt's withdrawal from this art form was not due to any impediment linked to old age, but to the fact that he had already completed his exploration of etching techniques - and at the same time achieved what he had been striving for throughout his career as a painter, “light-color” - and was no longer paying attention to it. == Historiography of Rembrandt's etchings ==

Reference historians Edme-François Gersaint (1694–1750) was the first to publish a catalog of Rembrandt's engravings, in 1751 (posthumously): le Catalogue raisonné de toutes les pièces qui forment l'œuvre de Rembrandt. In this work, Gersaint chose to classify the works not in chronological order, but according to the subject - and in this, he was to be followed by most of his successors In it, he established what became the definitive numbering system, based on his name (e.g. “Bartsch 17” or “B. 17”), for Rembrandt etchings and copies by many other artists, a system still in use today. Ignace Joseph de Claussin (1795–1844), an aquafortist and print dealer, fell in love with Rembrandt when he tried to compile a catalog raisonné of all his prints, including his own engravings after the Dutch master, whose quality misled some specialists. In 1824, he finally published ''Catalogue raisonné de toutes les estampes qui forment l'œuvre de Rembrandt, et des principales pièces de ses élèves, followed in 1828 by Supplément au Catalogue de Rembrandt, the first of which became a reference work, notably for Charles Henry Middleton, who quoted extensively from it in A Descriptive catalog of the etched work of Rembrandt van Rhyn'' (1878), another landmark work. Shortly before the latter, Charles Blanc (1859–1861) had undertaken an ambitious work, L'Œuvre complet de Rembrandt, catalog raisonné de toutes les eaux-fortes du maître et de ses peintures (in two volumes), in 1859-1861. However, André-Charles Coppier (see below), strongly criticized this work: he claimed that Blanc himself had copied forgeries abroad and had them etched by Léopold Flameng to illustrate his third catalog with so-called facsimiles. In 1986, the Petit Palais based its two-volume monograph Rembrandt: Eaux-fortes “recognized for the technical perfection of their illustration. This “serious work”), Etchings of Rembrandt (1907). André-Charles Coppier's Les eaux-fortes authentiques de Rembrandt, published in 1929,” - a third of the pieces catalogued by Bartsch in 1797 and by Charles Blanc in 1873 Catalogs raisonnés of Rembrandt's engraved works frequently present a table of correspondence between the different notations in each of the reference catalogs raisonnés • "G.": Gersaint, catalog published in 1751; • "Da.": Daulby (1796); • "B.": Bartsch (1797); • "Cl.": Claussin (1824 and 1828); • "W.": Wilson (1836); • "Bl.": Blanc (1859 The notation chosen for this article is the Bartsch notation, the reference most commonly – and sometimes only – used. When a work has not been known or recognized by Bartsch, the second notation used is that of Seidlitz (1895). another, even more extensive, was made by Hind in ''A Catalogue of Rembrandt's Etchings: chronologically arranged and completely illustrated'', starting on page 133. there have been few exhibitions of Rembrandt's engravings, and these were presented in small numbers. Among the most notable was the “Exhibition of Prints by Rembrandt and Dürer” in 1933, another at the Louvre in 1969 to mark the tercentenary of Rembrandt's death This is partly because he was the first to truly exploit it with such technical and artistic mastery, even though the technique had been around since the 15th century and had not changed very significantly since the 16th. == Technical considerations ==

Rembrandt's technique Almost all of Rembrandt's prints are executed in etching, his process for which is detailed below. However, he also used other techniques such as drypoint and engraving proper (with a burin) for retouching. The chemical technique of etching was developed in the Middle Ages by Arab armorers to decorate their weapons. It flourished in the southern part of present-day Germany in the 15th century, where the first etchings were printed towards the end of that century. In the early 17th century, Dutch artists such as Esaias van de Velde, Jan van de Velde the Younger and Willem Buytewech experimented with the technique. They sought a better tone and a way to create an atmospheric effect in their landscape prints, breaking away from long contour lines to draw them with small strokes and dots. Hercules Seghers in turn experimented with etching, but for different reasons: he tried to reproduce a painterly effect by printing on colored paper or canvas; moreover, he reworked the print after printing with a brush coated with colored paint, making each print unique. His mastery of drypoint and the unique deep black of his etchings became famous during his lifetime, and his etchings were particularly sought after by collectors of his time. but the line can be coarse and the effect lost after the press has passed. Rembrandt never enhanced his etchings at first; but from 1640 onwards, he became more interested in these techniques, particularly the velvet effect produced by drypoint: Saint Jerome writing under a tree (B. 103) is an example. He also engraved a number of prints exclusively in drypoint (B. 76, B. 222, B. 221). technique to give greater depth to the shadows, as in Woman with an Arrow (B. 202), or to create an atmospheric effect in his landscapes, as in Landscape with a Square Tower (B. 218). It is also noteworthy that Rembrandt made his impressions – unlike the vast majority of artists – precisely to have the freedom to ink according to the desired effect. technique to make minor corrections, particularly for The Three Crosses. it is not known whether the original drawing is by Rembrandt or Lievens, but all the specialists credited it to Rembrandt; Charles Blanc justified this by saying that “it is worthy of him by the delicacy of the expression and by the learned and precise indication of the philosopher's hand” and that his friend was more his imitator than his pupil. However, it is now definitively attributed to Lievens by the Hollstein. Drawing technique Rembrandt would never have used tracing paper or reference points before tracing his drawing directly onto the varnish. He would have used pencils for very few engravings (B. 201, B. 271, B. 272). We know that Rembrandt was right-handed, thanks to the hatching he made in his numerous drawings. Soft varnish In etching, the varnish serves to protect the plate from the bite of the acid that seeps in where the engraver has removed the varnish with his point. The composition of this varnish has evolved, impacting the aesthetics of the etching. Rembrandt chose a soft varnish, which allows greater flexibility and freedom for the hand, as opposed to the hard varnish borrowed from the violin makers of Florence and Venice and used by Jacques Callot.: this composition is that of the formula for a varnish taken from a manuscript by Callot. He proposes another formula, called “Vernis de Rimbrandt [sic]”, whose composition is as follows: • virgin wax: 30 g; • tear mastic: 15 g; • asphalt or amber: 25 g. Traditionally, the copper was then varnished with a hot stamp, before being smoked with a torch. and prints, on two intaglio presses – one made of “island wood”, the other of oak – that he had at home, which enabled him to study the evolution of his plates all the more precisely. To achieve more pictorial effects, Rembrandt did not wipe his plates completely: he sometimes left a light veil of ink on certain smooth areas to obtain a form of “tint”. Support Several types of paper (European, Japanese, Chinese, etc.) and vellum paper can be used: they vary in color and grain (type of surface). The artist can thus choose the one best suited to the desired effect. a paper with no vergeures, pontuseaux or watermarks, available in a variety of weights and textures, and colors ranging from opaline white to golden, almost tan. Rembrandt appreciated its warm, yellowish color, which was very effective for his landscapes or outdoor scenes (B. 70, B. 104); the very fine, soft surface of this paper enabled him to exploit the full effect of drypoint. He also used a paper that is erroneously called “Chinese”: a very fine, sometimes lined, gray pearl-colored paper (e.g.: B. 86, 1st state). Finally, Rembrandt used a pale yellow paper similar in appearance to Indian miniatures (presumably from that country). Retouching A print plate can be retouched in a variety of ways, to correct defects or achieve a desired effect; for example, the artist can use a scraper or burnisher, or play with the support by changing the inking or paper type. At each stage, he may make a print to see the intermediate or potentially definitive result: each of these proofs thus corresponds to a state of the print. Observing the succession of these states allows us to follow the progress of the work, and thus to imagine Rembrandt's progress in the elaboration of his print: we can see corrections, premeditated or unpremeditated evolutions, or the search for variation. == Selected prints ==

Rembrandt's engravings are “traditionally” sorted thematically in catalog raisonnés, according to their subjects. Self-portraits • Rembrandt aux yeux hagards (1630, etching and burin) • Rembrandt with a round hat and embroidered coat (1631, etching and drypoint and pen and brown ink drawing) • Rembrandt with scarf around his neck (1634, etching) • Rembrandt and Saskia (1636, etching) • Rembrandt drawing at the window or Rembrandt engraving (1648, etching and drypoint) Portraits and heads • Jan Uytenbogaert, known as “The Gold Weigher” (1639, etching and drypoint on silk) • Portrait of Jan Six (1647, etching, drypoint, and burin) • Doctor Fautrieus, falsely called Faust (ca. 1652, etching, drypoint, and burin) File:B007 Rembrandt.jpg|Rembrandt with round hat and embroidered coat. (1631, Rijksmuseum Amsterdam). File:B019 Rembrandt.jpg|Rembrandt and Saskia (1636, Rijksmuseum Amsterdam). File:B281 Rembrandt.jpg|''Jan Uytenbogaert, this “Le Peseur d'Or”'' File:B285 Rembrandt.jpg|Portrait de Jan Six (1647, Rijksmuseum Amsterdam). File:B270 Rembrandt.jpg|Le Docteur Fautrieus. (1652, Rijksmuseum Amsterdam). Biblical and religious subjects • La grande Descente de croix (1633, etching and burin) • ''Joseph and Putiphar's Wife'' (1634, etching) • La Pièce aux cent florins (ca. 1649, etching, drypoint, and burin) • Jesus Christ Preaching, or “The Little Tomb” (ca. 1652, etching, drypoint and burin) • The Three Crosses (1653-ca. 1661, drypoint and burin) • Jesus Presented to the People, or Ecce Homo en largeur (1655, drypoint on Japanese paper) Allegorical or mythological subjects • Jupiter and Antiope: the large plate (1659, etching, drypoint, and burin) File:B081 Rembrandt.jpg|La grande Descente de croix (1633, Rijksmuseum Amsterdam). File:Rembrandt, Christ Preaching (La Petite Tombe), circa 1652, Rijksmuseum Amsterdam.jpg|Jesus Christ preaching (ca. 1652, Rijksmuseum Amsterdam). File:Rembrandt The Three Crosses 1653.jpg|Les Trois Croix (1653-ca. 1661, Rijksmuseum Amsterdam). File:B076 Rembrandt.jpg|Jesus presented to the people, or the Ecce Homo in width (1655, Rijksmuseum Amsterdam). File:B203 Rembrandt.jpg|Jupiter and Antiope: the large plate (1659, British Museum). Other subjects • L'ensemble des gueux (1628-1631, etching) • La Faiseuse de Koucks (1635, etching) • “La Grande mariée juive” (1635, etching, drypoint, burin, black chalk) • Three Oriental Figures (1641, etching, drypoint) and other Oriental or Polish subjects File:B179 Rembrandt.jpg|Beggar with a wooden leg, known as “Capteyn Eenbeen” (ca. 1630, Rijksmuseum Amsterdam). File:B174 Rembrandt.jpg|Beggar sitting on a clod of earth (1630, Rijksmuseum Amsterdam). File:B124 Rembrandt.jpg|La Faiseuse de Koucks. (1635, Rijksmuseum Amsterdam). File:B340 Rembrandt.jpg|La Grande mariée juive (1635, Rijksmuseum Amsterdam). File:B118 Rembrandt.jpg|Trois figures orientales (1641, Rijksmuseum Amsterdam) File:B348 Rembrandt.jpg|Old Woman with Oriental Hairdress (Rembrandt's mother?) (1631, Rijksmuseum Amsterdam) File:B142 Rembrandt.jpg|Figure polonaise (1631, Rijksmuseum Amsterdam) Landscapes • The Mill (1641, etching) • The Three Trees (1643, etching and drypoint) • ''“La Campagne du peseur d'or”'' (1651, etching and drypoint) Still lifes, other subjects and nudes • The Seashell (1650, etching, drypoint and burin on paper), Rembrandt's only still life. • The Draftsman and his Model (unfinished, ca. 1639, etching, drypoint, and burin) • The French Bed (1646, etching, drypoint, and burin) File:The Three Trees by Rembrandt Rijksmuseum Amsterdam RP-P-OB-444.jpg|Les Trois Arbres (1643, Rijksmuseum Amsterdam). File:B234 Rembrandt.jpg|“The Campaign of the Gold Weigher” (1651, Rijksmuseum Amsterdam). File:B159 Rembrandt.jpg|Le Coquillage (1650, Rijksmuseum Amsterdam). File:B192 Rembrandt.jpg|The Draughtsman and his Model (ca. 1639, Rijksmuseum Amsterdam). File:Rembrandt - Le Lit à la française.png|Le Lit à la française (1646, Bibliothèque nationale de France). == Copper plates ==

Existing plates According to the Musée du Petit Palais in 1986, seventy-nine original Rembrandt copperplates are known to exist. It is part of the Six collection, famous in its day for its paintings, engravings, and drawings. The first known inventory is that made from the collection of Clement De Jonghe in 1679 (two years after his death); de Hoop Scheffer and Boon and Hinterding agree on the authenticity and authorship of all the plates identified in this inventory, with very slight modifications. However, some of the notes lack the precision required to identify the plates.) and immediately published Recueil de quatre-vingt-cinq estampes originales... par Rembrandt, a work that would be published for over a century. numbering eighty-four, five of which are no longer accepted as being by Rembrandt. André-Charles Coppier strongly criticized the actions of Watelet and Basan, as well as Baillie (see below) and Norblin de La Gourdaine, who had all “ransacked” the original copperplates in their possession to make their states - thus excluding all etchings from these plates, and the states of those posthumously drawn from his studies. his friend Robert Lee Humber acquired them and deposited them in the North Carolina Museum of Art in Raleigh. In 1956, on the occasion of the 350th anniversary of Rembrandt's birth, the museum organized an exhibition showing these plates along with etchings on loan from the National Gallery of Art in Washington and prints by Alvin-Beaumont. Captain William Baillie, a British Army officer and Irish printer, bought the original plate of La Pièce aux cent florins, already quite worn from successive printings, from the American painter and engraver John Greenwood, and printed around a hundred proofs, which he largely reworked directly on the original copper plate. Eventually, he cut the plate into four pieces to make separate proofs, which he later reworked individually; in particular, he added the frame of an arch to the fragment containing Christ. This initiative was highly controversial at the time, considered unworthy by some and welcome by others, as the plate was in poor condition.: File:Hundred Guilder Print - part 1 (Baillie).jpg|Part of the crowd of Pharisees File:Hundred Guilder Print - part 2 (Baillie).jpg|Anonymous figure from behind File:Hundred Guilder Print - part 4 (Baillie).jpg|Whole Christ in the center File:Hundred Guilder Print - part 3 (Baillie).jpg|Entering the room of the poor and the camel ==Museum collections==

Apart from a few very rare prints, mostly less important early studies, or "the informal printed scribbles from the artist's early years", most of his prints are not very rare by museum standards, and major print rooms have good collections. Both the Rijksmuseum and the British Museum, who claim to have the best collections, have over 1,000 impressions of the 300-odd prints; most of these can be viewed in great detail online. The degree to which these collections are displayed to the public or can easily be viewed by them in the print room, varies greatly. The Morgan Library & Museum in New York claims to have the best collection in America, with "impressions of most of the three hundred or so known etchings by Rembrandt, as well as multiple, often exceedingly rare impressions of various states"; it has "almost 500" images online. == On the art market ==

In the early 20th century, Lucien Monod reported on the market value of Rembrandt's prints. He defined them as “first class”, with estimates ranging from 18 to 100,000 francs (La Pièce aux cent florins, sold in New York in 1922 to Harlowe et Cie). A drypoint engraving by Rembrandt, Christ Presented to the People, sold on July 5, 2018 at Christie's for the exceptional printmaking price of 2.9 million euros, purchased, it seems, by New York financier and collector Leon Black. The major sale of early engravings at Christie's, New York, on January 29, 2019, features 21 sheets that fetched from $6,000 for a somewhat pale 1637 biblical scene of Abraham, to $468,000 for a Saint Jerome reading in an Italian landscape (B. 104). A small Self-portrait at the Window (B. 22) from 1648 sold for $35,000, and a chiaroscuro landscape of three trees in a clearing for $324,500. In a New York sale by Christie's on January 24, 2023, 23 engravings by Rembrandt sold for between $5,670 and $730,800 for the fourth state of the Three Crosses, a subject highly prized by major collectors and museums. == Main copyists and "interpreters" of Rembrandt's prints ==

Rembrandt's prints were copied extensively by artists, and some art historians have even compiled a list of engravings after Rembrandt. His paintings were also made into prints in the days before photographic reproductions. In the 17th century, the main interpreters of Rembrandt's prints were: In the 18th century: In the 19th and 20th centuries: And several other anonymous ones. == In popular culture ==

In April 2019, the organizers of the Dutch soccer championship announced that to mark Rembrandt Year (2019 being the 350th anniversary of the artist's birth), a special ball would be used for the 2019-2020 season: the "Rembrandtbal" displays prints by the artist, including landscapes and self-portraits. The balloon was presented at the Rijksmuseum Amsterdam. == Prints cited according to Bartsch or Seidlitz numbering ==

• B. 7, Self-portrait in a soft hat and embroidered cloak, 1631 (see artwork). • B. 19, Self-portrait with Saskia, 1636 (see artwork). • B. 21, Self-Portrait Leaning on a Stone Sill, 1639 (see artwork). • B. 22, Rembrandt Drawing at a Window, 1648 (see artwork). • B. 23, Self-portrait (?) with Plumed Cap and Lowered Sabre, 1634 (see artwork). • B. 28, Adam and Eve, 1638 (see artwork). • B. 34, Abraham and Isaac, 1645 (see artwork). • B. 39, ''Joseph and Putiphar's wife'', 1634 (see artwork). • B. 43, The Angel Departing from the Family of Tobias, 1641 (see artwork). • B. 44, The Angel Appearing to the Shepherds, 1634 (see artwork). • B. 48, The Circumcision of Christ, c. 1630 (see artwork). • B. 51, The Presentation in the Temple with the Angel, 1630 (see artwork). • B. 57, The Rest on the Flight: a Night Piece, c. 1644 (see artwork). • B. 59, The Rest on The Flight into Egypt, c. 1626 (see artwork). • B. 62, The Holy Family, c. 1632 (see artwork). • B. 65, Christ Disputing with the Doctors: a Sketch, 1652 (see artwork). • B. 66, Christ Disputing with the Doctors: Small Plate, 1630 (see artwork). • B. 67, Christ Preaching (La Petite Tombe), c. 1652 (see artwork). • B. 68, The Tribute Money, c. 1635 (see artwork). • B. 69, Christ driving the money-changers from the Temple, 1635 (see artwork). • B. 70, Christ and the Woman of Samaria, 1658 (see artwork). • B. 71, Christ and the Woman of Samaria: among Ruins, 1634 (see artwork). • B. 72, The Raising of Lazarus, 1642 (see artwork). • B. 73, The Raising of Lazarus: the Larger Plate, c. 1632 (see artwork). • B. 74, Christ Preaching (The Hundred Guilder Print), c. 1649 (see artwork). • B. 76, Christ Presented to the People: the Oblong Plate, 1655 (see artwork). • B. 77, Christ before Pilate, 1636 (see artwork). • B. 78, The Three Crosses, 1653 (see artwork). • B. 80, The Crucifixion: Small Plate, c. 1635 (see artwork). • B. 81, The Descent from the Cross: the Second Plate, 1633 (see artwork). • B. 86, The Entombment, c. 1652-1656 (see artwork). • B. 88, Christ at Emmaus: the Smaller Plate, 1634 (see artwork). • B. 90, The Good Samaritan, 1633 (see artwork). • B. 91, The Return of the Prodigal Son, 1636 (see artwork). • B. 99, The Death of the Virgin, 1639 (see artwork). • B. 103, St. Jerome beside the pollard willow, 1648 (see artwork). • B. 104, Saint Jerome Reading in an Italian Landscape, c. 1653 (see artwork). • B. 105, St. Jerome in a Dark Chamber, 1642 (see artwork). • B. 109, Death Appearing to a Wedded Couple from an Open Grave, 1639 (see artwork). • B. 116, The Small Lion Hunt (with one lion), c. 1629 (see artwork). • B. 119, The Strolling Musicians, c. 1635 (see artwork). • B. 124, The Pancake Woman, 1635 (see artwork). • B. 128, Woman at a Door-Hatch Talking to a Man and Children, 1641 (see artwork). • B. 152, The Persian, 1632 (see artwork). • B. 164, Beggar Man and Beggar Woman Conversing, 1630 (see artwork). • B. 173, Beggar Seated Warming his Hands at a Chafing Dish, c. 1630 (see artwork). • B. 176, A Blind Hurdy-gury Player and Family Receiving Alms, 1648 (see artwork). • B. 186, Le lit à la française, 1646 (see artwork). • B. 187, The Monk in the Cornfield, c. 1646 (see artwork). • B. 201, Diana at the Bath, c. 1631 (see artwork). • B. 202, The Woman with the Arrow, 1661 (see artwork). • B. 208, 'Six’s bridge’, 1645 (see artwork). • B. 218, Landscape with a Square Tower, 1650 (see artwork). • B. 221, Landscape with a Road beside a Canal, c. 1652 (see artwork). • B. 222, Clump of Trees with a Vista, 1652 (see artwork). • B. 228, Cottages beside a Canal, c. 1645 (see artwork). • B. 264, Jan Antonides van der Linden, 1665 (see artwork). • B. 266, Jan Cornelis Sylvius, Preacher, 1633 (see artwork). • B. 268, Young Man in a Velvet Cap, 1637 (see artwork). • B. 271, Portrait of Cornelis Claesz. Anslo, 1641 (see artwork). • B. 272, Clement de Jonghe, Printseller, 1651 (see artwork). • B. 273, Abraham Francen, apothecary, c. 1657 (see artwork). • B. 278, Portrait of Dr. Ephraïm Bueno (1599-1665), 1647 (see artwork). • B. 280, Jan Cornelis Sylvius, preacher, 1646 (see artwork). • B. 281, Jan Wtenbogaert, 1639 (see artwork). • B. 285, Portrait of Jan Six (1618-1700), 1647 (see artwork). • B. 286, The First Oriental Head, 1635 (see artwork). • B. 318, Philosopher with hourglass, n. d. (see artwork). • B. 320, Self-portrait in a cap, with eyes wide open, 1630 (see artwork). • B. 340, The Great Jewish Bride, 1635 (see artwork). • B. 342, The Little Jewish Bride (Saskia in Sainte Catherine), 1638 (see artwork). • B. 345, A Woman, Reading, 1634 (see artwork). • B. 349, The Artist’s Mother with Her Hand on Her Chest: Small Bust, 1631 (see artwork). • B. 365, Studies of the Head of Saskia and Others, 1636 (see artwork). • B. 366, Sheet of studies of men’s heads, c. 1630-1631 (see artwork). • B. 367,Three Heads of Women, One Lightly Etched (Saskia), c. 1635-1639 (see artwork). • B. 374, Three Studies of Old Men’s Heads, c. 1630 (see artwork). • B. 398, The Circumcision of Christ, c. 1626 (see artwork). == References ==