“THE RINGBALL OR KOLF PLAYER”, 1654 (‘HET KLOSBAANTJE’)
Etching: 9,5 x 14,3 cm, with narrow margins, signed and dated lower left: ‘Rembrandt f. 1654’ Bartsch 125; Hind 272; New Hollstein 282: first state (of two).
“THE VIRGIN AND THE CHILD WITH THE CAT AND THE SNAKE”, 1654
Etching: 9,6 x 14,6 cm; with watermark: Foolscap with a 7-pointed collar (Hinterding. P. 142) signed and dated: ‘Rembrandt f. 1654’ Bartsch 63; New Hollstein 278: first state (of IV); plate in existence at the Victoria & Albert Museum London (inv. E.655-1993).
“CANAL WITH A LARGE BOAT AND A BRIDGE”, 1650 (‘Het Schuytje op de voorgrond’)
Etching: 8,3 x 10,8 cm, with narrow margins, signed and dated lower left: ‘Rembrandt. f. 1650’ (d and 6 in reverse) Bartsch 236; New Hollstein 252: second state (of II); Nowell Usticke: R+.
“THE QUACKSALVER”, 1635
Etching: 7,8 x 3,6 cm, with small margins; signed and dated lower centre: ‘Rembrandt. f. 1635’ Bartsch129; New Hollstein145: first and only state; Nowell-Usticke RR: “A very scarce, desirable little print”
“CHRIST AT EMMAUS: THE SMALLER PLATE”, 1634 [Luke 24: 13 - 31]
Etching and drypoint: 10,7 x 7,9 cm, with small to thread margins; signed and dated lower centre: ‘Rembrandt. f. 1634’ Bartsch 88; New Hollstein 129: first and only state; Nowell-Usticke R+
“FLIGHT INTO EGYPT: CROSSING A BROOK”, 1654 [Matthew 2: 14 - 15]
Etching, engraving and drypoint: 10,3 x 15,3 cm, with small margins; signed and dated lower left: ‘Rembrandt. f. 1654’ Bartsch 55; New Hollstein: first and only state.
“LANDSCAPE WITH A COTTAGE AND A LARGE TREE”, 1641
Etching: 12,7 cm x 32 cm, with complete 2 mm margins; signed and dated lower right: Rembrandt f. 1641; watermark: Strasbourg Lily (Ash and Fletcher v36 B.d -1641), consistent with those only found in the earliest impressions. Bartsch 226; New Hollstein 198: only state; Nowell-Usticke (1967): R-
“THE CIRCUMCISION IN THE STABLE”, 1654
Etching: 9,4 x 14,4 cm, with small margins; signed and dated upper left: ‘Rembrandt. f. 1654’ (d reversed), as well as centre left: ‘Rembrandt | f 1654’ Bartsch 47; New Hollstein 280: first state (of II).
“THE PANCAKE WOMAN”
etching: 109 x 77 mm; with good margins on three sides and a thread margin at the bottom; signed and dated: Rembrandt f. 1635 Bartsch 124; New Hollstein 144: second state (of VII).
“TIS VINICH KOUT’’ (a) ‘‘DATS NIET’’ (b)
a) titled, signed and dated: Rembrandt f 1634; 11,2 x 4,3 cm; b) titled, signed and dated: Rembran(dt) f 163(4): 11,2 x 3,9 cm; both complete with borderline, trimmed along the plate edges.
a) Bartsch 177; New Hollstein 131: only state;
b. Bartsch 178; New Hollstein 132: only state; Nowell-Usticke (1967): RR
“BEGGAR SEATED WARMING HIS HANDS ON A CHAFING DISH”, 1630
Etching and drypoint: 77 x 46 mm, trimmed to the platemark; Bartsch 173; New Hollstein 44: second state (of II); Nowell-Usticke (1967): R+
“SELF-PORTRAIT IN A CAP AND SCARF WITH THE FACE DARK: BUST”, 1633
Etching 16 x 13,1 cm, with wide margins; signed and dated lower centre: Rembrandt f. 1633; Bartsch 17; New Hollstein 120: second state (of V).
“THE TRIUMPH OF MORDECAI”, 1641
Etching and drypoint: 17,4 x 21,3 cm, signed and dated ‘Rembrandt f. 1635’; Bartsch 40; New Hollstein 185: third state (of IV); with watermark: Strasbourg Lily C-zz.; (E. Hinterding p. 207)
“JAN UYTENBOGAERT, PREACHER OF THE REMONSTRANTS’’, 1635
Etching: 25 x 18,7 cm, with wide margins; signed and dated: ‘Rembrandt f. & 1635’; double-headed Eagle watermark (Ash & Fletcher 15 C.a); Bartsch 279; New Hollstein 153: fourth state (of 9).
“CHRIST DRIVING THE MONEY CHANGERS FROM THE TEMPLE”, 1635
Etching with touches of drypoint: 13,6 x 16,8 cm; signed and dated lower right: ‘Rembrandt f. 1635’; Bartsch 69; New Hollstein 139: first state (of IV).
etching and drypoint: 111 x 84 mm; with wide margins all around; signed and dated: Rembrandt f. 165. (possibly 1652); Bartsch 75; NHD 269, first state (of III); on paper with unique watermark “Winged Eagle”.
“THE FLIGHT INTO EGYPT: A NIGHT PIECE’’, 1651
Etching and drypoint: 12,7 x 11 cm; signed and dated lower right: ‘Rembrandt f. 1651 (the 6 in reverse)’; Bartsch 53; New Hollstein 262: sixth state (of X).
Etching: 13,4 x 10,4 cm, with small to thread margins; signed and dated upper left (lightly visible): ‘Rembrandt. f. 1638’ Bartsch 20; New Hollstein 170: second state (of IV).
Etching: 140 x 125 mm, complete with borderline, trimmed along the plate edges; monogrammed and dated: RHL 1632 (the last two numbers in reverse); Bartsch 121; New Hollstein 111: third state (of III).
“THE AGONY IN THE GARDEN’’, ca. 1652
“SELF PORTRAIT IN A VELVET CAP WITH PLUME’’ ca. 1638
“THE RAT CATCHER’’, ca. 1632
“THE ADORATION OF THE SHEPHERDS: WITH THE LAMP’’, ca. 1654
Etching and burin: 10,5 x 12,9 cm, cut to the platemark; signed ‘Rembrandt. f’ Bartsch 45; New Hollstein 279: first state (of III).
“CANAL WITH AN ANGLER AND TWO SWANS’’ ca. 1650
Etching and drypoint: 8,5 x 11 cm, with narrow paper margins around the fully visible platemark; signed and dated lower left: ‘Rembrandt f. 1650’ (the d in reverse); Bartsch 235; New Hollstein 253: second and final state; Nowell-Usticke RR+
Etching and drypoint on laid paper: 12,6 x 21,4 cm; signed and dated at the lower left margin: ‘Rembrandt f. 1652’ Bartsch 65; New Hollstein 267: first state (of II, before the mezzotint revisions).
“CHRIST SEATED DISPUTING WITH THE DOCTORS”, 1652 [Luke 2: 42-51]
“THE GOOD SAMARITAN”, 1633
Etching: 26,2 x 21,3 cm, with small margins; signed and dated lower centre: ‘Rembrandt. Inventor et Feecit, 1633’; Bartsch 90; New Hollstein 116: fourth state (of IV); Nowell-Usticke R+: “A very scarce plate, seldom found in fine condition”.
