FROM THE LIBRARY OF 
 C. H. StJ. HORNBY 
 CHANTMARLE, DORSET 
 
 AS 
 
- /3.l< 
 
 
 
 ■1 
 
 iWMrii 
 
 
Digitized by the Internet Archive 
 in 2016 with funding from 
 Getty Research Institute 
 
 https://archive.org/details/catalogueofmezzoOOchar 
 
A CATALOGUE OF 
 THE MEZZOTINTS 
 
 AFTER, OR SAID TO BE AFTER, 
 
 REMBRANDT 
 
¥ 
 
 
 
 
A CATALOGUE OF 
 THE MEZZOTINTS 
 
 AFTER, OR SAID TO BE AFTER, 
 
 REMBRANDT 
 
 COMPILED BY 
 
 JOHN CHARRINGTON 
 
 HON. KEEPER OF THE PRINTS 
 AT THE FITZWILLIAM MUSEUM 
 
 CAMBRIDGE 
 
 PRINTED AT THE UNIVERSITY PRESS 
 1923 
 
ABBREVIATIONS 
 
 A.W. 
 
 Bode 
 
 B.M. 
 
 F. M. 
 
 G. G. 
 
 H. de G. 
 
 H. P. H. 
 
 H. W. B. 
 
 J.C. 
 
 J.C.S. 
 
 J.F. 
 
 J.P.H. 
 
 Klass; der Kunst 
 
 Alfred Whitman. 
 
 “Valentine Green.” London, 1902. 
 
 “Samuel William Reynolds.” London, 1903. 
 
 “Charles Turner.” London, 1907. 
 
 Wilhelm Bode and C. Hofstede de Groot. 
 
 “Rembrandt.” 8 vols. Paris, 1896—1906. 
 
 British Museum. Department of Prints & Drawings. 
 Fitzwilliam Museum, Cambridge. 
 
 Gordon Goodwin. 
 
 “James McArdell.” London, 1903. 
 
 “Thomas & James Watson.” London, 1904. 
 
 C. Hofstede de Groot. 
 
 “Catalogue Raisonne of the works of Rembrandt.” Lon- 
 don, 1916. 
 
 Mr H. Percy Horne. 
 
 the late Mr H. W. Bruton. 
 
 the compiler’s own collection. 
 
 John Chaloner Smith. 
 
 “British Mezzotinto Portraits.” 4 vols. London, 1883. 
 Mrs Julia Frankau. 
 
 “William Ward, A.R A., & James Ward, R.A.” London, 
 1904. 
 
 Mr John P. Heseltine. 
 
 “Rembrandt. Des Meisters Gemalde.” 3rd ed. (W. R. 
 Valentiner.) Stuttgart, 1909. 
 
VI 
 
 ABBREVIATIONS 
 
 Wess: = J. E. Wessely. 
 
 “Richard Earlom.” Hamburg, 1886. 
 
 “Jacob Gole.” Hamburg, 1889. 
 
 “Wallerant Vaillant.” Vienna, 1881. 
 
 Wurzbach = Dr Alfred von Wurzbach. 
 
 “Niederlandisches Kunsder-Lexikon.” Vienna, 1910. 
 
 The measurements are given in millimetres. H. 350. Sub: 300. W. 400. 
 Sub: 370 means that the height of the p/ate is 350 mm., the height of the 
 subject is 300 mm., the width of the p/ate is 400 mm., and the width of the 
 subject is 370 mm. In the large majority of cases the plate is engraved through- 
 out its full width, so that the width of the subject is not given separately. 
 
 In the descriptions of the subjects the expressions “to right” and “to left” 
 mean “to the spectator's right,” or “left hand,” respectively. 
 
INDEX 
 
 Vll 
 
 a 
 
 U 
 
 
 M 
 
 13 .B- 
 
 gi .. |a^ 
 
 i-Aco O <! P< O ►A 
 
 a „ 
 
 2 a t< 
 
 33^ 
 ►2 -S "o 
 
 a 
 
 o 
 
 a 
 
 C 
 
 h-l 
 
 G fl Ij S eo 
 
 § o s 2 antr h 
 
 ^ C <” ‘.:3 Ci< JJ 
 
 ;2 3 3 o 3 GO 
 
 §c2 
 
 "P •*-' C3 
 
 I g 2 o . 
 
 ^3 3 S ^ 
 
 ._ Rl r\ ^ 
 
 . . . S3 ^ ® - • . . 
 
 h W u Pi o <! 1-^ Pi Pi c2 
 
 
 TO O 
 
 >X> 
 
 </j 
 
 o 
 
 a 
 
 CO 
 
 O 
 
 I II ico,^ I I 
 
 U 
 
 U 
 
 U 
 
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 d 
 
 g: CO 
 
 ^d' 
 
 u 
 
 di I I I 
 
 O 
 
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 "T3 
 
 V^CnOO On'OOO t«st>.'^00 00'O 
 N ooot^o VOVOVO 
 
 ^ M N VO M W 00 
 
 N N CO O O I 
 M vnvo CO 
 
 N CO ' 
 
 On CO 
 
 C< 00 VO 
 
 o Ti- « 
 a G 
 
 </) M H 
 <^ W = 
 
 3‘^w 
 
 5S ^ «c ^ ^ 
 
 coovoOcJvnvoM iVO'O'^ 
 VOt^Mts.Ot^OOC 4 Vi^Vy^Os 
 COMVOMVy-^CON’^' 
 
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 oo Vy-> Tt- 
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 M M ^ I 
 
 VO Vy-i CO 
 
 C4 C» M ' 
 
 OS 0\ 
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 TJ 
 
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 N j>. 00 r>. so 00 VO tJ- 
 OsOOOcJ'-'mOs 
 NC^C^NVO^COCO 
 
 o . 
 
 ^ Dh 
 
 fs. Os vovo VO 00 
 
 O o VO r>* VO 
 
 N CO N C< M 
 
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 XI .£5 ^ ^ <1 
 
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 X 
 
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 fl : : : : : G 
 
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 ,S.8hh(i^^ 
 
 H C CO OT w 
 
 G cd cci TO 
 
 E E 
 
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 PQ W PQ : 
 
 ;pp 
 
 3 3 3 3 
 
 PQ PQ PQ PQ 
 
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 : -c 
 
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 ^ *C *C 'C 
 
 XXX 
 
 UUU 
 
Vlll 
 
 INDEX 
 
 6D 
 
 C 
 
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 PQ rt T3 
 
 
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 5^.y a 
 
 ■ < 
 
 c ft .5 a 
 
 OOP- I 
 
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 o«uq>H:i«cg^ 
 
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 <^i 
 
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 u 
 
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 ^ 1 
 
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 1 •"?co 
 
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 VO VO N M i 
 
 I M M CO M 
 
 VO M N N ^ M Vn 
 
 "•Jt* On 
 
 VO VO VO t>. VO 
 
 N VO 
 VO ^ VO 
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 • o 
 
 Cft c "■• 
 
 2 
 
 -s § 
 
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 t>» to M 
 
 I I r^ O O 00 
 
 « ' tr> tn CO N 
 
 ^ ^ ^ ^ VO O On I 
 rs. XT) vri to M 00 M 
 N N N N N N M • 
 
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 -t3 
 
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 PQ 
 
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 I I X -** O 
 
 •a W cn to 
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 Os to to to r". O CO > 
 to N to to 
 
 NNNC^Ndw^" 
 
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 On 
 Tt- I 
 
 N I 
 
 
 •3 
 
 P 
 
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 ^ Q 
 
 Q a> 
 
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 pjo .S 
 
 G X3 
 
 ■•3 2 
 
 3 
 
 0< .2 
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 4) JJ 
 
 ffiffiW 
 
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 ,S2 .22 .52 
 
 *C *C *n o 
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 < 2 
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 5 ^ : 
 
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 4) ^ 
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 UU: 
 
 G G G 
 G G G 
 
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 6 ft' .C 
 
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 3 Q S 
 
 rpPQPQ: P 
 
 G 
 
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 c/5 
 
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 4) 4) 4) 
 
 ,EKK. 
 
 4) 4) 4) 
 
 E E E‘ 
 
 ' o o o 
 
 OOP 
 
 W 
 
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 .22 H 
 
 -w 
 
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 4) «/3 
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INDEX 
 
 IX 
 
 
 (h 
 
 3 
 
 J3 
 
 CO 
 
 G 
 
 fa O t ■ 
 1 
 
 ’Eh 
 
 C/D 
 
 
 
 a flj 
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 c3 t! a-fi, &• S a JS 
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 u. o 
 
 SoS*^m'->Q^.S 
 
 ^ >^pd P^ cj 
 
 C G 
 
 s s ^ 
 
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 ® 8 -3 P 
 
 § I 
 
 u, u 
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 1-^ Q^ffiOn's^^^O ,^^^ 0 hc/ 3 *^ 
 
 P^ 
 
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 CO 
 
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 1 1 1 1 C/D 
 
 • 1 
 
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 d 
 
 
 ' ' ' 'u 
 
 ' o 
 
 
 H-O 
 
 
 
 d 
 
 On 
 
 VO 
 
 C/3 
 
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 C/D 
 
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 Ti- M 
 
 1 
 
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 1 y 
 
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 VO* 
 
 Dh S 
 
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 N VO 
 VO 
 
 VOt^^CJNNiM 00 
 
 vovoo^'i""^'^ On 
 
 M M fovo VO VO ' •-< 
 
 Ov On m vnvo \0 VO VO VO VO VO 
 
 to Ov Ov d 
 
 VO corj-forotocotototo 
 
 
 
 
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 00 ^ ^ ^ 
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 vn r* N 
 
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 N I VO Vy^cC 00 oo 00 oo 00 oo 
 
 lA * f^COWMMWMMM 
 
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 F-t ^ to Vo . 
 
 o . o • 
 
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 M vv x/^ vv I o 
 
 •5 to ^N. %n CO 
 
 N N N ' N w 
 
 I I 
 
 *> I 
 
 X I 
 
 ^ tl Ov Ov Ov Ov Ov Ov Ov 
 00 OvOvOvOvOvOsOvOv 
 
 tONMMMMMMHH 
 
 ‘-^ s 
 
 <U (ii 
 
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 bo bo 
 
 m cTj 
 
 0) 
 
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 *03 (/) 
 
 a “ 
 
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 flj fe 
 
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 fc'^.S 
 
 ■-« eo 
 
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 ffi ffi K 
 
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 G rt 
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 XX 
 
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 UUU 
 
 13 -O ^ 
 
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 :lB 15aIBIjQlololE 
 
 ^cdtdfdrtcdcdfdcd 
 
 ^ Pi pti PC pc, pi, p£, 
 
 Ov 
 
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 INDEX 
 
tv. VO M 
 
 I CO . CO CO C/j 1 ^ 
 
 ' d^udu 'do 
 
 tv 
 
 CO 
 
 U 
 
 tv 
 
 ro 
 
 1 ^- 
 
 <5 
 
 I 'OOOOOVOVOOOOOvo VO 
 
 ^vo VO ^Tf“cnO rt 4 ) ^ 
 I ts..MMtv.tvtvN .-gtv 
 
 dt a 
 
 Os ro 
 Cvvo 
 
 tv 
 
 ^vo VO ^ ^00 Vo j ^ 
 
 tvtOVotvtvOtv tv 
 
 Nrj-Tj-NNNC^* N 
 
 Vo 
 
 to 
 
 Osoo 00 Ov Ov 
 vs o O VO VO 
 M VO VO N N 
 
 bo 
 
 Os 
 
 Vo 
 
 N 
 
 VO 
 
 VO 
 
 ro 
 
 < <; • 
 
 ^ <3 
 
 ^ S »%•»*''' 
 
 C tuo^ rs •*-* p 
 3 G e .2 h 
 u "O ^ Oh w 
 cd cd c< ed 
 ^ ^ ^ ^ ^ X 
 
 ■g'g'g'g’g 
 
 a e a s d a 
 
 ed cd <d cd <d «d 
 
 :h 
 
 ^ 2 S 
 
 G ™ *5 
 
 ed 5 «J 
 
 §: S 
 
 MNNONt?tvtvtv pj OsN 
 
 VO tv 00 to tv tv SO O tv VOtv 
 
 INDEX 
 
 XI 
 
 ^ M 
 
 ^ . 
 
 3 S-'^ ^ 
 
 2 a; O o ^ 
 
 <d .J ±5 t/i & /W 
 
 ^ S! ^ fv ^ 
 
 u 
 
 -o 
 
 “ ^ 
 
 W T 3 
 
 C^_ W 
 o ^ ^ ' 
 ° 0-3 "" 
 
 3 K K S 3 I 
 
 p < ^3 P 
 
 a 
 
 ed 
 
 =a 
 
 PEd' 
 
 ei d iPc/o pi CM 
 
 CM 
 
 1 >^=3 
 
 3 <3 J 3 ^ 3 
 d P5 C/3 
 
 ° g 
 
 
 u 
 
 Os O 
 
 u 
 
 C/D 
 
 d 
 
 CO g 
 
 ^ 5 : 
 
 Cm 
 
 "? I 
 U ' 
 
 I i 
 
 N N I 
 00 tv 
 
 ■<t- to ' 
 
 O roso oc 00 00 W 
 00 Vo O Os Os N 
 
 tv T^- 00 r< N to 
 
 so ^ tv N CO 
 
 Os M N OV t^ to 
 
 d *-« CO N N N 
 
 <) -O 
 
 tv VO 
 N M 
 
 Vo M 
 
 
 VO 
 
 N 
 
 VO 
 
 tv 
 
 N 
 
 ^ ^ Vo Vo 
 
 . ^ N N 
 r}- Vs Vo 
 
 Os 
 
 N 
 
 
 WOO' 
 
 O N tv I 
 to to CO I 
 
 Os O »-» N N 
 to o 00 N N 
 
 CO to CO M M 
 
 c 
 
 < 
 
 c : : 
 
 cd 
 
 e 3 3 
 
 O ^ 
 »3 G G 
 
 ^ cd fd 
 
 £ S B 
 
 T3 "O -Q 
 
 OOO 
 
 'O 
 
 : G 
 
 • cd 
 
 ^ -TH 
 
 <1 
 
 • 1 / 
 ; ®^ja 
 ■ O „ 
 
 1 2 
 
 “T3 .5 
 
 *> 'S 
 
 <• 5^3 
 
 ggl< 
 
 E S E.J 
 
 . cd 
 
 "G "O *o ,£; 
 
 OOO 
 
 G 
 
 ”G 
 
 !3 
 
 flj • 
 
 -Q : 
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 €d 5 
 
 .« '' 
 
 ^ g 
 
 g I 
 
 s &= 
 
 "0 TJ 
 
 oo 
 
 
 n o "o 
 
 C< c 2 c 2 O 
 t; n! 3 
 bx) fcuD 
 
 5jD C G bjO 
 
 S ^ .S 
 
 5 H 
 
 »3 p 3 .3 ^ 
 
 3 " 2 ? O 
 
 (J Ch CU Vi| 
 
 G G G G 
 (d cd cd cd 
 
 E E g S 
 o o o o 
 ^ ^ ^ ^ 
 -d -d Td T? 
 
 OOOO 
 
 h 
 
 bjQ 
 
 G 
 
 ‘rH 
 
 bjo 
 
 .hh 
 
 • : a. Oi 
 
 E S 
 
 B 
 
 G G 
 
 .3 .3 
 
 ’tj C tj fc» 
 
 • 3 ^ 1 ) O 
 O JS ^ ^ 
 ^ CU Cl. &. 
 3 g g S 
 
 g ^ ^ 
 
 S IS la 
 
 CM CM CM &< 
 
Xll 
 
 INDEX 
 
 Cuo 
 
 c 
 
 u C 
 
 a; o 
 
 ^ C/5 ' 
 
 
 >iy - 
 
 ^ I 
 
 
 
 >> 
 
 0/ 
 
 a 
 
 a 
 
 
 a 
 
 u 
 
 =1 ® rs -■' 
 ’3 S 42 l3 
 CSi* nffi.H 
 
 .•3 -T3 cB rs d3 
 42 ’<3 S B B 
 
 X ^ 
 C/3 W 
 
 O 
 
 0,^0 . 
 
 d w d M < 
 
 dp< 
 
 >■ 
 
 
 
 
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 O g gj - 43 
 “1 .O H cj 
 
 : fn U 
 
 c/3 
 
 o 
 
 C/5 
 
 u 
 
 I I 
 
 u 
 
 iU 
 
 <i 
 
 I 1 ^ I 
 
 o>-^ 
 
 I-A< 
 
 CO 
 
 u 
 
 o 
 
 ^ ^ ^ 
 eo CO CO 
 N N N 
 
 tN. N VO N 
 On Os ^ 00 
 
 CO CO ^ 
 
 I I I I 
 
 ^ IJOVO 00 00 00 c< ^ 
 ^^C 4 CO CO CO CC CO 
 XOVO^V^V^VNVOVN 
 
 CO *H fl 
 
 rt « ^ 
 
 a-°w 
 
 -C <5 « 
 
 M l^t«s.tV.fs.M N On 
 ’4* On 
 
 XO VN trv to CO 
 
 MMM I Mtv.t-s.t-s.fs. 
 
 I-IMM MC4NNN 
 
 MMM ' Mtotototo 
 
 OOO-^t^i 1 I |Onc^vo 90000 ® 0<^0 
 
 OO^fsM I tocOrfOT^^^^to 
 
 M^t-Jto' ' ' 'cJ M-MMMMMM 
 
 A 
 
 "T3 
 
 o 
 
 « 
 
 M 
 
 2 ^^ 
 
 ^ NO NO I 
 **• X Tj- CO 
 
 *? M 
 
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 UONONmi I I iNVOt^t^OOONrJ- 
 O'OtoQ 00MVONOtv.fstv.fsfs 
 
 ' ' 'Pt MMMMMMM 
 
 ’ZJ 
 
 h 
 
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 : J= 
 
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 hhh<Jh 
 
 >v >v {>> n H 
 
 - 0 " 0 “aoo 2 JS:>Sj : : 
 
 3 3 2 -3 -S pfi fC ffi 03 • • 
 Mw <2 2 2 Hhhg 
 cu Dh Ds “0 3 ! c? o' 
 
 V J3 o'- c d 
 
 .s.s.s.s.sdddN^^ 
 
 oa)o;aja)a/a)va>c 4 ^(^ 
 42X43434343X4:43 O O 
 
 CLiCl, 0 .iD-iDhCl,CLi 0 hCL| 4 _; ^ 
 000000000 *: 3-3 
 
 b b 
 
 X X X X X X X X *x o o 
 CU 0 hCL< 0 hCL^D-( 0 hPhD-(CIhPh 
 
 : X 
 
 i'^ 
 
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 bo^ 
 d 0) 
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 I>^.s 
 
 C4-. O 
 
 o -3 
 
 O K 
 CL, ^ 
 
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 Oh 
 
 3 
 
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 3 . h o « ^ . 
 
 B j= -e 3 
 
 2 ^ H H LJ , 
 
 ^ 5 bjD Q 
 
 S § 3 CO coM 
 
 C rt 3 3 .H 
 
 ■g,Q !3 ^ - 
 
 ^ ,2P H. N N • 
 
 : 
 
 O be 
 
 • r. ® 
 
 ' S 3 
 
 -a 
 
 <<f 
 
 XXX 
 
 XXX 
 
 ^ 
 
 ‘^^'5^3.3 s 
 
 •• 4 ' Xm Xm Xm C 
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 13 bjD ho tkc’S 
 bC.M iF? T~! 
 
 Vi V> W sQJ 
 
 ^ P^ 
 
 : P^ P^ P< : 
 
 c 
 
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 .... cQc^cctctfcQcOcQ 
 
 G -S 
 bX) C 
 
 0> QJ 
 
 P^ P< 
 
 X X X X X X X 
 
 B B B B B B B 
 
 ^ D 4) (y 4) 
 
 Ct; Pi p:^ PC Pi 
 
INDEX 
 
 Xlll 
 
 o 
 
 e 
 
 3 S! w 
 
 t-i 
 
 
 3 
 
 O 
 
 >-1 
 
 
 
 3 "d 
 
 H-l S 
 
 d . 
 
 .r 
 
 rt O T 3 T 3 Q J 3 =S 
 .S a H ^ ^ 
 
 , W ^ Oj TO TO g - 1 ^ 
 
 S -O^:^ s 
 
 .o . •3ci;o,HO«dt;^t“c'5;: .53c 
 
 fc>-lMOW.O'^>HǤHho^^WPQo 
 
 LC^S^ 
 . c« 
 
 i § 
 
 "* ci 
 
 T3 
 
 043 
 
 i'i 
 
 gfc 
 
 5l <3 
 tS 2 
 
 ӣ1, &| 
 
 ^ „ £? S s •• 
 
 u^cB« §«5s § 
 
 2 
 
 "o 
 
 a 
 
 >> 
 
 dn 
 
 -rt ^ J2 
 
 ;5 a o 
 
 PQ*a c 
 
 Oj *3 
 
 |l -2 
 
 h 4 ,hAhA^ i-^o i-:.b? < d u < Q o <3 d S h 4 ,b 5 h <! d pi hA <3 d d eC «5 
 
 I e 
 
 ' rj 
 
 CO 
 
 U 
 
 CO 
 
 I Jl 
 
 > u 
 
 “ I I 
 u ' ' 
 
 ^d 
 
 o 
 
 I 
 
 fo ' 
 t>. 
 
 M 
 
 di 
 
 I ?? I 
 
 < 
 
 <i 
 
 o o 0^0 ^ n m o\ o o\ 
 
 t«>t^v-><^v=^c^rov^'o v<-^\o Jt^ ^ 
 
 I f^vo N ^ O 
 
 «N 0^ '^'O 
 
 I VO Ov^ <TitN.ro 
 
 I N N rJ [ , 
 
 Tf-Tt-rt* 
 
 I VO VO VO • • 
 
 r* r* r» 
 
 tn ly-j to 
 
 Ov Ov ON 
 
 tN tN N tN Q\ 00 M 
 
 rf-'^rJ'tNMMOsO _ _ 
 
 N< M N N cocoro-^^^^^^ 
 
 ro »0 v^oo On • i 
 Q Q Q r^. N I I 
 
 I '+'1 N-^^OVO I I 
 
 <0 'O VN to 
 
 ' M ' N <:*• VO ' * N N N 
 
 ro ro r-^ 
 
 M M M 
 
 CO CO ro 
 
 vovo'O Onmoo tNO O ■«t’VO I 
 
 O O VO vovo rj*N focorocoo O 
 N n N N n m^^-^^-^vovovo' 
 
 I I 00 I o O 
 
 I I :r I « 
 
 On Vo On VO i i 
 rNVO On 
 rJ «+• ^+* ' I 
 
 VO VO VTN > ^ > 'g. 
 tN tN tN . ^ ^ 
 
 o • o • 
 
 > > CL, 
 
 Vo Vo Vo 
 ^ ^ 
 to CO CO 
 
 ::::::::::::::: :.SP : : : : 
 
 'rt 
 
 S 
 
 2 g CO CO § ^ 
 
 I “K ' 'o »^ .J3 ^ IM fcH 
 
 -d-d 3 . .2 . ... .asa 
 
 -S-rt!^^^-d >ortSi> ?C'-. s a a y V 
 
 S 9 hft-d So rt .S3 
 
 *3 *3 O*-* «JtebjDrt34^<y’S<i>4)DocdfiS C 
 
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J.C.S. 69 
 
 INDEX 
 
 XV 
 
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CATALOGUE 
 
 I 
 
 Bode 170. Klass: der Kunst 1481^. 
 
 REMBRANDT. T. Aloisio 
 
 (or Aloysio). 
 
 Bust, directed to left, looking to front. Loose cap; long hair; steel 
 gorget with small white ruff; cloak over left shoulder, fastened by 
 chain over right shoulder. 
 
 Without any inscription. 
 
 H. 293. Sub: 136. W. 227. Sub; 113. 
 See also N“ 169 & 186. 
 
 B.M. 
 
 C 
 
 I 
 
2 
 
 ANON: 
 
 2 
 
 H. de G. 4 . 
 
 “AN AMORIST AGED.” Anon: 
 
 [Lot and his daughters] 
 
 Man in a turban and furred coat; beard, &c.; seated at a table on 
 which are a wine flagon, a knife, fruit in a dish, and a table-cloth 
 (pushed to one side). His right arm is round the neck of a woman 
 who hands him a cup with her right hand, while her left hand 
 caresses his chin. Behind him, with her left hand on his shoulder, 
 is another woman. 
 
 H. 280. Sub: 250. W. 210. 
 
 Inscribed in engraved lettering: — Rembrand pinx. 
 
 An Amorist aged. 
 
 F.M. 
 
 J.C. 
 
 Wessely [“G. F. Schmidt,” Hamburg 1887, p. 67] says 
 that this is “Lot and his Daughters” by Haid; copied from 
 Schmidt’s etching after Rembrandt. 
 
A N O N : 
 
 3 
 
 3 
 
 ? Bode, vol. VII. p. 155 I. 
 
 THE BAPTISM OF THE EUNUCH. Anon: 
 
 The Eunuch (facing to left) kneels in centre of foreground, by 
 the side of a river. Philip stands behind him, holding a large book 
 under his left arm. Behind, on a slight rise in the ground, a group 
 round a chariot; horseman carrying a spear over his left shoulder, 
 in front; armed men and servants, behind. Large-foliaged plants 
 very prominent. Trees to right. 
 
 H. 587. W. 487. 
 
 Printed as heading to a list of “Theses Logicas,” dedicated 
 “Serenissimo Principi ac Domino D. Francisco Alexandro- 
 Principi Nassoviae” &c. &c. by Franciscus Wilhelmus An- 
 tonins L. B. de Riedt. [The inscription printed with type] 
 
 B.M. 
 
 1-2 
 
4 
 
 ANON: 
 
 HEAD OF CHRIST. Anon: 
 
 Directed to front, looking slightly to right. Long hair, halo, beard 
 and slight moustache. 
 
 H. 172. Sub: 167. W. 159. 
 
 Inscribed: — Rembrant pinx. 
 
 [An early, coarse mezzotint; probably foreign, and by the 
 same hand as the “Head of St John” N? 176.] 
 
 See N? 58. 
 
 5 
 
 Bode 5 1 4. Klass: der Kunst 505. 
 
 A COOK AT A WINDOW, WITH A ROSE-BUD IN HER 
 RIGHT HAND. Anon: 
 
 Half-length, a woman leaning both fore-arms on a cushion which 
 lies on a window-sill. Directed to front, looking to left. Hair 
 brushed tightly back. White bodice with black one over it fastened 
 over shoulders with straps. Right hand holds a rose-bud. 
 
 H. 353. Sub: 302. W. 250. 
 
 Without any inscription. B.M. 
 
 H.W.B. 
 
 [The original picture is at Petworth.] 
 
 Mt B. Houthakker of Amsterdam says that this engraving 
 is by Bierweiler (= Alefounder). 
 
ANON: 
 
 5 
 
 6 
 
 Bode 292. Klass: der Kunst 353 H. de G. 425. 
 
 A JEW RABBI. Anon: 
 
 Half-length, directed to front, head turned slightly to right, looking 
 to front. An elderly man in a wide velvet cap; cloak held up in 
 front by right hand, left hand concealed in the folds. A jewelled 
 clasp across chest. Full, curly grey beard and moustache. 
 
 H. 330. Sub: (about) 300. W. 227. 
 
 Without any inscription. 
 
 Inscription space uncleaned. 
 
 B.M. 
 
 y.c. 
 
 This is almost certainly the portrait of “Abrabanel, Isaac. 
 Rabbi” mentioned in Chaloner Smith (vol. iv. p. 1759) and 
 there said to be “attributed to Dixon”. On both of the 
 impressions noted above (the only ones seen) the name 
 “Isaac Abrabanel” is written in pencil, and on the second 
 is also written “J. Dixon”. 
 
6 
 
 ANON; 
 
 7 
 
 From Bode 225. Klass: der Kunst p. 208. 
 
 MAN WITFI CLOSE-CUT HAIR & A LARGE RUFF. 
 
 Anon: 
 
 Bust, directed to left, looking to front. Close-cut hair, moustache, 
 and pointed beard. White ruff. Close-fitting coat. 
 
 H. } Sub: 245. W. 203. 
 impression is cut close; to edge of work.) 
 
 J.C. 
 
 B. Houthakker of Amsterdam says that this engraving 
 is by P. Louw. 
 
 Hind 170. 
 
 8 
 
 AN OLD MAN WITH A DIVIDED FUR CAP. 
 
 Anon: 
 
 Directed to front, looking to right. Large beard. Big fur cap, 
 divided in the middle; fur coat, open in front. In the work, at top, 
 to left: — Rembrandt 1640. 
 
 H. 149. W. 137. 
 
 FM. 
 
 J.C. 
 
 This is the third, and last state of the etching by Rembrandt, 
 Bartsch, 265; Middleton, 145; Dutuit, 280; Rovinski, 265. 
 Probably the mezzotinting was added by Capt? Baillie. 
 
ANON: 
 
 7 
 
 9 
 
 ST PETER. Anon: 
 
 In the catalogue of the Paignon-Dijonval Collection N° 4729 is 
 thus described : — Pierre tenant le poisson dans lequel on a trouve 
 le denier: fig. a mi corps; mezzotint en hauteur; epreuve avant la 
 lettre : sans nom de graveur. 
 
 Not seen. 
 
 10 
 
 ? Suggested by Bode 434. 
 
 REMBRANDT . Anon: 
 
 [? by P. Louw.] 
 
 Bust, directed to left, looking to front; light-coloured cap; coat 
 open at neck; slight moustache. 
 
 H. 280. Sub: 261. W. 203. 
 
 Without any inscription. Inscription space uncleaned. 
 
 B.M. 
 
 At a sale in Vienna, June 1888, lot 3 is thus described: — 
 Brustbild Rembrandt’s mit Barett und Roller. Geschabt in 
 der Art des A. Blooteling. Very probably that print was 
 the one described above. 
 
8 
 
 A N O N ; 
 
 II 
 
 ? Klass: der Kunst 2 ga. Bode 546 (or a variant of it). 
 
 REMBRANDT. Anon: 
 
 Head, directed to right, looking to front; thick curling hair. Velvet 
 cap. Slight moustache, lips open; cloth round neck. Engraved 
 frame. 
 
 H. 550. Sub: 473. W. 393. 
 
 Without any inscription. 
 
 Messrs : E. Parsons Sons. 
 
 Very probably this is the same mezzotint as that by Louis 
 Bernard described below, N° 28, from the catalogue of a 
 sale in Vienna in June 1888. 
 
 12 
 
 REMBRANDT’S FATHER. Anon: 
 
 y.C.S. p. 1743, N° 132. 
 
 Full half-length, seated, with stick in right hand. An old man, 
 directed to, and looking to right; large flat velvet cap; long white 
 hair and beard; furred cloak. 
 
 H.(?) 357 * Sub:(?)3i2. W. (.?) 258- 
 
ANON: 
 
 9 
 
 Inscribed in engraved lettering: — Rembrandt’s Father. 
 Printed for Tho» Bowles in S‘ Pauls Church Yard, and John 
 Bowles & Son, at the Black Horse in Cornhill. 
 
 M'. A. C. Norman, 
 (impression cut down) 
 
 J. C. S. gives the measurements thus : — H. 14J (= 359 mm.). 
 Sub: I2| (=315 mm.). W. loj (=260 mm.). 
 
 13 
 
 Bode^ vol. VII. p. I 2 ) 6 h. Original not known. 
 REMBRANDT’S MARRIAGE. Anon: 
 
 Interior. A man, with long, black, curling hair, kneels, facing to 
 the right, holding with his right hand the right hand of a young 
 girl who stands, facing to the front, in a black hat and feather, and 
 a long white dress. A Priest, in a turban, stands behind them, 
 holding out his right hand. A boy in the background holds the 
 Priest’s robe. Other persons to left, looking on. 
 
 H. 487. Sub; 472. W. 657. 
 
 Before any inscription. 
 
 An impression, the only one seen, was at Messrs; Doig, 
 
 Wilson, and Wheatley’s, Edinburgh, on 3i®.‘ March, 1914. 
 
 In pencil, in the margin, was written : — M?Ardell Proof. 
 
 See also N° 152. 
 
lO 
 
 ANON: 
 
 14 
 
 Bode 2 ) 9 S' Klass: der Kunst 
 
 REMBRANDT’S MOTHER. Anon: 
 
 [see J.C. S. p. 1760.] 
 
 Half-length, seated. An old woman, directed to front; cloak; large 
 hood over her head; white dress; reading a book which she holds 
 with both hands. 
 
 H. .? 150. Sub: 134. W. 1 13. 
 
 Inscribed in engraved lettering: — Rembrandt’s Mother 
 Printed for Rob‘ Sayer, at the Golden Buck, Fleet Street. 
 
 Sale in Vienna Feb: 1912. 
 Judging by the measurements it seems likely that this is a 
 late state of the mezzotint by C. Phillips of the same subject, 
 133 - 
 
 See also N? 108. 
 
 15 
 
 Bode 158. Klass: der Kunst 134. 
 
 REMBRANDT AND SASKIA. Anon: 
 
 (or The Burgomaster Pancras [.^ by David Lucas.] 
 AND HIS Wife.) 
 
 Saskia seated on right, in front of a mirror which is on a table in 
 the centre. Both hands raised to r. side of head. Rembrandt stands 
 
A N O N : 
 
 1 1 
 
 behind her, on left, in a cap with plume at back, holding necklace 
 in his hands. Curtain in background. 
 
 H. 295. Sub; 160. W. 235. Sub: 200. 
 
 I. Without any inscription. Margin (especially at top) not 
 cleaned. (Said by the late Mf E. E. Leggatt, who gave it, 
 to be by David Lucas. Bought by E. E. L. among a lot of 
 other engravings, all of which were by D. L.) 
 
 B.M. 
 
 II. Also without inscription. Much line work added on 
 curtain, table cloth, Rembrandt’s cloak, &c. 
 
 B.M. 
 
 (cut close) 
 
 16 
 
 Bode ^ 2 %. Klass: der Kunst 
 
 A SIBYL. Anon: 
 
 Fully half-length, directed to right, looking (downwards) to front. A 
 woman in a jewelled turban, holding, with both hands, an open book. 
 H. 260. W. 200. The whole plate engraved. 
 
 Without any inscription. 
 
 Messrs: E. Parsons & Sons (July 1914). 
 
 Perhaps this is the anonymous mezzotint called “Rem- 
 brandt’s Sister” (H. de G. 701). 
 
12 
 
 ANON; 
 
 H. de G. 279. 
 
 17 
 
 A SOLDIER. Anon; 
 
 “About 56 years of age, of an animated countenance, represented 
 in nearly a front view. His dress consists of a large cap decked with 
 feathers, a steel gorget over a richly- worked vest, and a large cloak; 
 a gold ornament is suspended to an antique chain in front. He 
 appears to be standing, with one hand on the top of a staff; the 
 other hand is concealed by the cloak. Engraved in mezzotinto, 
 anonymous, and again, of a smaller size. Described from the print.” 
 (y. Smithy ''^Catalogue raisonne'\ N° 456.) 
 
 Not seen. 
 
 This description corresponds very closely with the mezzo- 
 tint by J. Stolker, N° 167, below. 
 
 18 
 
 Original not known. 
 
 A YOUNG MAN IN A STEEL GORGET AND MANTLE. 
 
 Anon; 
 
 Bust, directed to right, looking slightly to right. Cap; long hair; 
 no beard or moustache. Steel gorget; cloak over shoulders, fastened 
 by a strap in front; no arms visible. To right a stone archway; on 
 the face of the wall a torn notice-paper. 
 
 H. 350. Sub; 310. W. 250. 
 
APPLETON 
 
 13 
 
 Without any inscription. 
 
 B.M. 
 
 Probably this is the mezzotint attributed to J. G. Haid in 
 the catalogue of a sale in Vienna in Feb: 1912. (Lot 1259.) 
 See N? 69. 
 
 19 
 
 Bode 165. Klass: der Kunst 1^6 a. 
 
 REMBRANDT AS AN OFFICER. T. G. Appleton. 
 
 Bust to left. Looking to front. Wide, plumed hat. Earring. 
 Armour and cloak. Moustache and Imperial. 
 
 H. 660. Sub: 600. W. 515. Sub: 460. 
 
 On India paper. Inscribed in engraved lettering : — Painted 
 BY Rem BRANT. Engraved by T. G. Appleton. 
 
 London, Published May 23^"? 1892, by Henry Graves & C° 
 the Proprietors, Publishers to H.M. the Queen and T.R.H. 
 the Prince & Princess of Wales, 6, Pall Mall, Copyright 
 Registered. U.S.A. Copyright 1892 by Henry Graves & C° 
 REMBRANT. [open capitals] Engraved from the famous 
 Picture at the Hague. 
 
 y.c. 
 
14 
 
 A Q U I L A~A RLENT-EDWARDS 
 
 20 
 
 Bode xvi. Klass: der Kunst 526. 
 
 JEREMIAS DE DEKKER. Aquila (Arend van Halen). 
 
 Half-length, in oval frame with curtain over the top, resting on a 
 console; papers to left, a harp and laurel wreath to right. Facing 
 front; large hat; full, curling hair; white collar, black cloak. 
 
 Sale in Vienna Feh: 1912. Not seen. 
 
 21 
 
 See Klass: der Kunst 525/^. Original not known. 
 
 AN OLD WOMAN PLUCKING A FOWL. 
 
 S. Arlent-Edwards. 
 
 Whole length, seated; directed slightly to left; looking down. 
 Cloak, with hood over head. Both hands on dead fowl lying in lap. 
 
 In the work, to right, at foot: — Rembrandt. 
 
 H. 401. Sub: 336. W. 305. Sub: 256. 
 
 Without any inscription. ^ ^ 
 
 This and the following number are usually printed in 
 colours. 
 
 See also N? 85. 
 
I 
 
 ARLENT-ED WARDS— BA ILLIE 15 
 
 22 
 
 Bode 150. Klass: der Kunst 127. 
 
 SASKIA. S. Arlent-Edwards. 
 
 In an engraved frame. Half-length, standing; directed to, and 
 looking to left. Wide hat with feather; long earring; ftirred cloak 
 over right shoulder, held in front by both hands. 
 
 H. 475. Sub : 407. W. 313. Sub: 262. 
 
 Without any inscription. 
 
 B.M. 
 
 This and the preceding number are usually printed in 
 colours. 
 
 23 
 
 Daulby, vol. ii. p. 294. 
 
 THE ENTOMBMENT [from a drawing]. W. Baillie. 
 
 Group of disciples, &c., in a cavern, round the body of Our Lord, 
 one holding a lighted torch. The Virgin at His feet — to right — 
 kneeling to left. In the foreground a man leaning on a staff. Mixed 
 etching and mezzotint. 
 
 Plate : H. 265. W. 328. 
 
i6 
 
 BAILLIE 
 
 Subject (inside engraved frame) H. 190. W. 254. 
 
 Inscribed in engraved lettering: — From a Capital Drawing 
 by Rembrandt, in the Collection of M.^ Hudson. Engrav’d 
 by C^ Baillie. p ^ 
 
 (two impressions — -one in colour^ 
 
 24 
 
 Daulby, vol. ii. p. 294. 
 
 L’HISTOIRE TOUCHANTE [from a drawing]. W. Baillie. 
 
 Interior. A man seated to right, reading by candle-light to a woman 
 who is sitting to left, with her right hand shading her eyes. Farther 
 to left a figure stands by a bed. Spinning wheel to right, behind 
 the man’s chair. Mixed etching and mezzotint. 
 
 FI. 220. Sub: 193. W. 270. Sub: 250. 
 
 I. The etching only. Inscribed in etched lettering: — Grave 
 dun Dessein de Rembrandt dans le Cabinet de Mons' Dan : 
 Neyman a Amsterdam. WB [in monogram] 1767 
 
 F.M. 
 
 II. Mezzotinting added. Inscription as in I, but with the 
 
 title, “L’Histoire touchante.” added. F M 
 
 y.a 
 
BAILLIE 
 
 17 
 
 25 
 
 Original not identified. 
 
 See Daulby, vol. ii. p. 294. 
 
 AN OLD MAN. W. Baillie. 
 
 Half-length, directed to, and looking to front; wide hat; full, square 
 beard ; furred cloak; hands clasped in front. Mixed etching and 
 mezzotint. A thin etched line at about i mm. from edge of subject : 
 and a similar line at about 2 mm. from edge of plate. 
 
 H. 293. Sub: 243. W. 242. Sub: 196. 
 
 I. Etching only. Inscribed in etched lettering : — -Rembrandt 
 
 1646 ViBaillie f. 1765 Agli Dilitanti che anno 
 
 il Sapere senza pregiudizio Questa e dedicata 
 
 FM. 
 
 II. Mezzotint ground added. Inscription as in I. 
 
 F.M. 
 
 J.C. 
 
 26 
 
 THE THREE TREES. W. Baillie. 
 
 (in reverse from the Etching, H. 205) 
 
 In foreground, to left, three trees on a slight hill ; distant landscape, 
 with buildings to right; heavy rain clouds on right. Mixed etching 
 and mezzotint. 
 
 C 
 
 H. 210. W. 280. 
 
i8 B A ILLIE— BERGHOFER 
 
 I. The etching only. Sky comparatively light. 
 
 F.M. 
 
 II. Mezzotinting added. Sky very heavy. A streak of light- 
 ning slanting from right to left in descending. In the small 
 portion of clear sky remaining on the left side “ W B” (in 
 monogram) added. 
 
 F.M. 
 
 III. The streak of lightning doubled, and partly showing 
 through the branches of the middle tree. 
 
 F.M. 
 
 27 
 
 Bode 275. Klass: der Kunst 254. 
 
 REMBRANDT’S FRAMEMAKER C. Berghofer. 
 
 (Hermann Doomer). 
 
 In the catalogue of a sale in Vienna, June 1888, Lot 24 is thus 
 described: — “Rembrandt’s framemaker.” Ein Fragment des be- 
 riihmten Rembrandt’schen Bildes. Im Schriftrande eine Dedication 
 an Schreyvogel. kl. fol. Geschabt. Sehr schoner Abdruck. Mit 
 breitem Rand. 
 
 Not seen. 
 
 See also N? 36 and 44. 
 
BERNARD 
 
 19 
 
 28 
 
 REMBRANDT. (YOUNG) Louis Bernard. 
 
 In the catalogue of a sale in Vienna in June 1888, Lot 26 is thus 
 described: — “T6te de caractere. Ein Jugendbildniss des Meisters. 
 Brustbild, mit wallendem Lockenhaar und einer Sammtmutze. 
 Fast lebensgrosses Portrat nach einem Gemalde in der Sammlung 
 Saphorin, von L. Bernard in Wien 1797 nach dem Originale 
 gestochen. gr. fol. Geschabt. Sehr schbner Abdruck. Vom Kup- 
 ferstecher selbst an einigen Stellen retouchirt. Aeusserst selten.” 
 
 Not seen. 
 
 See also N° 1 1 above. 
 
 29 
 
 Bode 316. Klass: der Kunst 285. 
 
 THE ADORATION OF THE SHEPHERDS. S. Bernard. 
 The Virgin and the Infant Jesus to right, in bright light: S* Joseph 
 behind them. Shepherds, kneeling, to left: further to left a group 
 of people, one man carrying a lighted lantern. To right, at bottom, 
 in the work: — Bernard. 
 
 H. 415, Sub: 361. W. 310. 
 
 2-2 
 
20 
 
 B E R N A R D— B I E R W E I L E R 
 
 I. Before any inscription, and before “Bernard” in the work. 
 Inscription space uncleaned. 
 
 B.M. 
 
 J.C. 
 
 II. As I, but with “Bernard” in the work. 
 
 BM. 
 
 III. Inscribed in engraved lettering: — I’Ange ayant annonce 
 
 aux bergers la nativite du Sauveur il se hateren dy aller, et 
 trouverent Marie et Joseph, et I’enfant couche dans une 
 creche. Luc Ch. 2. v. i6. a Paris chez la veuve 
 
 Chereau rue S* Jacques aux deux pilliers d’Or avec privi- 
 lege du Roy. 
 
 F.M. 
 
 30 
 
 Bode 44. Klass: der Kunst 23. 
 
 SIMEON IN THE TEMPLE. F. C. Bierweiler. 
 
 Interior of a vast building. Simeon kneels at the foot of some steps, 
 in bright light, the Infant Jesus in his arms. A priest stands, with 
 arms extended, to left. The Virgin, S‘ Joseph, and others, behind. 
 Many other figures to right. 
 
 H. 725. Sub: 620. W. 540. Sub: 465. 
 
B I E R W E I L E R— B I R D 
 
 21 
 
 I. Without any inscription. 
 
 B.M. 
 
 y.c. 
 
 On the only two impressions seen there are two lines ruled 
 in pencil outside the subject. At bottom, just below the 
 outer line is written, also in pencil: — Rem brand pine 1631 
 F C Bierweiler sculp. 
 
 31 
 
 345. Klass: der Kunst 
 
 REMBRANDT’S MILL. Charles Brooke Bird. 
 
 A windmill in centre, on a bluff over a river (to right). Some 
 figures in foreground to left: a man in a boat, of which only the 
 bow is visible, on river to right. Trees behind river to right. 
 
 In an engraved frame. Printed in colours. 
 
 H. 330. Sub: (including frame) 286. 
 
 W. 405. Sub: (including frame) 357. 
 
 Inscribed, in etched lettering, above frame : — Copyright 1 9 1 1 
 by C Klackner, 7 West 28*.? S? New York Published 
 
 19 1 1 by C Klackner 20 Old Bond St. London. Signed, in 
 pencil, by the engraver. 
 
 Messrs: Klackner 
 May 1923. 
 
22 
 
 B L E E C K— B O Y D E L L 
 
 32 
 
 Bode 172. Klass: der Kunst 142^. 
 
 REMBRANDT. P. van Bleeck. 
 
 9. 
 
 Nearly half-length, in oval. Directed slightly to left, looking to 
 front; cap; curling hair; small beard and moustache; furred robe, 
 with chain. 
 
 H. 352. Sub: 312. W. 257. 
 
 Inscribed in engraved lettering: — Rembrant Van Ryn, Pinx.‘ 
 1632. PVB. (in monogram) 1747. Rembrant 
 
 Van Ryn 
 
 B.M. 
 
 J.C. 
 
 At the British Museum there is a trial proof, the figure and 
 the lower part of the oval finished, the rest quite rough. 
 
 33 
 
 Bode 282. Klass: der Kunst 259. 
 
 REGNIER HANSLOE AND HIS WIFE. Josiah Boydell. 
 
 y.c.^.3. 
 
 Interior. Hansloe sits at a table, in centre, on which are books and 
 a two-branched candlestick. He has a broad-brimmed hat on his 
 
B O YD ELL 
 
 23 
 
 head, white rufF, and furred cloak. Right hand extended. His wife 
 sits in a large chair, to left. Close-fitting cap, white ruff, rich dress ; 
 both hands in her lap, right hand holding a pocket-handkerchief. 
 
 H. 444. Sub: 409. W. 528. 
 
 I. Before any inscription, and before the Arms. Inscription 
 space uncleaned. 
 
 H. W. B. 
 
 II. Inscribed in etched lettering: — Rembrandt Pinxit. 
 
 Josiah Boydell delin* & Sculpsit Published May Im 
 
 1781, by John Boydell Engraver in Cheapside London 
 
 In centre : — Arms (without motto) of Sir Lawrence 
 Dundas, Bart: 
 
 B.M. 
 
 F.M. 
 
 H.P.H. 
 
 7-C. 
 
 III. Inscribed in etched lettering: — Rembrandt Pinxit. 
 
 John Boydell excudit 1781. Josiah Boydell, delin‘ & 
 
 Sculpsit. Published May i» 1781, by John Boydell, 
 
 Engraver in Cheapside London. Arms, with motto: 
 Essayez, in centre. 
 
 B.M. 
 
 H. tv. B. 
 
24 BO YDELL— BRAND— VAN BRUGGEN 
 
 IV. Inscribed in engraved lettering: — Rembrandt Pinxit 
 John Boydell excudit 1781. Josiah Boydell delink & 
 
 Sculpsit. [Arms, with motto, as in previous state.] Regnier 
 Hansloe an Anabaptist Minister, and his Wife, [capitals 
 shaded] From the Original Picture in the Collection 
 
 of Sir Lawrence Dundas Bar* Size of the Picture 
 
 FI FI 
 
 5.9 by 6 . II long. Publish’d May i» 1781 by 
 
 John Boydell Engraver in Cheapside London. 
 
 B.M. 
 
 J. Smith, Cat: raisonn^, N° 276, calls this “Reinier Hanslo 
 and his Mother.” 
 
 34 
 
 ST MAGDALENA. Chr. Brand. 
 
 In the catalogue of a sale in Vienna in Feb: 1912, Lot 1178 is thus 
 described: — S‘ Magdalena. Rembrant p. Chr. Brand sc. Folio. 
 Geschabt. 
 
 Not seen. 
 
 H. de Groot 296. 
 
 THE GOLD-WEIGHER. 
 
 35 
 
 Van Bruggen. 
 
 In the catalogue of a sale in Vienna in June 1888, Lot 32 is thus 
 described: — Der Goldwieger. Veranderte Copie nach der Radirung 
 
VAN BRUGGEN— CHAPMAN 
 
 25 
 
 des Meisters. kl. fol. Geschabt. Vorzuglicher alter Abdruck. 
 Aeusserst selten. 
 
 Not seen. 
 
 “John vander Bruggen...has executed a great number of 
 Mezzotintos, chiefly after Flemish masters, which cannot 
 be said to possess much excellence. Among them is... the 
 Gold-weigher, after Rembrandt.” 
 
 {A history of the art of engraving in Mezzotinto: Winchester, 
 MDCCLxxxvi. [Joseph Chelsum] page 81.) 
 
 36 
 
 Bode 275. Klass: der Kunst 254. 
 
 “REMBRANDT’S FATHER” R. Chapman. 
 
 (really Hermann Doomer). 
 
 Half-length, directed to right, looking to front. Large hat ; moustache 
 and beard; white ruff, tight-fitting coat. 
 
 H. .? . Sub: 235. W. } . Sub: 183. 
 
 Inscribed in engraved lettering: — Rembrandt pinxit. 
 
 R. Chapman fecit. Rembrandts Father From 
 
 a Capital Painting of Rembrandt in Possession of Mons^. 
 An. Cousin. 
 
 J.c. 
 
 (Heavy additional work on moustache, beard and eyes in 
 my impression.) 
 
 See also N“ 27 & 44. 
 
26 
 
 CLERCK 
 
 37 
 
 Bode 206. Klass: der Kunst 147. 
 
 REMBRANDT AS A STANDARD-BEARER. J. F. Clerck. 
 In the catalogue of a sale in Vienna in June 1888, Lot 41 is thus 
 described: — Der Fahnenjunker, Kniestiick eines Soldaten, mit 
 Federbarett und weitem Wamms, eine Fahne in der Hand haltend. 
 gr. fol. Geschabt. Prachtvoller Abdruck vor der Schrift. Mit Rand. 
 Aeusserst selten. 
 
 Not seen. 
 
 Very probably this was really the first state of the mezzotint 
 by G. Haid N° 75, or of that by P. Louw N? 103. 
 
 38 
 
 Bode 75. Klass: der Kunst 72^. 
 
 LA FEMME DE REMBRANDT. J. F. Clerck. 
 
 To knees; a young woman seated; directed to left, looking almost 
 to front. Close-fitting lace cap, white ruff, black dress, lace cuffs. 
 Left hand on arm of chair; right hand in lap. In an engraved 
 frame. 
 
 H. 495. Sub: 448. W. 353. 
 I. Before any inscription. 
 
 J.C. 
 
C L E R C K— C O O P E R 
 
 27 
 
 II. Inscribed in engraved lettering: — Peint par Rembrandt, 
 1632. Grave a Vienne par J. F. Clerck, 1798. 
 
 La Femme de Rembrandt Grav^ d’apr^s le tableau 
 
 original du Cabinet de M!r le Comte de Lamberg Sprinzen- 
 stein, haut 2 pieds 1 1 pouces, large 2 pieds 3 pouces. 
 
 J-C. 
 
 39 
 
 Bode 435. Klass: der Kunst 408. 
 
 REMBRANDT’S MISTRESS R. Cooper. 
 
 (Hendrickje StofFels). 
 
 In an engraved frame, rounded at top. A young woman in bed, 
 looking to left, holding back a curtain with her right hand; left 
 arm on pillow; jewels in hair; earring. 
 
 H. 326. Sub: 292. W. 227. 
 
 I. Before any inscription. Inscription space uncleaned. 
 
 B.M. 
 
 II. Inscribed in etched lettering: — Rembrandt pinx‘ 
 
 R: Cooper del‘ & sculp‘ Rembrandt’s Mistress. 
 
 [open capitals] From a celebrated Picture as large as the 
 Life mentioned particularly in the Life of Rembrandt In 
 the possession of the Right Honb‘.® Lord Viscount Maynard. 
 
 Publishd as the Act directs June 15^ 1781, by 
 Richard Cooper N° 24 Edward Street. Cav®? Square. 
 
 H. W. B. 
 
28 
 
 C O R B U T T— D AWE 
 
 40 
 
 A JEW RABBI 
 
 and “C. CoRBUTT.” 
 
 A JEWESS 
 
 See Purcell, N? 144 & 145. 
 
 41 
 
 Original not known. 
 
 JACOB’S DREAM. H. Dawe. 
 
 Night scene. To left a young man lies asleep on the bank of a river; 
 a bottle and a cloak ( ?) by his side. Trees in background. The sky 
 lighted only at top right-hand side. Angels visible in the opening. 
 
 H. 176. Sub: 142. W. 129. Sub: 112. 
 
 Inscribed in engraved lettering: — Rembrant, Pinx* 
 
 H. Dawe, Sculp. Jacob’s dream. Proof. 
 
 N° 3. 
 
 BM. 
 
 (printed in colours') 
 
DAW E— D E T M O L D 
 
 29 
 
 42 
 
 “LAZARUS COME FORTH.” H. Dawe. 
 
 Our Saviour stands above the open tomb, looking upwards, head 
 inclined towards left shoulder; hands clasped (palms downwards) in 
 front of Him. Various figures, one holding shroud, to left. Two 
 hands appear above the top of the open tomb. 
 
 H. .? 445 - Sub: .? 391. W. .? 313. 
 
 Inscribed in engraved lettering (open letters): — Rembrandt. 
 Pinx? H. Dawe. Sculp? Lazarus come forth! 
 
 S? John ch. XI. v. 43 proof. Published 
 
 Aug?. 1834. by H. Dawe. 6. Bartholomew Place. Kentish 
 Town 
 
 Miss Dobell, 
 (impression cut close) 
 
 Note: This engraving is from a picture by I. Lievens. See 
 a print by Louys. 
 
 43 
 
 Bode 228. Klass: der Kunst 216. 
 
 “SOBIESKI.” Chas. Maurice Detmold. 
 
 In the Print Collector’s Quarterly for December 1922 there is an 
 article by Mf Campbell Dodgson on the brothers Maurice and 
 Edward Detmold. In a catalogue, at the end of the article, of the 
 
30 
 
 D E T M O L D— D I X O N 
 
 etchings, &c. executed by the brothers, N° 15 is thus described : — 
 “Bust of Sobieski, after Rembrandt {Bode 228). 5^^ x 3J. Mezzo- 
 tint. Not signed. 1898.” This plate was the work of Maurice 
 Detmold alone. I have been unable to hear of an impression. 
 
 44 
 
 Bode 275. Klass: der Kunst 254. 
 
 REMBRANDT’S FRAME-MAKER. J. Dixon. 
 
 (Hermann Doomer.) J. C. S. 40. 
 
 Half-length, directed to right, looking to front. Large hat; moustache 
 and beard; white ruff; tight-fitting coat. 
 
 H. 508. Sub: 470. W. 355. 
 
 I. Inscribed in etched lettering : — Rembrandt pinx 
 J Dixon Fecit 
 
 B.M. 
 
 F.M. 
 
 H.W.B. 
 
 II. Inscribed in engraved lettering : — Rembrandt pinx* 
 
 Dixon fecit Rembrandts Frame Maker, [shaded 
 
 capitals] Done from an Original Picture, in the 
 
 Collection of his Grace the Duke of Ancaster; to whom this 
 plate is most humbly Inscrib’d, by his Grace’s, most dutiful 
 & obd‘ Serv.* John Wesson. Publish’d According 
 
D I X O N— D U C H E S N E— D UNKARTON 
 
 31 
 
 to Act July 7. 1769 by I. Wesson in Litchfield Street S‘ 
 Anns Soho 
 
 Messrs: Ellis £2? Smith. 
 Jan. 1914. 
 
 III. Chaloner Smith (vol. iv. Additions and corrections. 
 Part I. p. 218) describes a state in which the publication 
 line comes before the names of painter and engraver, and is 
 as follows:— “Pubd by I Wesson in Litchfield Street Soho.” 
 
 Not seen. 
 
 See also N“ 27 & 36. 
 
 45 
 
 RE^MBRANDT IN A HAT. Catherine Duchesne. 
 
 In the Paignon-Dijonval catalogue, part ii, N? 4717 is thus 
 described Rembrandt, coiffe d’un chapeau. C. Duchesne sc. 
 mezzotint en hauteur. 
 
 Not seen. 
 
 46 
 
 Cf. Bode 10. Klass: der Kunst 9. 
 
 JUDAS RETURNING THE MONEY. R. Dunkarton. 
 The High Priest sits on a raised seat in centre, looking to left. To 
 right five Elders. To left a secretary with pen and books. Judas 
 kneels to left — the money on the floor by his side. 
 
 H. 480. Sub: 452. W. 595. 
 
32 
 
 DUNKARTO N— E A R L O M 
 
 Inscribed in etched lettering: — Painted by Rembrandt. 
 Publish’d JanT i: 1791, by B. B. Evans, Poultry London. 
 Engravd by R Dunkarton. 
 
 B.M. 
 
 F.M, 
 
 47 
 
 ELIJAH AND THE WIDOW’S SON. R. Earlom. 
 
 * Wess: 59. 
 
 The child lies, head to left, in full light, raised on a pillow, left 
 hand across body. The Prophet stands behind the couch, looking 
 upwards, towards left; hands joined in prayer. In the work, to 
 right: — Rembrandt fe 1637 
 
 H. 511. Sub: 459. W. 358. 
 
 I. Inscribed in open etched lettering : — Rembrandt Pinx^ 
 
 Boydell Ex‘ 1768 R*^ Earlom sc? Arms in 
 
 centre, lightly engraved. 
 
 See note to third state. F.M. 
 
 J.C. 
 
 II. Inscribed in engraved lettering: — Rembrandt pinx* 
 
 J. Boydell excudit 1768. R. Earlom delin et fecit 
 
 Elijah Raising the Widow’s son. [shaded capi- 
 tals] O Lord my God I pray thee, let this Childs 
 
 Soul come into him again. I. Kings Ch. xvii. v. 21®.* 
 
 * “Richard Earlom,” by J. E. Wessely, Hamburg, 1886. 
 
EARLO M 
 
 33 
 
 From the Original Picture, painted by Rembrandt; In the 
 Collection of Henry Hoare Esqf. at Stourhead, Wilts. 
 
 FI F I ^ 
 
 Size of the picture 4 „ 2 by 5 „ 3 in height London 
 
 publish’d March 25*? 1768. Arms in centre, still 
 
 lightly engraved. B.M. 
 
 J.C. 
 
 III. The plate reduced to H. 505, thereby reducing the 
 height of the inscription space by 6 mm. The plate re- 
 worked. The “Rembrandt fe 1637” in the work made 
 more prominent by scraped high lights on the left of each 
 letter and figure. Inscribed in etched lettering, in most 
 cases with treble lines : — Rembrandt Pinx* Boydell 
 
 Ex‘ 1768 R^ Earlom Sc? The arms more heavily 
 engraved. B.M. 
 
 Note. The “Boydell Ex‘ 1768” in the first state slopes 
 downwards from left to right. In the third state it is 
 parallel to the bottom of the work. 
 
 48 
 
 Bode^ vol. VII. p. 233^. 
 
 THE PRESENTATION IN THE TEMPLE. R. Earlom. 
 
 Wess: 61. 
 
 The Virgin kneels in centre, facing to left, holding the Infant Christ 
 in her arms. S* Joseph behind her, leaning on staif. The High 
 Priest stands with arms stretched forward to receive the Child. 
 Other figures in background. 
 
 H. 505. Sub: 462. W. 354. 
 
 C 
 
 3 
 
34 
 
 EARLOM 
 
 I. Inscribed in etched lettering: — Rembrandt Pinx‘ 
 
 R Earlom, Sculpsit J Boydell, Excudit, Publish’d 
 
 SeptH"^ 25. 1771 Inscription space uncleaned. 
 
 F.M. 
 
 J.C. 
 
 II. Inscribed in engraved lettering: — Rembrandt pinxit. 
 
 John Boydell excudit 1771. Rich- Earlom sculpsit. 
 
 The Presentation in the Temple, [shaded 
 capitals] From the Original Picture painted by 
 
 Rembrandt, In the Collection of the Hon“® Horace 
 
 FI FI 
 
 Walpole. Size of the picture, 2 „ o by 2 „ 6 
 
 in height. Published Sepf. 25*? 1771. by J. Boydell, 
 
 Engraver in Cheapside London. 
 
 B.M. 
 
 49 
 
 Bode 431. Klass: der Kunst 403. 
 
 REMBRANDT. R. Earlom. 
 
 %C.S. 34. 
 
 Wess: 46. 
 
 Half-length, directed to right, looking to front: flat cap; curly hair, 
 small moustache and imperial ; coat collar turned up : fur over left 
 shoulder. In the work, to right: — Rembrandt, fe. 1659 
 H. 505. Sub: 455. W. 355. 
 
E ARLO M 
 
 35 
 
 I. Before any inscription, and before the Arms. Inscription 
 space uncleaned. 
 
 H. W. B. 
 
 II. Inscribed in etched lettering: — Rembrandt Pinx‘ 
 
 J Boydell Excudit Earlom Sc 1767 Vol. ii 
 
 N° 16. Arms in centre, without motto. Inscription 
 
 space still uncleaned. 
 
 B.M. 
 
 F.M. 
 
 III. Inscribed in engraved lettering: — Rembrandt pinxit. 
 
 I. Boydell excudit. R. Earlom fecit. Rem- 
 brandt. [shaded capitals] From the Original Picture, 
 
 Painted by Rembrandt; In the Collection of his Grace the 
 
 F I 
 
 Duke of Montagu. Size of the Picture, 1 „ by 
 
 FI. 
 
 2 „ 7 in Height. Vol. ii. N° 16. John Boydell ex- 
 cudit, London 1767. Arms in centre; Garter, with 
 
 motto : — HONi • soiT . qui . mal . y • pense. Motto at foot : — 
 Spec — tamur . Agendo 
 
 B.M. 
 
 J.C. 
 
 Note. “Vol. ii. N° 16.” in the inscription refers to Boydell’s 
 publication : — “A collection of prints engraved after the most 
 capital paintings in England Published by John Boydell... 
 London Printed for the Editor mdcclxix (etc.)” 
 
 3-2 
 
36 
 
 E ARLO M 
 
 50 
 
 Bode 369. Klass: der Kunst 330^^. 
 
 REMBRANDT’S WIFE. R. Earlom. 
 
 J.c.*y. 35 . 
 
 Wess: 47. 
 
 To knees, seated; directed slightly to left, looking downwards, 
 almost to front. An elderly woman, in close-fitting white cap, with 
 black veil; furred cloak; hands clasped in lap; ring on third finger 
 of right hand. In the work, to right, at foot: — R Earlom f To 
 right of head : — Rembrandt fe* 
 
 H. 452. Sub: 393. W. 303. 
 
 I. Before any inscription. Inscription space uncleaned. 
 
 H.W.B, 
 
 II. Inscribed in engraved lettering: — Rembrandt Pinxit. 
 
 John Boydell excudit. Rich!? Earlom sculpsit. 
 
 Arms in centre, with motto : — fari qu^ sentiat Rem- 
 brandt’s Wife, [shaded capitals] In the Common 
 
 FI FI 
 
 Parlour at Houghton. Size of the picture 2 „ 4 J by 2 „ i o 
 in height. Published May i» 1777 by John Boydell 
 
 Engraver in Cheapside London. 
 
 III. As II, but with “G. Farington delin* ” added below 
 “Rembrandt Pinxit.” 
 
 BM. 
 
 F.M. 
 
EARLO M 
 
 37 
 
 IV. “R Earlom erased from bottom right-hand corner of 
 
 work. 
 
 B.M. 
 
 J^C. 
 
 From “The Houghton Gallery” vol. i. Published by John 
 & Josiah Boy dell, Jan. 1788. 
 
 51 
 
 Bode 322. Klass: der Kunst 289. 
 
 SUSANNA AND THE ELDERS. R. Earlom. 
 
 W^ess: 58. 
 
 Susanna on the steps of a bathing-pool, directed to left, looking to 
 front. The two Elders behind her; one clutching her garment with 
 his left hand. In the work, on a step, to right: — Rembrandt f. 1 647. 
 H. 459. Sub: 440. W. 535. 
 
 I. Inscribed in etched lettering:- — Rembrandt Pinx‘ 
 
 J Boydell Excudit Publish’d June 12 1769 
 
 R*^ Earlom sculp ^ ^ 
 
 H.P.H. 
 
 II. Inscribed in engraved lettering: — Rembrandt pinxit. 
 
 John Boydell excudit, 1769. R. Earlom fecit. 
 
 Susanna and the Elders, [shaded capitals] From 
 
 the Original Picture painted by Rembrandt in the Collection 
 
 F . I 
 
 of SF. Jos?. Reynolds. Size of the Picture 2 „ by 
 
 3„o in Length. publish’d June 12, 1769 by J. 
 
 Boydell, Engraver in Cheapside London. 
 
 F.M. 
 
38 
 
 E C C A R D T— G A R B R A N D 
 
 52 
 
 ? Bode 167. ? Klass: der frontispiece. 
 REMBRANDT— YOUNG. M. Eccardt. 
 
 Bust, directed to left; looking to front; velvet cap; full hair, 
 moustache. Furred cloak on shoulders. In the work, to left: — 
 Modest Eccardt. Sculps 
 
 H. } 210. W. 168. 
 
 The whole plate engraved — no margin. 
 
 Sale in Vienna Feb: 1912. 
 
 53 
 
 Original not known. 
 
 REMBRANDT’S COLOUR GRINDER. C. J. Garbrand. 
 Half-length, directed and looking to left. An ugly, squinting man, 
 with rough hair; a cloak held closely under his chin. 
 
 H. 1 51. Sub: 140. W. 1 13. 
 
 Inscribed in engraved lettering: — C„ I „ Garbrand Fecit 
 Rembrandts Colour Grinder [open capitals] 
 Inscription space uncleaned. 
 
 7. a 
 
GOLE 
 
 39 
 
 54 
 
 Bode 427. Klass: der Kunst 398^. 
 
 REMBRANDT (ABOUT TO DRAW). J. Gole. 
 
 * W ess: III. 
 
 Half-length, directed slightly to right, looking to front. Black cap; 
 coat with upright collar; white shirt; cloak on shoulders. Left hand 
 holds ink-pot between thumb and first finger and supports a book. 
 Pen in right hand. In an engraved frame. 
 
 H. 320. Sub: 295. W. 234. 
 
 Without any inscription. Inscription space uncleaned. 
 
 B.M. 
 
 F.M. 
 
 H.W.B. 
 
 y.c. 
 
 Wessely says that he has never met with an impression with 
 any inscription. 
 
 The Paignon-Dijonval catalogue (N° 4716) ascribes this to 
 “Haid.” 
 
 * “Jacob Gole,” by J. E. Wessely. Hamburg, 1889. 
 
40 
 
 GRAHAM 
 
 55 
 
 //. de G. 277. 
 
 “VAN TROMP.” G. Graham. 
 
 3. 
 
 Bust directed to right, looking to front; fair, curly hair; cap; ear- 
 ring ; moustache and imperial ; cloak over armour, fastened in front 
 by a chain. 
 
 H. 380. Sub: 327. W. 276. 
 
 I. Inscribed in dotted lettering Rembrandt, pinx 
 G Graham Sculp In etched lettering : — Van Tromp 
 
 London Published according to Act May 25 by Colnaghi 
 & Co. N° 132 Pall Mall Bottom edge of subject not 
 
 squared off. Lines ruled for inscription still visible. 
 
 II. As I, but bottom edge of subject squared off, and inscrip- 
 tion lines gone — or very faint. 
 
 B.M. 
 
 J.C. 
 
G R E B N E R— G R E E N 
 
 41 
 
 56 
 
 CHRIST DISPUTING WITH THE DOCTORS. 
 
 W. Greener. 
 
 Our Lord stands in the centre, by a table. His right hand raised, 
 a halo round His head. To His left two priests~one of them seated 
 on a throne with a canopy. To left again, four Doctors, seated. To 
 right groups of people. Others in the background. 
 
 H. 425. Sub: 393. W. 521. 
 
 Inscribed in dotted lettering Rembrandt, pinci. 
 
 N. van KamphofF. Excudit. W : Grebner. Sculpi 
 
 y.c. 
 
 See H. de G., Note 28 to “Comparative table.” 
 
 57 
 
 Bode 16. Klass: der Kunst J 2 a. 
 
 “PRINCE RUPERT.” Valentine Green. 
 
 [Rembrandt.] 
 
 y.c.s. 1 14 . 
 
 * J.fF. 52. 
 
 Bust, directed to right, looking to front. Bare head, thick hair; 
 armour; lace collar; cloak. 
 
 H. 510. Sub: 471. W. 358. 
 
 * “Valentine Green,” by Alfred Whitman. London, 1902. 
 
42 
 
 G R E E N— G REENWOOD 
 
 I. Inscribed in etched lettering: — Rembrandt pinxit. 
 
 Published June 20*^. 1775. Green Engraver in 
 
 Mezzotinto to his Majesty fecit. From the Original 
 
 Picture, of the same size, in the Possession of Orme. 
 
 H.JV.B. 
 
 II. Inscribed in engraved lettering: — Rembrant Pinxit, 
 
 V„ Green Fecit, Prince Rupert Pub: June 20. 
 
 1775, as the Act directs, by W: Shropshire, N° 158, New 
 Bond Street. 
 
 BM. 
 
 J.C. 
 
 58 
 
 H. de Groot 166. 
 
 HEAD OF CHRIST. J. Greenwood. 
 
 J. Smith (Catalogue raisonn^, N° 107) describes a “Head of our 
 Saviour, represented in a profile view,” which, he says, was “en- 
 graved in mezzotinto by Greenwood.” This may be the anonymous 
 mezzotint described above, N° 4. 
 
 Not seen. 
 
GREENWOOD 
 
 43 
 
 59 
 
 JESUS CHEZ NICODEME. ? Greenwood. 
 
 In the Paignon-Dijonval catalogue, N° 4727 is thus described: — 
 “Jesus chez Nicodeme”: estampe en haut, mezzotinto, graveur 
 anonyme.” 
 
 J. Smith, Catalogue raisonne, N? 85 (H. de G. 99): — “Nico- 
 demus visiting Christ by night. In this composition the 
 Saviour is seen in a profile view, sitting on the right, appar- 
 ently addressing his visitor, who sits in front of him, listening 
 with profound attention. Dated 1632. Engraved in mezzo- 
 tinto by Greenwood.” 
 
 Not seen. 
 
 60 
 
 Bode 496. Klass: der Kunst 506. 
 
 REMBRANDT’S FATHER. J. Greenwood. 
 
 J.C.S. 9. 
 
 Nearly half-length; directed to, and looking to front. An old man; 
 large black hat; long hair; moustache and beard; white bands, 
 fastened with cords and tassels; cloak over shoulders. 
 
 H. 352. Sub: 307. W. 253. 
 
 I. Before any inscription; inscription space uncleaned. 
 
 B.M. 
 
 F.M. 
 
 H. W. B. 
 
44 
 
 GREENWOOD— DE GROOT 
 
 II. Inscribed in engraved lettering : — ^J“° Greenwood fecit 
 
 Rembrandt’s Father. Done from an Original 
 
 Painting by Rembrandt belonging to Will™ BailHe Esq' 
 Published by J„ Boydell Engraver in Cheapside, 
 Jan 7 1764. [Inscription space still not quite 
 
 cleaned.] 
 
 B.M. 
 
 J.C. 
 
 J. Smith, Cat: raisonne, N? 248 : “ Val. Green has engraved 
 a print which is styled Rembrandt' s Father (in mezzotinto).” 
 I think “Val. Green” must be a misprint for “Greenwood,” 
 and the note must refer to the mezzotint here described. 
 
 61 
 
 Original not known. 
 
 MAN WITH A CURVED KNIFE. J. de Groot. 
 
 Half-length, directed to, and looking to front. Head slightly in- 
 clined to right. Short hair; beard, &c. ; scowling expression; furred 
 cloak; knife with a curved blade held in left hand in front of chest. 
 H. .? 217. Sub: ? 212. W. ? 135. 
 
 Inscribed in etched lettering: — Rembrant Pinxit 
 J : de Groot Fe. 
 
 B.M. (cut) 
 
HAID 
 
 45 
 
 62 
 
 ADORATION OF THE SHEPHERDS. J. E. Haid. 
 
 In the Paignon-Dijonval catalogue, Part ii, N° 4752 is thus 
 described: — Pi^ce cintree du haut. J. E. Haid fe. mezzotint im- 
 primee en bistre. 
 
 In the catalogue of a sale in Berlin (? 1884) the same print 
 occurs, Lot 2069. “small square folio.” 
 
 Not seen. 
 
 63 
 
 From the etching by Rembrandt {H. 96). 
 
 RAISING OF LAZARUS. J. E. Haid. 
 
 Mixed etching and mezzotint. 
 
 Christ stands, directed towards left, with right hand raised, before 
 a brightly lighted cave. The body of Lazarus at His feet. Various 
 figures, in attitudes of amazement, around. Top corners rounded. 
 H. 343. Sub: 325. W. 233. 
 
 Inscribed in engraved lettering: — Rembrandt del. 
 
 J. E. Haid fecit. 
 
 J.c. 
 
46 
 
 HAID 
 
 64 
 
 Original not known. 
 
 REMBRANDT, WITH WAVY HAIR AND AN AIGRETTE. 
 
 J. E. Haid. 
 
 Bust, directed slightly to right, facing front. Small cap with jewel 
 and white plume in front. Long waving hair; moustache and 
 imperial. Steel gorget. Cloak with clasp. 
 
 H. 260. Sub; 239. W. 175. 
 
 Inscribed in engraved lettering: — Grave par J. Elie Haid 
 d’apres le Tableau de Rembrandt de mSme Grandeur, qui 
 appartient a mon Pere. a Augsbourg chez I’Auteur. 
 
 B.M. 
 
 65 
 
 Bode 207. Klass: der Kunst 170. 
 
 ABRAHAM’S SACRIFICE. J. G. Haid. 
 
 Abraham kneels with his left hand over Isaac’s face, his right hand 
 has just dropped the knife and is grasped at the wrist by the Angel. 
 Isaac lies in the foreground on faggots, his arms bound behind him. 
 Arms in centre of inscription space, with motto : — -Fari sentiat. 
 
 H. 530. Sub: 499. W. 355. 
 
HMD 
 
 47 
 
 I. Inscribed in etched lettering: — Rembrandl Pinx- 
 
 I : Boydell Excud^ Haid Fecit 1767 No motto 
 
 under the Arms. 
 
 B.M. 
 
 II. Inscribed in engraved lettering: — Rembrandt pinxi 
 E. Edwards delin‘ J. Boydell excudit London 1767. 
 
 J. G. Haid fecit. Abraham Offering Up 
 
 His Son Isaac, [shaded capitals] From the Original 
 
 Picture, Painted by Rembrandt; In the Collection of the 
 Right Honourable the Earl of Orford, at Houghton. 
 
 FI F I ^ 
 
 Size of the Picture, 4 „ 3f by 6 „ 3 in height. 
 
 B.M. 
 
 See also N° 114. 
 
 66 
 
 Bode 208. Klass: der Kunst 515. H. de Groot 8. 
 
 ABRAHAM’S SACRIFICE. J. G. Haid. 
 
 The same composition as N° 65, except that the Angel approaches 
 Abraham from behind, instead of from the left, and that the ram is 
 shown, caught in the thicket, on the left. 
 
 Described from H. de Groot. Not seen, and not noted in 
 any other catalogue, so far as I know. 
 
48 
 
 HAID 
 
 67 
 
 Bode ^1%. Klass: der Kunst 21 
 
 ACHILLES J. G. Haid. 
 
 or Rembrandt’s Son, Titus. J.C.S. 6. 
 
 Half-length. A young man in armour; profile to left; lance in right 
 hand; shield on left arm; cloak, trimmed with fur, over left shoulder; 
 large earring in left ear. 
 
 H. 505. Sub: 460. W. 355. 
 
 I. Inscribed in etched lettering : — Rembrant PinxJ. John 
 
 Boydell excudit 1764 J: G: Haid fecit 
 
 B.M. 
 
 F.M. 
 
 H.W.B. 
 
 y.c. 
 
 II. Inscribed in engraved lettering : — Rembrandt pinx‘ 
 
 J. Boydell excudit. J. G. Haid fecit. Achilles. 
 
 [shaded capitals] From the Original Picture by 
 
 Rembrandt, in the Collection of Mf. Reynolds. Pub- 
 
 lished by J. BOYDELL Engraver in Cheapside, London; 
 Nov^ 1764- N° 8. 
 
 y.a 
 
 Also known as “Mars” (H. de G. 208). 
 
HMD 
 
 49 
 
 68 
 
 Original not known. 
 
 LA FILLE APPLIQUEE A ECRIRE. J. G. Haid. 
 
 To knees ; a young woman seated at a table, directed to left, writing 
 with a quill pen. A canopy of a bedstead behind her; rich table- 
 cloth partly over table to left. Low-necked dress. 
 
 Arms in centre of inscription space. 
 
 H. 452. Sub: 401. W. 304. 
 
 Inscribed in engraved lettering : — Peint par Rembrand. 
 Gravd par J. G. Haid a Vienne 1768. la fille 
 
 APPLIQUEE k ^CRiRE. Dcdic a Monsieur de Maytens, 
 
 Directeur de I’Academie Imp. de Peinture Sculpture et 
 Architecture Par son tres humble Serviteur J. G. Haid. 
 D’apr^s rOriginal de Rembrand qui se trouve dans le 
 Cabinet de Mr. de Maytens. Se vend a Vienne chez 
 
 TAuteur, et a Augsbourg dans le Negoce de I’Academie 
 Imp . avec Privil . de Sa Majeste Imp . de ne pas copier. 
 
 69 
 
 MAN WITH A CAP AND GORGET. J. G. Haid. 
 
 In the catalogue of a sale in Vienna, Feb: 1912, Lot 1259 is thus 
 described :—-Brustbild eines Mannes mit Miitze und Halsberg. 
 Rembrandt p. J. G. Haid sc. Geschabt. Folio. Vor der Schrift. 
 
 Not seen. 
 
 C 
 
 See the anonymous mezzotint N° l8. 
 
 4 
 
5 ° 
 
 HAID 
 
 70 
 
 THE RAISING OF THE DAUGHTER OF JAIRUS. 
 
 J. G. Haid. 
 
 In the catalogue of a sale in Vienna, Feb: 1912, Lot 1260 is thus 
 described. “Die Genesung der Tochter des Jairus. Gegenseitige 
 Kopie nach F. G. Schmidt. Rembrand p. J. G. Haid sc. Geschabt. 
 Quer-Folio.” 
 
 Wessely, “G. F. Schmidt” [Hamburg 1887] p. 71, 
 N? 166, says that this engraving is by J. J. Haid, and that 
 the inscription is: — vivificatio filiae Jairii. 
 
 Not seen. 
 
 71 
 
 LA REFLEXION SUR LA LECTURE. J. G. Haid. 
 
 To knees. A young woman, seated, directed slightly to right, 
 looking to front; white cap, ruff, with pearl hanging below it in 
 front. Deep lace cuffs. Right hand on arm of chair; left hand 
 resting on hip. To left a chair with cloak and bonnet on it. To right 
 a table with mirror, book, &c. 
 
 H. 453. Sub: 400. W. 300. 
 
H AID 
 
 51 
 
 Inscribed in engraved lettering: — peint par Rembrand. 
 grave par J. G. Haid 1 769. la reflexion sur la lecture 
 d’une dame vertueuse, en vetement ancien. D’apres 
 le Tableau Original, tire du Cabinet de Mr. de Reizer, 
 Cons: aul: act de s.m.i. et Seer. int. au c.i.a. Se 
 
 vend a Vienne chez I’Auteur et a Augsb. en Negoce de 
 I’Academ. Imp. Avec Privil de s.m.i. de n’en faire copie. 
 
 
 72 
 
 Bode 259. Klass: der Kunst 274. 
 
 REMBRANDT HOLDING A SHORT SWORD IN A 
 SHEATH. J. G. Haid. 
 
 7.C..9. 7 . 
 
 Half-length, directed towards right, looking to front; long hair; 
 cap; rich cloak; chain with jewel round shoulders; moustache; both 
 hands holding handle of sword, which rests on left arm. On a 
 column to right: — Rembrandt 1664 
 
 H. 504. Sub: 456. W. 358, 
 
 4-3 
 
HAID 
 
 52 
 
 I. Before any inscription, and before “Rembrandt 1664” in 
 the work. 
 
 J.C. 
 
 II. Inscribed in etched lettering : — Rembrandt Pinx‘ 
 Boydell exc^.‘ J: G. Haid fecit 1765 
 
 “Rembrandt 1664” in the work. 
 
 John 
 
 Before 
 
 B.M. 
 
 H.JV.B. 
 
 J.C. 
 
 III. Inscribed in engraved lettering : — Rembrandt Pinx* 
 
 J. Boydell excud* J. G. Haid fecit. After the 
 
 Original Picture, painted by Rembrandt, In the Collection 
 of Henry Isaac EsqF. N° 9. Published by 
 
 J. Boydell, Engraver in Cheapside, 1765. 
 
 B.M. 
 
 H.W.B. 
 
 This engraving is variously called “The man with a dagger,” 
 “The man with a pistol,” “The man with a scroll,” “A 
 Rabbi with the Pentateuch,” and “The Minister of Justice.” 
 J.C.S. calls it “De Witt.” 
 
HMD 
 
 53 
 
 73 
 
 Original not known. 
 
 REMBRANDT’S MISTRESS. J. G. Haid. 
 
 y.c.s. 8 . 
 
 To knees. A young woman, seated, directed slightly to left, looking 
 to front. Left hand on arm of chair, right hand holding a letter in 
 front of her. Long fair hair over shoulders, pearls over crown of 
 head; cloak fastened in front with jewel; jewelled girdle. To left a 
 mirror; jewel case and robe in front of it. In background an old 
 woman. 
 
 H. 503. Sub: 453. W. 354. 
 
 I. Before any inscription. 
 
 Messrs: Maggs Bros. 
 Mar: 1912. 
 
 II. Inscribed in engraved lettering; — Rembrandt pinxit. 
 
 J. G. Haid fecit. Rembrandt’s Mistress, [shaded 
 
 capitals] Publish’d according to Act of Parliament, 
 
 Oct. I, 1767. by Henry Parker, at N° 82, in Cornhill 
 London. 
 
 J.C. 
 
 J.C.S. says there is a state with artists’ names scratched. 
 
54 
 
 HMD 
 
 74 
 
 Bode 477. Klass: der Kunst 444 b. 
 
 REMBRANDT’S MOTHER. J. G. Haid. 
 
 9. 
 
 Nearly whole length. An old woman, seated, facing front, leaning 
 to left, trimming her finger nails with a pair of scissors, 
 
 H. 505. Sub: 454. W. 355. 
 
 I. Before any inscription. 
 
 B.M. 
 
 II. Inscribed in etched lettering: — Rembrandt Pinx‘ 
 J, Boydell exc‘ J. G. Haid fecit 
 
 B.M. 
 
 J.C. 
 
 III. Inscribed in engraved lettering : — Rembrandt pinx‘ 
 
 J. Boydell excudit. J. G. Haid fecit. Rem- 
 brandt’s Mother, [shaded capitals] From the 
 
 Original Picture painted by Rembrandt; In the Possession 
 of MF. Ingham Foster. Published by J. Boydell 
 
 raver in Cheapside London 1764. 
 
 B.M. 
 
 J. Smith, Cat: raisonne, N° 180, calls this “Old woman 
 cutting her nails.” 
 
HMD 
 
 55 
 
 75 
 
 Bode 206. Klass: der Kunst 147. 
 
 “WILLIAM TELL” G. Haid 
 
 The Standard-bearer. (.? J. G. Haid). 
 
 Full half-length, directed to left, looking to front: cap with long 
 feather; long moustache, long hair; right hand holding standard, 
 left hand on hip; sash across right shoulder; sword at left side. 
 
 H. 235. Sub: 192. W. 168. 
 
 Inscribed in engraved lettering: — From an Original painted 
 by Rembrandt. G. Haid Fecit. The true Ef- 
 
 figies of the renowned William Tell, Banneret, or Standard- 
 bearer of the canton of Ury, and Founder of the Liberty of 
 Switzerland, and Helvetic Union. Arms in centre, with 
 motto at top “ury.” 
 
 Of sinking Helvets, and of Freedom too. 
 
 The great Upraiser in this Portrait view: 
 
 Born, like Nassau, Oppression to withstand; 
 
 The Guardian Angel of his native land. 
 
 Justice, to eternize this wond’rous Man, 
 
 To learn’d Voltaire consign’d th’ impartial pen. 
 
 He proves, that Honour, not confin’d to birth. 
 
 Made Tell the brilliant Star of Patriot Worth. 
 
 See also N°.® 37 & 103. 
 
 B.M. 
 
56 
 
 H A R V E Y— H O D G E S 
 
 76 
 
 Bode 261. Klass: der Kunst 3 1 7 
 
 REMBRANDT IN A WIDE CAP J. Harvey. 
 
 Half-length, directed slightly to right, looking to front; large black 
 cap; earring in right ear, moustache and slight imperial. Two rows 
 of pearls round throat and chest. Left hand partly hidden in cloak. 
 H. 190. Sub: 156. W. 153. Sub: 130. 
 
 Inscribed in etched lettering : — J Harvey Mez 
 REMBRANDT, [open Capitals] From the celebrated 
 
 Portrait in the King’s Collection London Pub*^ by 
 
 R Ackerman Strand. Bury T C Newby 
 
 B.M. 
 
 y.c. 
 
 77 
 
 C. H. Hodges. 
 
 Bode 106. Klass: der Kunst 194^. 
 
 AN OLD WOMAN. 
 
 Half-length; directed to, and looking to front; white cap and ruff; 
 black dress. 
 
 H. 402. Sub: 346. W. 282. 
 
 I. Before all letters. 
 
 Note by F. Daniell. 
 
HODGES 
 
 57 
 
 II. Inscribed in etched lettering: — Rembrand, pinxl 
 
 C. H. Hodges, fecit. Het Orgineele Schildery is 
 
 berustende in de Versameling van de Heer C„ S„ Roos te 
 Amsterdam Uitgegeven door C, H, Hodges, Amster- 
 
 dam 1814. 
 
 B.M. 
 
 The original picture is in the National Gallery. 
 
 See also N° 165. 
 
 78 
 
 Bode 105. Klass: der Kunst 92. 
 
 THE SHIP-BUILDER AND HIS WIFE. C. H. Hodges. 
 Nearly full-lengths. The Ship-builder sits at a table in a window, to 
 left. On the table are papers, a ruler, an ink-pot and pen. Also a 
 plan under his left hand. In his right hand a pair of compasses. 
 He is turning and looking over his left shoulder towards his Wife, 
 who is handing him a paper with her right hand, her left hand 
 holding the handle of a door, to right. She has a close-fitting white 
 cap, and a wide white collar. On the plan on the table : — Rembrandt 
 /• 1633. 
 
 H. 437. Sub:4ii. W. 559. 
 
 I. Before all letters; before the writing on the papers to left 
 and on the paper in the woman’s hand; and before “Rem- 
 brandt/. 1633.” on the plans. 
 
 y.c. 
 
58 
 
 HODGES 
 
 II. As described. Inscribed in etched lettering: — Rembrandt 
 pinx‘ C. H. Hodges sculp* 
 
 H.P.H. 
 
 III. Inscribed in etched lettering: — Rembrandt pinx. 
 
 C. H. Hodges Sculps. De Scheeps Bouwmeester. 
 
 C. H. Hodges & E. Maaskamp exc. Amst: a? 
 
 1802. 
 
 H.W.B. 
 
 IV. Inscribed in engraved lettering: — Rembrandt, Pinx. 1633. 
 
 C. H. Hodges, Sculps. Amst. 1802. 
 
 B.M. 
 
 F.M. 
 
 V. Inscribed in engraved lettering: — Rembrandt, Pinx. 1633. 
 
 C. H. Hodges Sculps. Amst. 1802. De 
 
 Scheeps Bouwmeester. Deeze Prent gegraveerd naar 
 
 het Capitaal Schilderye van Rembrandt, in het Cabinet van 
 den Heere P. de SMETH [shaded capitals] te Amsterdam 
 berustende, wordt aan Zyn Ed: met hoogachting opge- 
 draagen door de Uitgeevers, C. H. Hodges en E. Maas- 
 kamp. Groote van het Schildery, hoog 43. breed 66, duim. 
 
 B.M. 
 
 VI. As V — but with publication line added: — Uitgegeeven 
 by E. Maaskamp, te Amsterdam. 
 
 H.W.B. 
 
 See also N° 149. 
 
HOUSTON 
 
 59 
 
 79 
 
 Bode 276. Klass: der Kunst 2^1 a. 
 
 THE BURGOMASTER. R. Houston. 
 
 y.c.s. 147. 
 
 Half-length, seated; directed to right, looking to front; wide hat; 
 white ruff; beard and moustache, white hair; black cloak barely 
 covering shoulders; glove held in left hand. 
 
 H. 350. Sub: 303. W. 250. 
 
 I. Before any inscription: inscription space uncleaned. 
 
 B.M. 
 
 F.M. 
 
 H.fV.B. 
 
 J.C. 
 
 II. Inscribed in engraved lettering : — Rembrandt pinxl. 
 
 R„ Houston Fecit Done from an Original Picture in 
 
 the Collection of John Barnard Esq- Sold by R- 
 
 Houston, near Mf. Drummonds Charing-Cross. 
 
 B.M. 
 
 J. Smith, Cat: raisonne, N° 352, says that this is “also 
 engraved by Charles Phillips” (,? in mezzotinto). 
 
6o 
 
 HOUSTON 
 
 So 
 
 Bode 592. Klass: der Kunst 389. 
 
 CHRIST AND THE WOMAN OF SAMARIA. 
 
 R. Houston. 
 
 A well, under an arched building; landscape in background to right. 
 Christ under the building to left, His right hand raised. The Woman 
 in centre, holding a bucket on the edge of the well with her left 
 hand, her right hand holding the chain. A group of men to right; 
 a man on horseback in background. A child’s head appears above 
 the edge of the well. 
 
 H. 407. Sub: 387. W. 507. 
 
 Inscribed in etched lettering :■ — Rembrandt Pinx‘ 
 
 R: Houston Fecit. In the Collection of John Blackwood 
 Esq^ 2 feet 6 inch wide 2 feet i inch high 
 
 Sold by R Houston N 12 Furnivils Inn Court 
 Holbourn Publishd According to Act Jan? i, 1772. 
 
 Messrs: Parker. 
 
HOUSTON 
 
 6i 
 
 8i 
 
 Bode 531. Klass: der Kunst ^6<)b. 
 
 HAMAN’S CONDEMNATION. R. Houston. 
 
 Half-length. Haman stands in foreground, right hand on breast, 
 left hand holding sash; turban, large earring in left ear: rich dress. 
 Behind him, to left, an old man : to right a man with black beard, a 
 turban, and a chain round his shoulders. 
 
 H. 510. Sub: 440. W. 358. 
 
 I. Inscribed in etched lettering: — Rembrandt Pinx*. 
 
 Richf Houston Fecit. Hamanl Condemnation 
 
 From an Original Picture in the Collection of John Black- 
 
 F I FI 
 
 wood Esq^; The size of the Painting 4 : 2 by 3 : 10 
 
 Published as the Act directs Octo' 14, 1772 by R. 
 Houston. 
 
 F.M. 
 
 y.c. 
 
 II. As I, but publication line altered to: — Published Aug®.‘ 24 
 1775 by John Boy dell Engraver in Cheapside London 
 
 B.M. 
 
 H. W. B. 
 
 III. Title in shaded capitals. 
 
 Sak at Messrs: Puttick fs? Simpson’s 
 18 July 1919. 
 
62 
 
 HOUSTON 
 
 82 
 
 Bode 508. Klass: der Kunst ^^6b. 
 
 A MAN WITH A KNIFE. R. Houston. 
 
 J.C.S, 146. 
 
 Half-length, seated ; dark hair, moustache ; right hand holding a 
 knife ; left elbow on table, chin in left hand. In the work, at bottom, 
 to right : — Rembrandt, (f. 1661 
 
 H. 355. Sub: 297. W. 252. 
 
 I. Before inscription. Inscription space uncleaned. 
 
 H.W.B. 
 
 II. I nscribed in etched lettering : — Rich‘s Houston F ecit 1757. 
 
 Inscription space uncleaned. 
 
 B.M. 
 
 F.M. 
 
 J.C. 
 
 III. Inscribed in engraved lettering : — Rembrandt pinxl. 
 
 R. Houston Fecit Done from an Original Picture in 
 
 the Collection of John Blackwood Esqf. Sold by Rf 
 
 Houston at Charing Cross, Londonv.^ 
 
 B.M. 
 
 F.M. 
 
 H.W.B. 
 
 See also N? 1 30. 
 
HOUSTON 
 
 63 
 
 83 
 
 See Bode^ vol. vii. p. 2420. Original not known. 
 
 A MAN MENDING A PEN. R. Houston. 
 
 Interior, window to left; behind a table, near the window, a man 
 seated, flat cap on head, mending a pen; books on table, and on 
 floor. 
 
 H. 353. Sub: 324. W. 252. 
 
 I. Before any inscription. 
 
 B.M. 
 
 F.M. 
 
 H.W.B. 
 
 7-C. 
 
 II. Inscribed in engraved lettering : — Rembrandt pinx‘ 
 
 R„ Houston Fecit Done from an Original Picture 
 
 in the Collection of John Blackwood Esq^ Sold by 
 
 Rm Houston at Charing Cross, London*-^ 
 
 B.M. 
 
 J. Smith, Cat: raisonne, N? 396, says that this picture was 
 “also engraved by Charles Phillips” (.^in mezzotinto). 
 
 See also N“ 163. 
 
64 
 
 HOUSTON 
 
 84 
 
 H. de G. 483. 
 
 AN OLD MAN WITH A WHITE BEARD. R. Houston. 
 (to right). 
 
 Short half-length, directed to, and looking to right. An old man, 
 white hair, beard, &c. Head uncovered, hair thin at top; cloak. 
 
 H. 1 16 (?). Sub: 1 12. W. loi. 
 
 Inscribed in etched lettering : — Rembrandt Pinx^ Rich? 
 
 Houston Fecit. 
 
 J.C. 
 
 85 
 
 Bode xvnu Klass: der Kunst 
 
 AN OLD WOMAN PLUCKING A FOWL. R. Houston. 
 
 J.C.S. 148. 
 
 Whole length, seated; directed slightly to left; looking down. 
 Cloak, with hood over head. Both hands on dead fowl lying in lap. 
 H. 353. Sub: 324. W. 251. 
 
 I. Before all letters. Inscription space uncleaned. 
 
 B.M. 
 
 H,W.B. 
 
 y.c. 
 
HOUSTON 
 
 65 
 
 II. Inscribed in engraved lettering: — Rembrandt pinxt 
 R. Houston fecit. Done from an Original Picture in 
 
 the Collection of the Hon“® Francis Charteris Esq^ 
 
 Sold by R*? Houston near Drummonds, Charing Cross. 
 
 B.M. 
 
 H. W. B. 
 
 See also N? 21. 
 
 86 
 
 Bode 122. Klass: der Kunst mb. 
 
 THE PHILOSOPHER IN CONTEMPLATION. 
 
 R. Houston. 
 
 Interior, with wide winding staircase on left, half-way up which a 
 woman stands at a door. Another woman is tending a fire in left 
 foreground. At a window on right sits an old man in a furred 
 cloak, hands folded in lap. Table with books on it under the window. 
 H. 252. Sub: 242. W. 353. 
 
 Inscribed in engraved lettering : — Rembrant pinx* 
 
 R Houston fee* the philosopher in contempla- 
 tion. [shaded capitals] printed for E Bakewell & 
 
 FI, Parker in Cornhill, Jn? Bowles & Son, at the Black 
 Horse in Cornhill, & R Sayer, in Fleet Street. 
 
 y.c. 
 
 See also N? 1 16. 
 
 c 5 
 
66 
 
 HOUSTON 
 
 87 
 
 Bode 1 2 1 . Klass: der Kunst iiia. 
 
 THE PHILOSOPHER IN DEEP STUDY. R. Houston. 
 
 Interior of vaulted building, with a wide winding staircase on right. 
 An old man in a furred cloak sits at a table by a window on the left. 
 A large wicker bird-cage hangs above his head. On the table are 
 large books, a globe and a crucifix. 
 
 H. 252. Sub: 242. W. 355. 
 
 I. Inscribed in engraved lettering: — Rembrant pinxl. 
 
 R Houston fee* The Philosopher in Deep Study. 
 
 [shaded capitals] printed for Jn° Bowles & Son, at 
 
 the Black Horse in Cornhill, R Sayer in Fleet Street, & 
 E Bakewell, & H Parker, in Cornhill. 
 
 y.c. 
 
 II. Publication line altered to : — printed for Jn° Bowles 
 
 at the Black Horse in Cornhill, R Sayer in Fleet Street, & 
 Henry Parker in Cornhill. 
 
 See also N“ 1 1 7 & 1 8 1 . 
 
 B.M. 
 
HOUSTON 
 
 67 
 
 88 
 
 From the Etching, H. 228. 
 
 JAN SIX. R. Houston. 
 
 J.C,S. no. 
 
 Full-length. A young man with long, curling fair hair, leaning 
 against a window sill, reading a book. Wide white collar, open at 
 neck; knee breeches. A picture, with curtain half drawn over it, 
 on wall to left. Below it a table on which lie a sword and belt. In 
 foreground, to left, a chair with books on it. Heavy curtains on 
 each side of window. Outlines all over the plate heavily accentuated 
 with dry-point etching. 
 
 H. 355. Sub: 323. W. 250. 
 
 I. Before any inscription. Inscription space uncleaned. 
 
 B.M. 
 
 H. W. B. 
 
 y.c. 
 
 II. Inscribed in engraved lettering Rembrandt, del. 1647. 
 
 RicM Houston fecit, 1761. J. Six, Burgo- 
 master of Amsterdam. Done from that Celebrated 
 
 and Scarce Etching by Rembrandt, which has been fre- 
 quently Sold for 30 pounds, and upwards. London, 
 
 Printed for Rob* Sayer, Map & Printseller, at the Golden 
 Buck in Fleet Street. 
 
 B.M. 
 
 See also N°? 89 & 146. 
 
 5-3 
 
68 
 
 HOUSTON 
 
 Note. To distinguish between Houston’s mezzotint of the 
 Burgomaster Six and that by Purcell, N° 146, the following 
 details will be useful. 
 
 ( a ) Houston. AH' outlines are heavily accentuated by dry- 
 point etching. The staple on the window frame on a level 
 with the top of the Burgomaster’s head projects only 4 mm. 
 
 ( J ?) Purcell. No dry-point etching. The staple projects 
 fully 6 mm. The face and hair are engraved much more 
 coarsely than in (a), and the head is too large in proportion 
 to the body. 
 
 89 
 
 From the Etching, H. 228. 
 
 JAN SIX. R. Houston. 
 
 Half-length, in oval. The upper part of the figure as in N° 88. 
 
 H. 153. Sub: 133. W. 113. 
 
 Inscribed in engraved lettering: — Rembrandt del. 1647. 
 Rich‘s Houston fecit, 1762 I. Six, Burgomaster of 
 
 Amsterdam. Done from that Celebrated & scarce 
 
 Etching by Rembrandt, which has been frequently Sold for 
 30 Pounds and upwards London, Printed for Robt 
 
 Sayer, at the Golden Buck near Serjeants Inn, Fleet Street. 
 
 B.M. 
 
HOUSTON 
 
 69 
 
 J.C.S., p. 1764, mentions a mezzotint of this subject, pub- 
 lished by J. Ryall, 6 x 4-3- inches (152 x 114 mm.), which 
 is probably a late state of this plate. 
 
 See also N°® 88 & 146. 
 
 90 
 
 Bode 486. Klass: der Kunst 492. 
 
 THE SYNDICS. R. Houston. 
 
 y.c.s. 149. 
 
 Interior; five men, four seated round a table, one standing; all with 
 large hats, and wide white collars, and wearing gowns. Another 
 man, perhaps a Clerk, stands in the background. 
 
 H. 452. Sub: 410. W. 515. 
 
 I. Before any inscription. 
 
 J. C. S. [«(?/ seen\ 
 
 II. Inscribed in etched lettering: — Rembrant pinxl. 
 
 R. Houston fecit. London Printed for R Sayer & 
 
 J. Bennett N° 53 Fleel \sic\ Slreel [sic] as the Act directs 
 28 Augusl [sic] 1774 
 
 The face of the man in the middle of the five principal 
 figures is very white; hardly any shading on the collar of 
 the man standing with his hat on; two rows of fringe on 
 the table cloth. 
 
 B.M. 
 
 F.M. 
 
 J.C. 
 
 (cut at f oof) 
 
70 
 
 HOUSTON 
 
 III. Inscribed as in II. Considerable added work on the faces, 
 and on the collar of the man standing with his hat on ; three 
 rows of fringe on the table cloth; some heavy accidental 
 scratches on the inscription space above the words “for R. 
 Sayer & J. B”[ennett] 
 
 B.M. 
 
 H.W.B. 
 
 IV. Two rows of fringe. Inscribed in engraved lettering: — 
 RicM Houston fecit. From an Original Picture By 
 
 Rembrant [shaded capitals] In the Academy at the Stadt 
 House in Amsterdam. Opgedragen aan Den Wei Edelen 
 Groot Agchbaar Heer Willem HuItohens, Heer van 
 Honkoop, Burgemeester, enz. enz. enz. Hoofd Directeur, 
 en aan de Heeren Jacobus Buijs. Cornells Ploos van Amstel 
 jbs Qsz Jacob Otten Huslij. Peter Louw Anthonij Ziesenis. 
 Rynier Vinkeles. oddste Directedren en Jongste Directedren 
 Van de Stads Academie der Teekenkunst in Amsterdam. 
 [shaded capitals] Gevolg’d naar het Origineele Schilderij 
 van Rembrant, [shaded capitals] wel eer geplaatst geweest 
 zynde in het Staalhof, en nd Berdstende op de Kunstkamer 
 van het Stadhuis der Stad Amsterdam. Publish’d as 
 
 the Act directs, 20* Jan? 1775 London; Printed 
 
 for R. Sayer & J. Bennett, N° 53 in Fleet Street. 
 
 B.M. 
 
H O U S T O N— H U D S O N 
 
 71 
 
 91 
 
 Original not identified. 
 
 A WOMAN IN A HAT. R. Houston. 
 
 Bust to right, looking to front. Hat; scarf from the hair falling 
 over left shoulder; dress slightly open at the neck. 
 
 H. 120. Sub; III. W. 100. 
 
 Inscribed in roughly-engraved lettering : — Rembrandt Pinx‘ 
 Rich. Houston Fecit. London Printed for 
 
 Rob^ Sayer at the Golden Buck in Fleet Street. 
 
 B.M. 
 
 92 
 
 Similar to Bode 209. Klass: der Kunst 155. 
 
 BELSHAZZAR’S FEAST. H. Hudson. 
 
 Belshazzar, in a furred cloak with jewelled clasp, and a jewelled 
 turban, stands by a chair behind a table on which are fruits &c., 
 directed to front, looking over left shoulder; hands raised in astonish- 
 ment. To left, behind him, a man and a woman. The hand, coming 
 out of a cloud, writes Hebrew letters on the wall to right. 
 
 H. 483. Sub: 445. W. 620. 
 
72 
 
 HUDSON 
 
 I. Inscribed in engraved lettering :~Painted by Rembrandt 
 Engraved by H Hudson King Belshazzar 
 
 beholding the Hand Writing on the Wall, [open capitals] 
 From the original Picture in the Collection of 
 Thomas Fullwood Esquire To whom this Print is most 
 respectfully inscribed By his obliged & obed‘ serv^ Henry 
 Hudson. Published as the Act directs, 14 Feb 1785, 
 
 by H Hudson, N° 28 Newman Street, Oxford Street, 
 London. Arms, in centre, lightly engraved, in out- 
 
 line only. The title, dedication, and publication lines all 
 lightly engraved. 
 
 B.M. 
 
 II. Inscribed in engraved lettering;^ — Painted by Rembrandt. 
 
 Engraved by H. Hudson. King Belshazzar 
 
 beholding the Hand Writing on the Wall, [shaded 
 capitals] From the original Picture in the Collection of 
 Thomas Fullwood Esquire — • To whom this Print is most 
 respectfully inscribed By his obliged & obed‘ Serv» ^ — • 
 Henry Hudson. Published as the Act directs Nov. 
 
 14. 1786 by I. Walker, Carver & Printseller. N° 148 
 Strand, London. Arms in centre. 
 
 %C. 
 
HUMPHREY 
 
 73 
 
 93 
 
 Bode 526. Klass: der Kunst 502. 
 
 THE ACCOUNTANT. W. Humphrey. 
 
 7.0.6-. 23. 
 
 Half-length, standing behind a table, on which are books; directed 
 slightly to right, looking to front; long dark hair, moustache; 
 jewelled cap; robes; right hand, resting on table, holds a pen; left 
 hand on papers on table. 
 
 H. 353. Sub: 308. W. 253. 
 
 I. Inscribed in etched lettering: — Rem‘ p 1765 
 
 Humphrey f 
 
 Inscription space uncleaned. 
 
 7.0. 
 
 II. Inscribed in engraved lettering : — Rembrandt pinx‘ 
 
 Humphrey fecit Done after a Capital Picture of 
 
 Rembrandt, in the Collection of Mf. Reynolds. This 
 
 Print obtained the first Premium, granted by the Society for 
 the Encouragement of Arts &c. Anno. 1765. Sold 
 
 by W. Humphrey, near New Street S‘ Martin’s Lane. 
 
 Price 3® 
 
 H. de G., [N? 185,] calls this “The Evangelist”. 
 
 B.M. 
 
74 
 
 H U N T E R— J A C K S O N 
 
 94 
 
 Bode 256. Klass: der Kunst 242. 
 
 REMBRANDT. James Brownlee Hunter 
 
 (1892). 
 
 Bust, directed to right, looking to front. Flat velvet cap; small 
 moustache and imperial; furred robe. 
 
 H. 442. Sub; 355. W. 325. Sub: 277. 
 
 Without any inscription. Signed, in pencil:— J. Brownlee 
 Hunter. 
 
 J.C. 
 
 95 
 
 Bode 'XX.. Klass: der Kunst ^ 1 "! h. 
 
 AN OLD MAN (THE PHILOSOPHER LUCIAN). 
 
 M. Jackson. 
 
 7.^*9. 4. 
 
 Bust of an old man, directed slightly to right, looking almost to 
 front; skull cap; white beard, &c.; mouth slightly open; chain 
 round neck. 
 
 H. 295. Sub: 262. W. 207. 
 
 Inscribed in engraved lettering: — Rembrandt pinx* 
 Publish’d by I. Wesson in Litchfield Street Soho. 
 
 M. Jackson Fecit — From an Original- Picture of 
 
 Rembrandt’s. 
 
 H.W.B. 
 
 J.C. 
 
 See also N“ 135 & 136. 
 
75 
 
 J ACOBE 
 
 96 
 
 Bode 21 1. Klass: der Kunst 173. 
 
 SAMSON BETRAYED BY DELILAH. J. Jacobe. 
 
 Samson lies in the centre struggling with armed men, of whom one 
 is piercing his right eye with a dagger. Delilah, in the background 
 is going off, through curtains, with a pair of shears in her right 
 hand, and Samson’s hair in her left. 
 
 H. 515. Sub: 455. W. 588. 
 
 I. Before any inscription, and before the Arms. 
 
 Sale in Berlin 17 Af: 1913. 
 
 \Note by Messrs: Hollstein PuffelS\ 
 
 II. With the Arms. Inscribed in etched lettering : — Rembrand 
 
 pinx* 1636. Jacobe. Sculpt Vienne. 785. [sic] 
 
 Mr Houthakker 
 Amsterdam. 1914. 
 
 III. Inscribed in engraved lettering: — Peint par Rembrand 
 
 1636. Grav^ par J. Jacobe a Vienne en Autriche 
 
 1786. SAMSON TRAHi PAR DALILA [shaded capi- 
 tals] Dedie a Son Excellence Monseigeur [sic] le 
 
 Comte de Schonborn-Heussenstamm Par son tr^s 
 
 humble & tr^s obeissant Serviteur Jean Jacobe 
 
 L’ Original se trouve dans la Gallerie du meme Seigneur: 
 large 9. pieds, 6. pouces; haut 7. pieds, 4. pouces. Se 
 
 vend dans I’Accademie de gravure, rue de St. Anne. 
 
 A Vienne chez F. X Stockl. [Arms in centre] 
 
 B.M. 
 
 J.C. 
 
76 
 
 J A U Z— L A U R I E 
 
 97 
 
 Bode 262. Klass: der Kunst 248. 
 
 REMBRANDT’S MOTHER (?). Karl Jauz. 
 
 More than half-length, in an oval. An old woman leaning with 
 both hands on a stick; directed to, and looking slightly to left; 
 fringed hood, furred cloak, fastened in front by a large jewelled 
 clasp. 
 
 Oval diameter: — H. 350. W. 278. 
 
 Inscribed in engraved lettering: — Rembrand pinx. 
 
 Karl Jauz sculp. 
 
 y.c. 
 
 98 
 
 Bode 133. Klass: der Kunst 159. 
 
 CHRIST APPEARING TO THE DISCIPLES. R. Laurie. 
 
 or The Incredulity of ST Thomas. 
 
 Interior. Christ in centre, large halo. He raises His garment with 
 left hand, and points with the right to His body. A Disciple, on 
 right, starts back in surprise; others crowd round. One sleeps half 
 lying on bed to right. A group to left round a table on which is an 
 open book. 
 
 H. 457. Sub: 438. W. 551. 
 
L A U R I E~L E A D E R 
 
 77 
 
 I. Inscribed in etched lettering: — Rembrant pinx‘ 
 
 R. Laurie fecit London, Printed for R. Sayer & 
 
 J. Bennett, Map & Printsellers, N? 53 Fleet Street, as the 
 Act directs 20 Novem^ i 774 
 
 B.M. 
 
 II. Inscribed in engraved lettering: — Rembrant pinx^ 
 
 R Laurie fecit. Christ appeareth to his Disciples. 
 
 [shaded capitals] From an Original Picture Painted 
 
 by Rembrant. London, Printed for R. Sayer & J. 
 
 Bennett, Map & Printsellers, N° 53 Fleet Street, as the 
 Act directs 15 Dec^ i774- 
 
 Messrs: Parker. 
 
 99 
 
 Bode 210. Klass: der Kunst 171. 
 
 SAMSON IN THE PRISON HOUSE AT GAZA. 
 
 W. Leader. 
 
 Wessely, “G. F. Schmidt” N? 160, says:— “Eine Copie in Schab- 
 kunst von W. Leader. 1765. Unterschrift: ‘Samson in the Prison 
 House at Gaza’.” 
 
 Not seen. 
 
 J. Smith (Catalogue raisonn^ Rembrandt N? 166) calls this 
 “The enraged Prisoner ”, and says : — “The subject is said to 
 represent Adolphus, grandson of the Prince d’Egmont, who 
 was imprisoned by order of the Duke of Burgundy, for a 
 
78 
 
 L E A D E R— L E W I S 
 
 conspiracy against his own father, whom he had previously 
 confined. The prisoner, who is richly dressed, is looking up 
 with fury in his countenance at an old man, who is seen at 
 a little window above (this is supposed to be his father), 
 against whom, with clenched fists, he is vowing revenge.” 
 
 H. de G. (N? 31) calls the picture “Samson threatening his 
 Father-in-law”. 
 
 In the catalogue of the Davidsohn sale, 2“.'^ part, Leipzig 
 Nov^ 1920, Lot 999 is thus described: — William Leader. 
 Simson bedroht seinen Schwiegervater. Rembrandt pinx. 
 Noch einer Zeichnung geschabt. 1765. Kl.— Fol. 
 
 100 
 
 Bode 430. Klass: der Kunst 401. 
 
 REMBRANDT TURNED TO RIGHT, LOOKING TO 
 FRONT. C. G. Lewis. 
 
 Bust, directed to right, looking to front: velvet cap; curling hair; 
 moustache and imperial. Coat with high collar turned up. In the 
 work, to right: — Rembrandt f. 1659. 
 
 H. 255. Sub: 154. W. 1 91. Sub: 120. 
 
 I. Inscribed in etched lettering: — Rembrandt, Pinx‘ 
 
 C. G. Lewis Sculp* 
 
 B.M, 
 
LEWI S— L O U W 
 
 79 
 
 II. Inscribed in engraved lettering : — Rembrandt, Pinx‘ 
 
 C. G. Lewis, Sculp* Rembrandt Van Rhyn. [open 
 
 capitals] Engraved by Permission of Lord Francis 
 
 Egerton. From a Picture in the Bridgwater Collec- 
 tion, for Smith’s, Catalogue Raisonne. Published by 
 
 J. Smith & Son, N° 137, New Bond Street 1836. 
 
 B.M. 
 
 RM. 
 
 (Frontispiece to Part vii of Smith’s Catalogue raisonne, 
 1836.) 
 
 See also N? 189. 
 
 lOI 
 
 H. de G. 353. 
 
 HEAD OF A MAN IN A TURBAN. P. Louw. 
 
 Nagler 4. 
 ^Wurzbach 3. 
 
 Quarter-length, directed to left, looking to front; an elderly man 
 with thick beard, wearing a high white turban, in which is wound 
 a chain of precious stones, terminating on the left with a large 
 pearl ; furred cloak, open in front, showing string of pearls on chest. 
 
 H. 314. Sub: 285. W. 216. 
 
 “Niederlandisches Kunstler-Lexikon,” Vienna, 1910. 
 
8o 
 
 LOU W 
 
 I. Inscribed in engraved lettering :-—Rembrand pinx. 
 
 P. Louw fee. ’t Origineele Schildery is in de Col- 
 
 lectie van de Heer Ketelaar. te Amsterdam by P. 
 
 Fouquet Junior. 
 
 F.M. 
 
 H.W.B. 
 
 II. As I, but with publication line altered to: — iParis chds 
 Basan. 
 
 J.C. 
 
 102 
 
 Bodcy vol. VII. p. 249 b. H. de G. 321. 
 
 Original not known. 
 
 AN OLD WOMAN READING A BOOK. P. Louw. 
 
 Wurzhach i. 
 
 Nearly full-length, seated; directed to front, looking upwards; black 
 hood over head and body; book open in lap, right hand between 
 leaves, left hand holding a reading-glass, and resting on open pages; 
 chair with five studs visible on back. 
 
 H. 351. Sub: 322. W. 240. 
 
 I. Before any inscription. Inscription space uncleaned. 
 
 B.M. 
 
LOUW 
 
 8i 
 
 II. Inscribed in small engraved lettering : — Rembrand pinx. 
 
 P. Lauw [sic] fee. ’t Origineel Schildery is in 
 
 ’t Cabinet van de Heer H. de Winter. 
 
 B.M. 
 
 {cut at foot) 
 
 103 
 
 Bode 206. Klass: der Kunst 147. 
 
 REMBRANDT AS A STANDARD-BEARER. P. Louw. 
 
 JVurzbach 2. 
 
 Full half-length, directed to left, looking to front : cap with long 
 feather; long moustache, long hair; right hand holding standard, 
 left hand on hip; sash across right shoulder; sword at left side. 
 
 H. 400. Sub: 370. W. 294. 
 
 I. Before any inscription ; inscription space uncleaned. 
 
 y.c. 
 
 II. Inscribed in engraved lettering : — Rembrand pinx. 
 
 P. Lauw [sic] fee. De Origineele Schildery is in de 
 
 Collectie van den Heer I. M. Quinkhard. te Amster- 
 
 dam by P. Fouquet Junior. 
 
 B.M, {cut) 
 
 G 
 
 See also N“ 37 & 75. 
 
 6 
 
82 
 
 MCARDELL 
 
 104 
 
 CHRIST DISPUTING WITH THE DOCTORS. 
 
 Jas: M^Ardell. 
 
 Chaloner Smith (vol. ii. p. 835) says that M^Ardell did a mezzotint 
 of this subject. I have never seen it, nor is it mentioned in 
 Goodwin’s catalogue of the works of M'^Ardell. 
 
 At a sale at Messrs: Sothebys’, 3 Dec: 1920, Lot 224 was 
 described as “Christ disputing with the Doctors”. It was 
 really “The Tribute money” [see N 9 no], and probably 
 the same engraving had misled Chaloner Smith. 
 
 105 
 
 Bode 250. Klass: der Kunst 280. 
 
 A DUTCH INTERIOR. J. M<=Ardell. 
 
 *G.G. 212. 
 
 A large room, steps on left; in centre two women seated, one in 
 bright light (from a lamp which is hidden by the other woman) ; at 
 her feet a cradle with a child asleep in it; £he second woman is 
 reading from a book; in background various household implements. 
 H. 340. Sub: 310. W. 466. 
 
 * “James M®ArdelI”, by Gordon Goodwin. London, 1903. 
 
MCARDELL 
 
 83 
 
 I. Before any inscription, bottom edge of work not squared off. 
 
 H.JV.B. 
 
 II. Before any inscription. Inscription space uncleaned. 
 
 F.M. 
 
 %C. 
 
 III. Inscribed in engraved lettering : — ? M ?Ardell Fecit. 
 
 Done from a Capital Drawing of Rembrandt the same size 
 in the Collection of MF. Hudson The Original 
 
 picture by Rembrandt in the Collection of the Duke of 
 
 S 
 
 Orleans. 7 = 6. 
 
 H.W.B. 
 
 This picture is also called “The Holy Family”, and “The 
 Cradle”. 
 
 106 
 
 Original not known. 
 
 See Bode^ vol. vii. p. 243 
 
 A JEWISH RABBI. J. M <=Ardell. 
 
 Not in J. C. S. 
 Not in G. G. 
 
 An old man with a long white beard. Seated, directed to, and looking 
 to right. Large turban ; right elbow resting on a cushion. In an 
 engraved octagonal frame. 
 
 H. .^431. Sub: } 403. W. } 328. 
 
 6-2 
 
84 
 
 McARDELL 
 
 I. Inscribed in engraved lettering: — Rembrant Pinx‘ 
 
 I. M?Ardell Fecit. A Jewish Rabby. 
 
 The only impression I have seen of this was at Messrs 
 Doig, Wilson & Wheatley’s, Edinburgh, in March 1914, 
 and was framed close to the work. 
 
 II. [Described from J. Chaloner Smith’s Pether 43.] In- 
 scribed in engraved lettering: — Van Incog Pinxit. Don 
 
 Du Bious Fecit. Erudite Anonymous Junr P & A C. 
 
 Not seen. 
 
 See also the mezzotint by W. Pether, N° 1 2 1 . 
 
 107 
 
 Bode., vol. VII. p. 236^. 
 
 THE MATHEMATICIAN. J. M<=Ardell. 
 
 G.G. 213. 
 
 Interior. At a table, by a window, a man in a gown stands, directed 
 to left, looking down ; he has a pair of compasses in his right hand, 
 his left hand rests on papers on the table. Behind the table sits a 
 boy, both elbows on the table, face resting on left hand. 
 
 H. 503. Sub: 425. W. 354. 
 
 I. Before any inscription, and before the lines on the globe. 
 
 Note by Mr Bruton. 
 
M^ARDELL 
 
 85 
 
 II. Before any inscription. The lines ruled on the globe. 
 
 H.W.B. 
 
 J.C. 
 
 III. Inscribed in engraved lettering The Mathematician. 
 
 Done from the Original Picture, painted by 
 Rembrandt, [shaded capitals] By James M?Ardell. 
 
 [Gothic letters] 
 
 B.M. 
 
 FM. 
 
 IV. As III, but with publication-line added .‘-—Sold by E„ 
 Fisher, at the Golden head in Leicester Square, and Ryland 
 & Bryer, at the King’s Arms in Cornhill, London. 
 
 B.M. 
 
 This picture is also called “The Geometricians”. 
 
 108 
 
 Bode 395. Klass: der Kunst 423^. 
 
 REMBRANDT’S MOTHER. J. M'^Ardell. 
 
 J.C.S. ISO. 
 G. G. 1 1 8 . 
 
 Half-length, seated. An old woman, directed to front; cloak; large 
 hood over her head; white dress. Reading a book which she holds 
 with both hands. 
 
 H. 353. Sub: 296. W. 250. 
 
86 
 
 McaRDELL 
 
 I. Before any inscription. Inscription space uncleaned. 
 
 F.M. 
 
 J.C. 
 
 II. Inscribed in etched lettering: — Rembrandt pinx‘. 
 
 Jaf MfArdell fecit 
 
 H.W.B, 
 
 H.P.H. 
 
 III. Inscribed in engraved lettering: — Rembrandt’s Mother 
 Done by Ja®. MfArdell from a Capital Picture of 
 Rembrandt in y® Collection of Edward Scarlett Optician 
 to his Majesty. Sold at the Golden Head, Covent 
 
 S 
 
 Garden. [scratched] Price 2 
 
 B.M. 
 
 J.C. 
 
 On the impression at the Brit: Mus: there is no comma 
 after “Golden Head”. 
 
 See also N“ 14 & 133. 
 
 J.C.S., p. 1760, mentions a mezzotint of this subj’ect pub- 
 lished by R. Sayer, 14 x 10 inches (355 x 254 mm.), which 
 is probably a late state of this plate. 
 
MCARDELL 
 
 87 
 
 109 
 
 Bode 344. Klass: der Kunst 299^2. 
 
 TOBIAS AND THE ANGEL. J. M-^Ardell. 
 
 G. G . 214* 
 
 Tobias on the ground, in centre, barefooted. The Angel behind 
 him, to left, with hands outstretched. A hill, with two poplar trees 
 in the background. A few figures below, on the right. In the work 
 at bottom to left: — -Rembrandt f. 
 
 H. 505. Sub: 431. W. 352. 
 
 I. Before any inscription. Inscription space uncleaned, 
 gram “M..” at foot, to right, lightly etched. 
 
 Mono- 
 
 J.C. 
 
 II. Before any inscription. Inscription space cleaned and 
 monogram removed. 
 
 HW.B. 
 
 III. Inscribed in engraved lettering: — Rembrandt pinx^ 
 
 J„ Mf Ardell fecit. Tobias with the Angel, [shaded 
 lettering] From the Original in the Collection 
 
 [shaded capitals] of Mf. Reynolds. 
 
 7.C. 
 
88 
 
 MCARDELL 
 
 no 
 
 Bode 403. Klass: der Kunst 380. 
 
 THE TRIBUTE MONEY. J. M‘=Ardell. 
 
 G. G. 215. 
 
 Interior of the Temple. In front of an arch Christ stands facing to 
 left surrounded by a group of eleven men, one of whom holds out 
 a coin to Him. In the background, through the arch, another 
 group of four men. 
 
 H. 401. Sub: 379. W. 505. 
 
 I. Before any inscription, and before the dry-point shading on 
 the wall. Inscription space uncleaned. 
 
 B.M. 
 
 II. Inscribed in etched lettering: — Rembrandt pinxit 
 I M Ardell fecit 
 
 Inscription space uncleaned. p 
 
 y.c. 
 
 III. Inscription space cleaned. High lights on some of the 
 
 figures heightened. Inscribed in etched lettering 
 
 (quite different from that in the second state): — Rem- 
 brandt. pinxit I: M'^Ardell fecit. 
 
 B.M. 
 
 IV. Inscribed in engraved lettering : — Rembrandt pinxl. 
 
 J» MSArdell fecit. From the Original in the Collection 
 
 of John Blackwood Esq» 
 
 B.M. 
 
 F.M. 
 
 J.C. 
 
MARTI N— M ARTINDALE 
 
 89 
 
 III 
 
 Original not known. 
 
 REMBRANDT. D. Martin. 
 
 y.c.^y. 5. 
 
 Bust, directed to right, looking to front; thick hair; moustache and 
 close-cut beard; jewelled chain round neck. 
 
 H. 155. Sub: 140. W. 1 13. 
 
 I. Before any inscription. Inscription space uncleaned. 
 
 J.C. 
 
 II. Inscribed in engraved lettering:— Ipse pinx‘ D Martin 
 
 fec^ 1765. Rembrandt. 
 
 B.M. 
 
 II2 
 
 Bode 2 ,AS' Klass: der Kunst 
 
 REMBRANDTS MILL. P. H. Martindale. 
 
 A windmill in centre, on a bluff over a river (to right). Some 
 figures in foreground to left; a man in a boat, of which only the 
 bow is visible, on river to right. Trees behind river to right. 
 
 H. 348. Sub: 302. W. 404. Sub: 367. 
 
 Inscribed in etched lettering, above subject: — ^Published by 
 Fishel, Adler & Schwarze Company, New York. 
 
 Signed, at foot, in pencil : — printed in colours at one printing 
 & engraved by P H Martindale 
 
 Mr Rylait. 
 
90 
 
 MEYE R— M URPHY 
 
 1 13 
 
 y. Smithy Cat: rais. 87. 
 
 CHRIST CROWNED WITH THORNS. P. Meyer. 
 
 Christ, naked, except for a loin-cloth, with hands bound behind His 
 back. Behind Him a man in a large black hat crushes the crown of 
 thorns on to the head of Christ with his right hand. 
 
 H. 500. Sub: 449. W. 348. 
 
 Inscribed in engraved lettering : — Rembrand pinx. [sic] 
 
 P. Meyer sc. die kronung christi [open capitals] 
 
 k Vienne chez T. Mollo. 
 
 y. C. {printed in colours') 
 
 1 14 
 
 Bode 207. Klass: der Kunst 170. 
 
 ABRAHAM’S SACRIFICE. J. Murphy. 
 
 Abraham kneels with his left hand over Isaac’s face; his right hand 
 has just dropped the knife and is grasped at the wrist by the angel. 
 Isaac lies in the foreground on faggots, his arms bound behind him. 
 Arms in centre of inscription space with motto:— Fari qu.^e 
 
 SENTIAT. 
 
 H. 502. Sub: 468. W. 352. 
 
MURPHY 
 
 91 
 
 I. Inscribed in etched lettering : — Rembrandt Pinxit 
 
 Murphy Sculpsit Publishd Sep' i?.‘ 1781 by John 
 
 Boydell Engraver in Cheapside London. [No motto under 
 the Arms.] In engraved lettering, above the Arms: — ^John 
 Boydell excudit 1781. 
 
 B.M. 
 
 F.M. 
 
 1 1 . Inscribed in engraved lettering : — Rembrandt Pinxit. 
 
 John Boydell excudit 1781. I. Murphy Sculpsit. 
 
 Abraham’s Sacrifice, [shaded capitals] In 
 
 F I 
 
 the Gallery at Houghton. Size of the picture 4 „ 3I 
 
 F I 
 
 by 6„3 high. Publish’d Sepf. i» 1781 by John 
 
 Boydell Engraver in Cheapside London. 
 
 B.M. 
 
 J.C. 
 
 From “The Houghton Gallery” vol. ii. Published by John 
 & Josiah Boydell, Jan: i®.‘ 1788. 
 
 See also N° 65. 
 
92 
 
 “I: M:”— PAUL 
 
 115 
 
 Original not known. 
 
 BUST OF A YOUNG MAN. “I: M:” 
 
 A coarse, probably German, mezzotint. Bust to right, looking to 
 front. Wide flat cap, long hair, furred gown, white shirt showing 
 in front of neck. 
 
 H. 195. Sub: 185. W. 148. Sub: 134. 
 
 Inscribed in etched letters : — Rimbrant Pin : I : M : Fe : 
 
 Inscription space uncleaned. 
 
 J.C. 
 
 1 16 
 
 Bode 122. Klass: der Kunst mb. 
 
 THE PHILOSOPHER IN CONTEMPLATION. S. Paul. 
 Interior, with wide winding staircase on right, half-way up which 
 a woman stands at a door. Another woman is tending a fire in 
 right foreground. At a window on left sits an old man in a furred 
 cloak, hands folded in lap. Table with books on it under the window. 
 H. 470. Sub: 448. W. 534. 
 
 Inscribed in etched lettering: — Rembrant Pinx‘ 
 
 S: Paul Fecit London Printed for R: Sayer & 
 
 I : Bennett & Publish’d as the Act directs July i* 1776. 
 
 J.C. 
 
PAUL 
 
 93 
 
 There is probably a first state, without inscription, and a 
 third state with engraved lettering similar to the first and 
 third states of N° 1 1 7, but I have not seen them. 
 
 See also N? 86. 
 
 II7 
 
 Bode 111. Klass: der Kunst iiia. 
 
 THE PHILOSOPHER IN DEEP STUDY. S. Paul. 
 
 Interior of vaulted building, with a wide winding staircase on left. 
 An old man in a furred cloak sits at a table by a window on the 
 right. A large wicker bird-cage hangs above his head. On the 
 table are large books, a globe and a crucifix. 
 
 H. 478. Sub: 454. W. 544. 
 
 I. Without any inscription. Inscription space uncleaned. 
 
 B.M. 
 
 II. Inscribed in etched lettering:- — Rembrant Pinx‘ 
 
 S: Paul Fecit London: Printed for R: Sayer & I: 
 
 Bennett & Publish’d as the Act directs, July: i*? 1776 
 
 7-C. 
 
 III. Inscribed in engraved lettering: — Rembrant pinx? 
 
 S. Paul fecit. The Philosopher in Deep Study. 
 
 [shaded capitals] London, Printed for R. Sayer & 
 
 J. Bennett, N° 53, Fleet Street, as the Act directs, 26 July, 
 1776. 
 
 Sale at Messrs: Sothebys' A-pril 1913. 
 
 See also N? 87 & 181. 
 
94 
 
 PETHER 
 
 Il8 
 
 Bode 199. Klass: der Kunst 1861^. 
 
 A JEW RABBI. (i^.‘ plate.) W. Pether. 
 
 J.C.S. 39. 
 
 Half-length, directed slightly to right, looking to front; beard; 
 white turban; large cloak fastened in front by an elaborate, jewelled 
 clasp; hands folded. An inner chamber visible through an archway 
 in background, to right; in it a table with an open book; an em- 
 blematic vase, and a skull in a niche in the wall behind; a satchel 
 hanging on the wall to left of the niche; a chair in front of the table. 
 
 H. 51 1. Sub: 459. W. 357. 
 
 I. Inscribed in dotted lettering: — Rembrandt. Pinx* 
 
 I. Boydell. Exel W? Pether. Sculp! 1764 
 
 Inscription space uncleaned. 
 
 B.M. 
 
 J.C. 
 
 II. Inscribed in engraved lettering; arms, with motto of 
 
 Garter, in centre : — Rembrandt Pinx* W“ Pether fecit. 
 
 A Jew Rabbi, [shaded capitals] From one of 
 
PETHER 
 
 95 
 
 the most Capital Pictures ever painted by Rembrandt. 
 
 In the Collection of his Grace the Duke of Devonshire; 
 
 To Whom this Plate is most humbly Dedicated, by 
 his Grace’s most Obliged & most Obedient Humble 
 
 F . I 
 
 Servant, J„ Boydell. Size of the Picture 2 „ 7 by 
 
 F . I ^ _ 
 
 3 „ 4 in height. Publish’d March 1764. according 
 
 to Act of Parliament, by J. Boydell, Engraver, in Cheap- 
 side London. 
 
 J.C. 
 
 III. All inscription erased, and the whole plate reworked and 
 made into a coarse chalky imitation of the former states. 
 Subject height 452 mm. With a strong lens the upper parts 
 of the “J” and the “B” of “J. Boydell” of the state 
 can be seen. The strong etched line which in the earlier 
 states formed the outline of the back of the skull in the 
 niche at the back of the picture is still quite plain, but now 
 appears across the skull itself. This is the print that has 
 generally been described as the first state of the plate. 
 
 B.M. 
 
 F.M. 
 
 See also 119, 120, 144, 162, & 168. 
 
96 
 
 PETHER 
 
 1 19 
 
 Bode 199. Klass: der Kunst 186^. 
 
 A JEW RABBI. (2“/^ plate.) W. Pether. 
 
 Not in J. C. S. 
 
 Half-length, directed slightly to right, looking to front; beard; 
 white turban; large cloak fastened in front by an elaborate, jewelled 
 clasp; hands folded. An inner chamber visible through an archway 
 in background, to right; in it a table with an open book; an em- 
 blematic vase, and a skull in a niche in the wall behind; a satchel 
 hanging on the wall to left of the niche; a chair in front of the table. 
 
 H. 505. Sub: 453. W. 355. 
 
 I. Inscribed in lettering: — Rembrandt pinx? J. Boy- 
 
 dell exct W“ Pether Sculp! 1777 In- 
 
 scription space uncleaned. 
 
 7. a 
 
 II. Inscribed in lettering : — Rembrandt pinx! J. 
 
 Boydell exc! W? Pether Sculp! 1778 Pub- 
 
 lishd FebT 2^ 1778 by John Boydell Engraver in Cheapside 
 London. Inscription space uncleaned. 
 
 B.M. 
 
P E T H E R 
 
 97 
 
 III. The plate bevelled at the edges and the width of the work 
 thereby reduced to 346 mm. 
 
 Inscribed in engraved lettering :~Rembrandt Pinxit. 
 
 John Boydell excudit 1778. W“ Pether Sculpsit. 
 
 A Jew Rabbi, [shaded capitals] From one of 
 
 the most Capital Pictures ever Painted by Rembrandt; In 
 the Collection of his Grace the Duke of Devonshire. Size of 
 
 F I F I ^ _ 
 
 the picture 2 „ 7 by 3 „ 4 in height. Published FebX 
 
 2 ^ 1778 by John Boydell Engraver in Cheapside London. 
 
 B.M. 
 
 See also N? 1 18, 120, 144, 162 & 168. 
 
 120 
 
 Bode 199. Klass: der Kunst i% 6 b. 
 
 A JEW RABBI. W. Pether. 
 
 J.C.S. 40. 
 
 Half-length, directed slightly to right, looking to front; beard; 
 
 white turban ; large cloak fastened in front by an elaborate, jewelled 
 clasp; hands folded. An inner chamber visible through an archway 
 in background, to right ; in it a table with an open book; an em- 
 blematic vase, and a skull in a niche in the wall behind; a satchel 
 hanging on the wall to left of the niche ; a chair in front of the table. 
 H. 352. Sub: 318. W. 251. 
 
 Without any inscription. 
 
 H.W.B. 
 
 See also N“ 1 18, 1 19, 144, 162 & 168. 
 
 7 
 
98 
 
 PETHER 
 
 I2I 
 
 See Bode^ vol. vn. p. 243 d. Original not known. 
 
 A JEWISH RABBI. W. Pether. 
 
 y.c.6’. 43. 
 
 An old man with a long white beard, seated ; directed to, and looking 
 to right. Large turban; hands folded in front of body. A globe, 
 vases and books in background. 
 
 H. 480. Sub: 444. W. 430. 
 
 Inscribed in white letters scraped on uncleaned inscription 
 space: — Rembrandt. Pinx^ Published. Dec^. i‘ 1775— 
 
 W“ Pether, Fecit. Sold by W P. in Broad 
 
 Str* WesF. 
 
 B.M. 
 
 F.M. 
 
 H.W.B. 
 
 See also the mezzotint by J. M'Ardell, N° 106. Chaloner 
 Smith (vol. III. p. 993) wrongly describes the late state of 
 M'Ardell’s plate as an altered state of this plate by W“ 
 Pether. 
 
PETHER 
 
 99 
 
 122 
 
 THE LORD OF THE VINEYARD. W. Pether. 
 
 A man in a large turban sits at a table, directed to front, looking to 
 left. A money-bag in his left hand. To right a clerk, with an open 
 book before him. To left a man, cap raised in left hand, holds out 
 a coin in his right hand. In the background a group of men. 
 
 H. 503. Sub: 455. W. 405. 
 
 I. Before any inscription. 
 
 M: T. Ball. 
 
 II. Inscribed in etched lettering: — (to left, very faint,) Rem- 
 brandt (Partly covering this, in dotted lettering,) Rem- 
 brandt, Pinx^ I, Boydell exct W? Pether fecit, 
 1766, 
 
 F.M. 
 
 y.c. 
 
 III. As II, but with the 
 longer visible. 
 
 faintly etched “Rembrandt” no 
 
 H.P.H. 
 
 H.W.B. 
 
 7-3 
 
lOO 
 
 PETHER 
 
 IV. Inscribed in engraved lettering: — Rembrandt Pinx‘ 
 
 J. Boydell Excudit. Will™ Pether fecit. The 
 
 Lord of the Vineyard paying his Labourers, [shaded 
 lettering] From the original Picture Painted by Rem- 
 brandt, in the Collection of Henry Isaac Esq» Size 
 
 F I F I . . 
 
 of the Picture 4 „ 4 by 4 „ i o in height. Published 
 
 according to Act of Parliament Feb: i®.‘ 1766. by J. Boydell 
 Engraver, in Cheapside, London. 
 
 J.C. 
 
 See also N? 139. 
 
 The original picture is in the Stadel Institute, Frankfort. 
 
 123 
 
 A PHILOSOPHER IN MEDITATION. W. Pether. 
 
 n^c.s. 43 . 
 
 In the catalogue of the Paignon-Dijonval Collection N? 4784 
 is thus described: — “Un philosophe en meditation”. La 
 figure est vue a mi corps. W. Pether fe. mezzotint en 
 hauteur. 
 
 Not seen. 
 
 This is probably the “Jewish Rabbi” by W™ Pether, N° 12 1 
 above. 
 
PETHER 
 
 lOI 
 
 124 
 
 Bode 468. Klass: der Kunst 541. 
 
 PORTRAIT OF A MAN. W. Pether. 
 
 7. 35- 
 
 More than half-length, seated in a chair over which is a fur rug; 
 directed and looking to left; plumed hat; beard and moustache; 
 right arm across body; left hand on hip. 
 
 H. more than 503. Sub: 445. W. 352. 
 
 I. Inscribed in dotted lettering: — Giorgione Pinx^ 
 
 W Pether Fecit & Ex* 1768 Arms in centre, with 
 
 motto: PRO REGE LEGE GREGE 
 
 B.M. (cut) 
 
 II. Inscribed in engraved lettering: — Giorgione pinxit. 
 
 W? Pether fecit et exc* From a Picture in the Col- 
 
 lection of The Right Hon“® the Earl of Besborough. To 
 whom this Plate is most hum? dedicated. By his Lordship’s 
 obliged and obed* humble Servant, W. Pether. 
 
 Arms in centre, as in I. Underneath: — Publish’d Aug. i. 
 1768. 
 
 F.M. 
 
102 
 
 P E T H E R 
 
 125 
 
 Bode 348. Klass: der Kunst 319^?. 
 
 REMBRANDT AS AN OFFICER OF STATE. 
 
 W. Pether. 
 
 38. 
 
 Three-quarter length, directed to and looking slightly to left; rich 
 dress ; hat with black feather in front, white feather lying round the 
 brim; moustache and imperial ; breastplate with chain over it; right 
 arm leaning on pillar, and supporting a large sword; left hand on 
 hip. Arms in centre of inscription space. 
 
 H. 505. Sub; 450. W. 354. 
 
 I. Before any inscription and before the Arms. Inscription 
 space uncleaned. 
 
 H.P.H. 
 
 II. Also before the Arms. Inscribed in etched lettering 
 (inscription space still uncleaned) ; — Rembrandt Pinx*, 
 
 Tn2 Boydell ex*, W“ Pether fecit 1764, 
 
 B.M. 
 
 F.M. 
 
 y.c. 
 
PETHER 
 
 103 
 
 III. Inscribed in engraved lettering : — Rembrandt pinx* 
 W“v-^Pether fecit. From the Original Picture Painted 
 by Rembrandt, In the Collection of the Right HonHl® the 
 Earl of Besborough : To whom this Plate is most Humbly 
 Dedicated, by His Lordship’s most Obliged and most 
 Obedient Hum“® Servant,w^J. Boydell. N° 6w — ■ 
 Published according to Act of Parliament, by J. Boydell 
 Engraver, in Cheapside, Novf. i®.‘ 1764. 
 
 Sale in Vienna^ Feb: 1912 . 
 
 126 
 
 Bode 186 , 187 & 188 . Klass: der Kunst 135 & 535 . 
 
 SASKIA AS FLORA. W. Pether. 
 
 y.C.S. 30. 
 
 Nearly whole length, standing, directed slightly to right, looking 
 to left; loose hair, with wreath; long veil, necklace, earrings; dress 
 cut low in front; right hand holding flowers, left hand on stick. 
 
 H. 400. Sub; 355. W. 277. 
 
 I. Before any inscription. Inscription space uncleaned. Work 
 H. 360. 
 
 B.M. 
 
 y.c. 
 
104 
 
 PETHER 
 
 II. As I, but the work reduced to H. 355. 
 
 B.M. 
 
 III. Inscribed in engraved lettering: — Will™ Pether fecit. 
 
 Rembrandt s Wife in the Character of a Jew 
 Bride, [capitals shaded] From the Original picture 
 
 Painted by Rembrandt, In the Collection of the Right 
 Hon“® William Henry Fortescue. Published accord- 
 
 ing to Act of Parliament by J. Boydell Engraver, in Cheap- 
 side London. 1763. 
 
 H.W.B, 
 
 127 
 
 Bode 370. Klass: der Kunst 428 <2. 
 
 THE STANDARD-BEARER. W. Pether. 
 
 J.C.S. 42. 
 
 Three-quarter length, standing, directed slightly to right, looking 
 to front. A man in a large hat with long white feathers; long hair; 
 wide collar; sash over right shoulder and round waist; broad em- 
 broidered belt over right shoulder; glove in right hand; left hand 
 holding standard. 
 
 H. 508. Sub: 459. W. 357. 
 
PETHER 
 
 105 
 
 I. Inscribed in etched lettering: — Rembrandt, Pinx? 
 
 Published Novf 1769, & sold by W“ Pether, in great 
 Russel StrJ BloomsbTv.^ — ■ W“ Pether, fecitv^ — • 
 
 Inscription space uncleaned. 
 
 Sale at Messrs: Sothebys’ 1 1 July 1922. 
 
 II. Inscription space still uncleaned. Inscribed in etched 
 
 lettering : — Rembrandt, Pinx^ R, Sayer, Exc^<— ^ 
 
 W? Pether, fecit»^^ 
 
 The publication line of the earlier state still faintly visible. 
 
 B.M. 
 
 F.M. 
 
 HW.B. 
 
 J.C. 
 
 III. Inscribed in engraved lettering : — Rembrandt pinx* 
 
 Rob? Sayer Excudit W„ Pether, delin & fecit 
 
 Done from a Picture in the Collection of S? Joshua Reynolds, 
 President of the Royal Academy. London Printed 
 
 for Robt Sayer Map & Printseller No 53 Fleet Street. 
 
 N.B. The only impression of the third state seen had the 
 publication line cut off. That part of the inscription has been 
 copied from Chaloner Smith, and is probably not strictly 
 accurate. 
 
 J. Smith (Cat: rais: N? 279) calls this picture “The Hal- 
 berdier”. 
 
io6 
 
 PETHER 
 
 128 
 
 Bode says this is by F. Bol. 
 
 A YOUNG MAN AT A CURTAIN. W. Pether. 
 
 Half-length, directed to right, looking to front; velvet cap; long 
 curly hair; slight moustache and imperial; earring in right ear; 
 cloak, open in front; a cross hanging on breast from a ribbon; triple 
 jewelled chain; right hand, holding a roll of paper, rests on a 
 cushion; left hand holds back a curtain. Arms in centre of inscription 
 space with motto: — Loyaulte na honte 
 
 H. 505. Sub: 452. W. 354. 
 
 I. Inscribed in etched lettering: — Rembrandt Pinx^ 
 
 J, Boydell, Exc^ W“ Pether fecit, 1766, 
 
 Inscription space uncleaned. Before the Arms. 
 
 B.M. 
 
 H.fF.B. 
 
 II. Inscribed in engraved lettering: — Rembrandt Pinxit. 
 
 J. Boydell Excudit 1767. W“ Pether fecit. 
 
 From the Original Picture, Painted by Rembrandt 
 
 In the Collection of the Right Honourable the Earl of 
 Lincoln. 
 
 y.c. 
 
 III. As II, but much reworked, and width cut down to 
 344 mm. 
 
 B.M. 
 
PHILLIPS 
 
 107 
 
 129 
 
 ? Bode 394. ? Klass: der Kunst 421 b. 
 
 AGED LADY. C. Phillips. 
 
 J.C.S. 8. 
 
 Half-length, directed and facing towards left, looking to front; 
 hood, white kerchief, hands appear to be in a muff. Under, Rem- 
 brant pinxt C Phillips del. Sculp & exc. 
 
 H. 216. Sub: 175. W. 159. 
 
 Not seen. 
 
 The particulars given above are taken verbatim from 
 Chaloner Smith (except the measurements which have been 
 converted into millimetres). 
 
 130 
 
 Bode 508. Klass: der Kunst 456^. 
 
 A MAN WITH A KNIFE. (THE ASSASSIN.) 
 
 C. Phillips. 
 
 7. 
 
 Half-length, seated: dark hair, moustache; right hand holding a 
 knife; left elbow on table, chin in left hand. 
 
 H. 153. Sub: 133. W. 1 14. 
 
io8 
 
 PHILLIPS 
 
 Inscribed: — The Assassin Rembrandt pinxt 
 
 Chas Phillips fecit. Printed for John Bowles at the 
 
 Black Horse in Cornhill. 
 
 Not seen. 
 
 The particulars given above are taken verbatim from 
 Chaloner Smith (except the measurements which have been 
 converted into millimetres). 
 
 See also N° 82. 
 
 131 
 
 Bode 276. Klass: der Kunst 1^1 a. 
 
 AN OLD MAN WITH A THIN WHITE BEARD AND 
 GREY HAIR (“THE BURGOMASTER”) 
 
 C. Phillips. 
 
 J.C.S. p. 998. 
 Note to N° 7. 
 
 Half-length, seated; directed to right, looking to front; wide hat; 
 white ruff; beard and moustache, white hair; black cloak barely 
 covering shoulders; glove held in left hand. 
 
 Said by J. Chaloner Smith, on the authority of J. Smith 
 (Cat: rais: N? 352), to have been engraved in mezzotinto by 
 C. Phillips. 
 
 Not seen. 
 
PHILLIPS 
 
 109 
 
 132 
 
 Bode 381. Klass: der Kunst 370. 
 
 THE PHILOSOPHER. C. Phillips. 
 
 J.C.S. 6. 
 
 To knees; an old man, seated, directed to, and looking to left; bald 
 head, white beard, &c.; furred robe; right hand on arm of chair; 
 left hand to forehead. Arms in centre of inscription space, with 
 motto: CAVENDO TUTUS 
 
 H. 503. Sub: 463. W. 355. 
 
 I. Before the Arms. Inscribed in dotted lettering: — Rembrandt 
 
 pinxt J : Boydell exc‘ Cha. Phillips Sculp 
 
 B.M. 
 
 J.C. 
 
 II. With the Arms, but before the motto. “J: Boydell exc*” 
 removed. 
 
 F.M. 
 
 III. Described by Chaloner Smith thus : — “ Inscribed : — Rem- 
 brandt pinxit. Charles Phillips fecit. The 
 
 Studious Philosopher. From the Original Picture 
 
 Painted by Rembrandt in the Collection of His Grace the 
 Duke of Devonshire at Chiswick. John Boydell excudit 
 1766”. 
 
 Not seen. 
 
I lO 
 
 PHILLIPS 
 
 133 
 
 Bode 395. Klass: der Kunst 423^. 
 
 REMBRANDT’S MOTHER. C. Phillips. 
 
 Half-length, seated, directed to front; cloak; large hood over her 
 head; white dress. Reading a book which she holds with both 
 hands. 
 
 H. 152. Sub: 134. W. 1 14. 
 
 I. Inscribed in etched lettering: — Rembrandt pinx* Ch. 
 
 Phillips fecit 
 
 Sale in Berlin^ May 1914. 
 
 ? II. The anonymous mezzotint described above, N° 14. 
 
 See also N? 108. 
 
 134 
 
 Bode 247. Klass: der Kunst 279. 
 
 THE WOMAN TAKEN IN ADULTERY. G. H. Phillips. 
 A vast interior scene. To right in background an enormous throne. 
 In foreground Christ, with many figures grouped round Him, 
 stands at the top of three steps, barefooted, with long hair falling 
 over His shoulders, directed towards right. Before Him, to right, 
 kneels the woman, weeping. 
 
 Measurements of the engraved surface : 
 
 H. 518. W. 380. Top corners rounded. 
 
 Inscribed in thin capitals: — painted by rembrant. 
 
 ENGRAVED BY G. H. PHILLIPS. 
 
 7.C. 
 
PI CART 
 
 III 
 
 135 
 
 Bode -xx. Klass: der Kunst b. 
 
 THE PHILOSOPHER LUCIAN. B. Picart. 
 
 Bust of an old man, directed to, and looking to front; skull cap; 
 white beard, &c.; head slightly inclined to left. 
 
 H. 173. Sub: 153. W. 1 17. 
 
 I. Inscribed in engraved lettering on a mezzotint ground: — 
 
 Rinbrande pinxit Bernart Picart fecit et excud. 
 
 y.c. 
 
 II. As I, but with the addition of the title: — Lucien Autheur 
 grec 
 
 F.M. 
 
 III. As II, but with the addition of the date: — 1699., after 
 “excud.” 
 
 Note by Herr Godefroy Mayer. 
 
 See also N? 95 & 136. 
 
 136 
 
 Bode XX. Klass: der Kunst 527^. 
 
 THE PHILOSOPHER LUCIAN. .? B. Picart. 
 
 Bust of an old man, inclined to left, looking to front; skull cap; white 
 beard, &c.; chain round neck. 
 
 H. 265. Sub: 245. W. 190. 
 
1 12 
 
 PI CART 
 
 Without any lettering. Inscription space uncleaned; bottom 
 edge not squared off. 
 
 B.M. 
 
 Bartsch (Rembrandt, vol. ii. Appendix. N° 63) referring to 
 the mezzotint by B. Picart, N? 135, above, says: — “Ce 
 meme morceau a ete grave une seconde fois de plus grande 
 forme avec peu de changemens. Dans cette seconde estampe 
 on aper9oit une chaine autour du cou du vieillard. Elle 
 porte 9 pouces, 10 lignes de haut, y compris une marge de 
 6 lignes, et 7 pouces, i ligne de large. Je ne doute pas, 
 que ce ne soit la meme piece dont Gersaint fait mention k 
 I’article N° 405.” [This should be 406.] “ La ressemblance 
 qu’il trouve avec le portrait de Lucien, et la mesure de la 
 hauteur et de la largeur qu’il lui donne, semblent prouver 
 mon opinion. Mais je ne sais pas, pourquoi il donne a ce 
 portrait le nom de Sigismond Ragotski. Auroit on ajoute 
 ce nom apr^s coup ? II est certain, que Picart n’a jamais 
 grave un portrait de Ragotski ; au moins la liste des estampes 
 de ce maitre qui se trouve imprimee a la fin de ses im- 
 postures innocentes, n’en fait pas mention”. 
 
 In the Paignon-Dijonval catalogue N? 4789 is thus 
 described: — “Le portrait en buste de Ragotski Sigismond, 
 prince de Transylvanie. B. Picart fe. mezzotint en hauteur. 
 2 ^p. dont une avant la lettre”. 
 
 See also N“ 95 & 135. 
 
P I C A R T— P I C H L E R 
 
 113 
 
 137 
 
 Bode xix. Klass: der Kunst ^ 2 ^] a. 
 
 THE PHILOSOPHER ZENO. B. Picart. 
 
 Bust to right; head drooping, eyes shut; long hair over shoulders; 
 beard, &c. 
 
 H. 173. Sub: 154. W. 118. 
 
 I. Inscribed in etched lettering, on mezzotinted ground: — 
 
 Rbrandt p B Picart 
 
 F.M. 
 
 II. Inscribed in engraved lettering: — Rinbrandte pinxit 
 Bernard Picart Jc 
 
 7 -C. 
 
 Unfortunately my impression of the second state, the only 
 one I have seen, is cut, and I cannot say whether the en- 
 graver’s inscription should read “Bernard Picart sc” or 
 “fecit et excud.” as in the companion print, N? 135. 
 
 Also called “Head of Christ.” See H. de G. 167. 
 
 138 
 
 Bode 174. Klass: der Kunst 1^0 a. 
 
 REMBRANDT. J. Pichler. 
 
 Half-length, directed to right, looking to front; velvet cap with 
 white feather erect in front; curly hair; moustache and imperial; 
 rich cloak over gorget; chain hanging against right shoulder. At 
 foot of work a stone sill. 
 
 H. 500. Sub: 445. W. 350. 
 
 C 
 
 8 
 
P I C H L E R— P I C O T 
 
 114 
 
 Inscribed in engraved lettering: — Peint par Rembrandt. 
 
 Grave a Vienne par J. Pichler 1791. Rem- 
 brandt van Ryn Grave d’apres le Tableau tire du 
 
 Galerie chez J. A. Monseigneur le Prince de Lichtenstein 
 consiste en largeur 3 pieds et en hateur [sic\ quatre pieds 
 zu finden in Wien und Mainz bey Artaria Comp. 
 
 B.M. 
 
 139 
 
 THE LORD OF THE VINEYARD. M. A. Picot. 
 
 A man in a large turban sits at a table, directed to front, looking to 
 left. A money-bag in his left hand. To right a clerk, with an open 
 book before him. To left a man, cap raised in left hand, holds out 
 a coin in his right hand. In background a group of men. 
 
 H. 357. Sub: 290. W. 255. 
 
 Inscribed in engraved lettering : — Rembrandt, pinxit. 
 
 M. A. Picot. Fecit. the lord of the vineyard 
 
 PAYING HIS LABOURERS. LE SEIGNEUR DE LA VIGNE 
 
 PAYANS SES ouvRiERs. [shaded capitals] Published 
 
 with M- Boydell’s Permission May 177I5 by Picot 
 
 & Delattre, Print Sellers S‘ Martin’s Lane. 
 
 y.c. 
 
 See also N° 122. 
 
PREISLER 
 
 115 
 
 140 
 
 Cf. Klass: der Kunst p. 42, for the same head seen full-face. 
 
 H. de G. 360. 
 
 HEAD OF AN OLD MAN. V. D. Preisler. 
 
 (Rembrandt’s Father.) 
 
 Bust directed to, and looking to right — in profile. Turban with 
 jewelled band and with a fur cap over it; moustache with prominent 
 ends; furred coat. 
 
 H. 345. Sub: 295. W. 230. 
 
 Inscribed in engraved lettering, on mezzotint ground : — Tire 
 du Cabinet de Son Excellence Monsieur de Hartmann 
 conseiller intime de S.A.R. Monseigneur I’Eveque et 
 Prince de Wurtzbourg, et Son Ministre plenipotentiaire a 
 la Diete du louable Cercle de Franconie, fait d’apr^s le 
 tableau original de la m6me grandeur. Rembrand 
 
 pinx. Val. Dan Preisler Nor. fe. et exc. 1761. 
 
 Messrs: Daniell ^ Son. 
 
 Feb: 1913. 
 
 8-2 
 
PREISLER 
 
 1 16 
 
 141 
 
 Bode 299. Klass: der Kunst 258^2. 
 THE JEWISH BRIDE. 
 
 V. D. Preisler. 
 
 Half-length; a young girl standing, directed to, and looking to 
 front; both hands resting on the sill of a stone window frame. 
 Broad velvet hat; pearl earrings; fur collar; wide sleeves. 
 
 H. 385. W. 285 (the whole plate engraved). 
 
 Inscribed in engraved lettering: — Tir6 du Cabinet de Curio- 
 sit^s de sa Majeste Danoise, dessine d’apr^s le tableau 
 original du fameux Rembrand, de 3 pies 2 pouces de 
 hauteur sur 2 pies 1 1 pouces de largeur, par I. M. Preisler, 
 Graveur du Roi. Val. Dan. Preisler. Norib. sculps, 
 
 et excud. 1749. 
 
 Half-length, directed to, and looking to left; leaning slightly for- 
 wards; bald head, white beard and moustache. 
 
 B.M. 
 
 y.c. 
 
 142 
 
 ? Bode 136. Klass: der Kunst 11 ^b. 
 
 AN OLD MAN. 
 
 V. D. Preisler. 
 
 H. 346. Sub: 299. W. 227. 
 
PREISLER 
 
 117 
 
 Inscribed in engraved lettering on a mezzotint ground : — 
 En iuuenis ! crines et barbam, caluitiemque 
 admirare senem tuque puella fuge. 
 
 Rembrand pinx. Val. Dan Preisler Norib. Sc. et exc. 
 
 1755 - 
 
 ~ 143 
 
 Original not known. 
 
 YOUNG MAN IN A CAP. V. D. Preisler. 
 
 Bust, directed to, and looking to left. Cap. Thin hair; very slight 
 moustache. Furred coat. 
 
 H. 335. W. 232 (the whole plate engraved). 
 
 Inscribed in engraved lettering, on a mezzotint ground; — 
 Tire du Cabinet de Monsieur le Conseiller aulique de Hagen 
 a Oberburg, fait d’apr^s le tablau [sic] original du fameux 
 Rembrand, de 2. pids i. pouce de hauteur sur i. pie 8. 
 pouces et demi de largeur. Val. Dan. Preisler Norib. 
 
 sculps, et excud. 1763. 
 
 B.M. 
 
PURCELL 
 
 1 18 
 
 144 
 
 Bode 199. Klass: der Kunst 1S6L 
 
 A JEW RABBI. “C. Corbut.” 
 
 (R. Purcell.) 
 
 Half-length, directed slightly to right, looking to front; beard; 
 white turban; large cloak fastened in front by an elaborate, jewelled 
 clasp ; hands folded. An inner chamber visible through an archway 
 in background, to right; in it a table with an open book; an em- 
 blematic vase, and a skull in a niche in the wall behind; a satchel 
 hanging on the wall to left of the niche ; a chair in front of the table. 
 
 H. 355. Sub: 318. W. 251. 
 
 Inscribed in engraved lettering : — Rembrandt Pinx‘. 
 
 C: Corbut Fee* [the names in open Gothic letters] 
 
 S 
 
 Price 1/6 A Jew-Rabbi. [shaded capitals] 
 
 Printed for John Bowles, at the Black Horse in Cornhill..^^-' 
 [very lightly scratched near the flourish after “Rabbi”; — ] 
 P 1/6" 
 
 y.a 
 
 See also N? 1 18, 1 19, 120, 162 & 168. 
 
PURCELL 
 
 119 
 
 145 
 
 Bode 184. Klass: der Kunst 213. 
 
 A JEWESS. “C. CoRBUTT.” 
 
 (R^ Purcell.) 
 
 J.C.S. 89. 
 
 Half-length, directed slightly to right, looking to front. A young 
 woman with long curling hair; an ornament with pearls and a 
 feather on her head; pearl earrings and necklace; low dress; left 
 hand to bosom. 
 
 H. 355. Sub: 320. W. 252. 
 
 Inscribed in engraved lettering : — Rembrandt pinx‘ 
 
 C. Corbutt fecit. A Jewess, [shaded capitals] 
 
 Printed for John Bowles, at the Black Horse in Cornhill. 
 
 S 
 
 Price 1/6. 
 
 B.M. 
 
 J.C. 
 
120 
 
 PURCELL 
 
 146 
 
 From the Etching, H. 228. 
 
 JAN SIX. R. Purcell. 
 
 J.C.S. 69. 
 
 Full-length, standing; leaning against window-sill, and reading a 
 book; long hair; jacket, open at neck; deep white collar; knee- 
 breeches tied with bows at the knees; heavy curtains at window, 
 which is on the right; a picture on the wall at back, a curtain half 
 drawn over it; sword and scarf on table in background; to left a 
 chair, with books on it. 
 
 H. 357. Sub: 330. W. 254. 
 
 I. Before any inscription. 
 
 B.M. 
 
 II. Inscribed in engraved lettering: — Rembrandt, pinx‘ 
 
 R. Purcell, fecit. Jean Six, Burgomaster of Amster- 
 dam. printed for Mess” Parker & Bakewell, opposite 
 
 Birchin Lane in Cornhill; & J. Boydell, the Corner of 
 Queen Street Cheapside. Pr. i® 
 
 See also N“ 88 & 89. See note to N° 88. 
 
 B.M. 
 
QUILLEY 
 
 I2I 
 
 147 
 
 Bode 284. Klass: der Kunst 261. 
 
 A LADY WITH A FAN. J. P. Quilley. 
 
 In an engraved frame, rounded at top corners. More than half- 
 length, standing, directed to, and looking to front; a young woman 
 with long hair, necklace, deep lace collar and cuffs; fan in right 
 hand; left hand against side of frame. In the work, at bottom, to 
 left Ranbrandt f ‘ 1641 
 
 H. 298. Sub; 148. W. 235. Sub: 114. 
 
 Inscribed in fine engraved lettering: — Rembrandt, pinxf 
 J. P. Quilley, sculp‘. Lady with a Fan 
 
 London, Published 1839, by James Bohn, King William 
 Street, Strand. Printed by MsQueen. 
 
 B.M. {Library). 
 
 y.c. 
 
 This is Plate N? 25 in “The Royal Gallery of Pictures”, 
 London, James Bohn, 1840. 
 
122 
 
 QUILLEY 
 
 148 
 
 Bode 200, Klass: der Kunst i%%b. 
 
 A RABBI. J. P. Quilley. 
 
 Half-length, directed to left, looking to front; velvet cap; white 
 beard &c.; left hand inside cloak. 
 
 H. 290. Sub: 145. W. 235. Sub: no. 
 
 Inscribed in fine engraved lettering: — Rembrandt, pinx^ 
 J. P. Quilley, sculpt Portrait of a Jew Rabbi. 
 
 London, Published 1839, by James Bohn, King 
 William Street, Strand. Printed by MP.Queen. 
 
 B.M. {Library). 
 
 y.c. 
 
 This is Plate N? 26 in “The Royal Gallery of Pictures”. 
 London, James Bohn, 1840. 
 
 149 
 
 Bode 105. Klass: der Kunst 92. 
 
 THE SHIPBUILDER. J. P. Quilley. 
 
 Nearly full-lengths. The Shipbuilder sitting at a table in a window, 
 to left. On the table are papers, a ruler, an ink-pot and pen. Also 
 a plan, under his left hand. In his right hand a pair of compasses. 
 He is turning and looking over his left shoulder towards his Wife, 
 
Q U I L L E Y— R E A D 
 
 123 
 
 who is handing him a paper with her right hand, her left hand 
 holding the handle of a door, to right. She has a close-fitting white 
 cap, and a wide white collar. On the plan on the table : — Rembrandt 
 f 1633. 
 
 H. 298. Sub: 135. W. 240. Sub: 200. 
 
 Inscribed in fine engraved lettering:-— Rembrandt, pinxl 
 J. P. Quilley, sculpt Shipbuilder London, 
 
 Published 1834, by Moon, Boys & Graves, 6, Pall Mall. 
 
 B.M. {Library). 
 
 J.C. 
 
 This is Plate N? 9 in “The Royal Gallery of Pictures”. 
 
 Ix)ndon, James Bohn, 1840. 
 
 See also N? 78. 
 
 150 
 
 Bode 153. Klass: der Kunst 129. 
 
 SASKIA. Richard Read. 
 
 (“The Dutch Lady.”) J.C.S. 2. 
 
 Bust in a wide, engraved oval frame. A young woman, directed to 
 right, looking to front; lace veil over head; curling fringe of hair on 
 forehead; pearl earring; lace collar; chain across chest. 
 
 H. 264. Sub: 213. W. 205. 
 
124 
 
 REA D— R E Y N O L D S 
 
 I. Before any inscription. Inscription space uncleaned. 
 
 Mr Heseltine. 
 
 II. Inscribed in etched lettering: — Pub*? Aug‘. i®‘ 1776. by 
 H. Bryer in Cornhill. Inscription space uncleaned. 
 
 J.C. 
 
 III. Inscribed in engraved lettering: — Rembrandt pinx. 
 
 Bryer excudit. Read sculp. Publish’d as the 
 
 Act directs Oct- i» 1776, by H„ Bryer, Cornhill. 
 
 B.M. 
 
 H.W.B. 
 
 IV. As III, but with title added : — T he Dutch Lady, [shaded 
 capitals] 
 
 H.W.B. 
 
 151 
 
 Bode 384. Klass: der Kunst 367 a. 
 
 A JEW. S. W. Reynolds. 
 
 *A.W. 432. 
 
 Nearly whole length, seated; directed to right, looking to front. 
 A man in a wide fur cap; beard; both hands holding a stick at his 
 right side. 
 
 H. 507. Sub: 455. W. 350. 
 
 * “Samuel William Reynolds”, by Alfred Whitman, London, 1903. 
 
REYNOLDS 
 
 125 
 
 I. Before any inscription ; the work not yet squared off at the 
 bottom. In the work, at foot, in white letters, scraped : — 
 Lady Beaumont. 
 
 B.M. 
 
 II. Also before inscription. The lights heightened on face and 
 hands, and on right arm. 
 
 B.M. 
 
 (a masked proof) 
 
 TC. 
 
 III. The work squared off at bottom. Inscribed in fine en- 
 graved lettering Rembrandt Pinx* London, Pub- 
 
 lished by W. Walker, 64, Margaret S‘ & Hering & Rem- 
 ington, 137, Regent S» 1816. S. W. Reynolds, Sf. 
 
 Sculp* The words “Lady Beaumont” no longer 
 
 visible. 
 
 7^C. 
 
 IV. The date in the publication line altered to “ 1846”. 
 
 B.M. 
 
 V. As IV, with title added, thus : — A JEW. [open capitals] 
 
 From the Original Picture in the National Gallery. 
 
 B.M. 
 
126 
 
 REYNOLDS 
 
 152 
 
 Bode, vol. VII. p. 236 h. Original not known. 
 REMBRANDT’S MARRIAGE. S. W. Reynolds. 
 
 A.IV. 433. 
 
 Interior. A man, with long, black, curling hair, kneels, facing to 
 the right, holding with his right hand the right hand of a young 
 girl who stands, facing to the front, in a black hat and feather, and 
 a long white dress. A Priest, in a turban, stands behind them, 
 holding out his right hand. A boy in the background holds the 
 Priest’s robe. Other persons to left, looking on. 
 
 H. 402. Sub; 346. W. 523. Sub: 469. 
 
 3 mm. from the work an etched line all round the subject. 
 Inscribed in fine engraved lettering: — Rembrant pinx* 
 
 S. W. Reynolds sculp* Rembrant’s Marriage, [open 
 
 capitals] London; Published & Sold June 4, 1811, 
 
 by Edw^ Orme Printseller to the King Engraver & Pub- 
 lisher Bond Street corner of Brook Street. 
 
 B.M. 
 
 (one in colours) 
 
 y.c. 
 
 See also N° 13. 
 
REYNOLDS 
 
 127 
 
 153 
 
 Bode 345. Klass: der Kunst 313. 
 
 REMBRANDT’S MILL, (i®.* plate.) S. W. Reynolds. 
 
 A.W. 435. 
 
 A windmill in centre, on a bluff over a river (to right). Some figures 
 in foreground to left; a man in a boat, of which only the bow is 
 visible, on river to right. Trees behind river to right. 
 
 H. 455. W. 548 (the whole plate engraved). 
 
 I. Before any inscription. 
 
 B.M. 
 
 II. At bottom of subject, in centre : — Pub*^ by S. W. Reynolds 
 Bayswater Dec. 10. 1822. 
 
 Note : — S. W. Reynolds also etched this subject, and Whitman 
 describes a third state of the etching as having “Mezzotint 
 work added: the lettering strengthened. Mr H. Oppen- 
 heimer” . This is a smaller plate than the mezzotint described 
 above. It measures: — -H. 350. Sub: 323. W. 400. The two 
 earlier states are at the Brit : Mus : 
 
 See also N“ 154 & 174. 
 
128 
 
 REYNOLD S— R I C H A R D S 
 
 154 
 
 Bode 345. Klass: der Kunst 313. 
 
 REMBRANDT’S MILL. (2“.'' plate.) S. W. Reynolds. 
 
 A.TF. 436. 
 
 A windmill in centre, on a bluff over a river (to right). Some figures 
 in foreground to left; a man in a boat, of which only the bow is 
 visible, on river to right. Trees behind river to right. 
 
 H. 170. Sub: 130. W. 178. Sub: 158. 
 
 Inscribed in engraved lettering: — Painted by Rembrandt. 
 
 Published by the Engraver, Bayswater, 1825. 
 Engraved by S. W. Reynolds. Engraver to the King. 
 
 DUTCH SCHOOL PL. [open capitals] Specimens of the 
 
 various Schools of Painting. 
 
 Impression on India paper. B.M. 
 do. do. J.C. 
 
 See also N? 1 53 & 1 74. 
 
 155 
 
 Bode 362. Klass: der Kunst 342. 
 
 PORTRAIT OF A MAN. B. Richards. 
 
 J.C.S. 2. 
 
 Half-length, directed to left, looking to front. A man in a large 
 hat; moustache and beard; thick hair; wide white collar, cords and 
 tassels under; cloak held across chest by right hand. 
 
 H. 331. Sub: 287. W. 228. 
 
RICHARD S—S A Y 
 
 129 
 
 I. 
 
 Before any inscription. Inscription space uncleaned. 
 
 B.M. 
 
 J.C. 
 
 II. Inscribedinengravedlettering:— Printedforjn® Spilsbury, 
 Engraver, & Map & Print Seller, in Russel Court, Covent 
 Garden w^Sep^ 5* 1766. Done from an Original 
 
 Picture Painted by Rembrandt, by B. Richards, [scratched 
 at foot, to right:—] 2® 
 
 B.M. 
 
 H.W.B. 
 
 J. Smith, Cat: raisonne, N® 282, calls this “Nicholas 
 Berghem”. 
 
 156 
 
 Bode 300. Klass: der Kunst 320. 
 
 A PEASANT GIRL. W. Say. 
 
 A young girl, directed to left, looking to front, leaning with her 
 elbows on a stone sill. White dress; left hand to neck. 
 
 H. 505. Sub: 385. W. 353. Sub: 325. 
 
 I. Before any inscription, 
 
 B.M. {printed in colours) 
 H.P.H. 
 
 C 
 
 9 
 
130 
 
 S A Y— SCHNELL 
 
 II. Inscribed in fine lettering, with open capitals : — Rembrandt 
 PiNX^ London, Published Jan? 27. 1814, by T. 
 
 Macdonald 39, Fleet Street. W. Say Sculp? 
 
 Rembrandt’s Peasant Girl. proof From the 
 
 Original Picture in the Collection of the late Noel Desenfans 
 EsqF. 
 
 B.M. 
 
 H.JV.B. 
 
 III. As II, but without the word “proof”. 
 
 Mr Reiss, 
 {printed in colour^ 
 
 The original picture is now in the Dulwich Gallery. 
 
 157 
 
 Bode 20. Klass: der Kunst 42. 
 
 REMBRANDT’S FATHER. M. Schnell. 
 
 Nearly half-length, directed to front, looking slightly to left. An 
 old man in a turban with a cap on it; moustache and slight beard; 
 furred robe. 
 
 H. 425. Sub; 390. W. 320 at top, 325 at foot. 
 
SCHNEL L— S HURT 
 
 131 
 
 Inscribed in engraved lettering: — Ergo viuamus, dum licet 
 esse bene. C. G. et P. S. C. M. M. Schnell fecit, 
 in Chalc. Gotti. Heussii sc. et exc. A.V. 
 
 Inscription space uncleaned. 
 
 B.M. 
 
 158 
 
 Bode 92. Klass: der Kunst 99. 
 
 PORTRAIT OF A YOUNG WOMAN. G. Shury. 
 
 Full half-length, directed slightly to left, looking to front. A young 
 woman in a close-fitting white cap; broad white ruff; single pearls 
 in ears; embroidered dress; white lace cuffs; left hand holding 
 gloves and resting on hip. 
 
 H. 230. Sub: 154. W. 175. Sub: 13 1. 
 
 Inscribed in finely engraved lettering: — [above subject] 
 London, Published June 5* 1873, ^7 J* Noseda. 109, 
 Strand [below] Painted by Rembrant Engraved 
 by G Shury 74 Portland R^ 
 
 B.M. 
 
 y.c. 
 
 9-2 
 
132 
 
 SPILSBURY 
 
 159 
 
 Bode^ vol. VII. p. 249/. Original not known. 
 
 A DUTCH LADY. J. Spilsbury. 
 
 J.C.S. 40. 
 
 Half-length, in an engraved oval frame. A woman, directed slightly 
 to left, looking to front; head slightly inclined to left. Black veil 
 over head; pearl earrings; dress open on neck; brooch. 
 
 H. 356. Sub: 317. W. 252. 
 
 I. Before any inscription. Inscription space uncleaned. 
 
 HW.B. 
 
 J.C. 
 
 II. Inscribed in engraved lettering:- — I. Spilsbury Fecit 
 
 A Dutch Lady, [shaded capitals] After a Picture of 
 
 Rembrandt in the Possesion [j/V] of William Baillie Esqf 
 
 B.M. 
 
 (cut at foot) 
 
 Chaloner Smith gives the publication line of this state thus: — 
 “Publish’d Augst 25 1769 & Sold by Henry Parker at 
 N° 82 in Cornhill, London”. 
 
SPILSBURY 
 
 133 
 
 160 
 
 Bodey vol. VII. p. 231 Original not known. 
 
 HAGAR’S DEPARTURE FROM ABRAHAM. 
 
 J. Spilsbury. 
 
 Abraham in furred cap and cloak stands in the centre, in front of 
 the open door of a stone building, his right hand on Ishmael’s head. 
 Ishmael holds a bow with both hands. Hagar, in a turban, comes 
 down steps towards the left; a pocket handkerchief held to her eyes; 
 a bundle under her left arm, a wine flagon in her left hand. Another 
 woman and a boy are looking out of a window on the left. 
 
 H. 444. W. 532. (the whole plate engraved.) 
 
 Inscribed in engraved lettering, on a separate plate: — Rem- 
 brandt pinxf. Published by Ryland, Bryer, and C? in 
 
 Cornhill. Spilsbury fecit. Hagar’s departure 
 
 from Abraham. 
 
 B.M. 
 
 161 
 
 MAN IN A LARGE HAT. Inigo Spilsbury. 
 
 In the catalogue of a sale in Vienna, June 1888, Lot 207 is thus 
 described :—Huftbild eines Mannes mit grossem Hut, weissem 
 Kragen und schwarzem Mantel, gegen links gewendet. Folio. 
 Geschabt. Prachtvoller Abdruck. Mit breitem Rand. 
 
 Not seen. 
 
 This is probably the same as N° 155, which was published 
 by Spilsbury. 
 
134 
 
 SPOONER 
 
 162 
 
 Bode 199. Klass: der Kunst i%6b. 
 
 A JEW RABBI. C. Spooner. 
 
 y.c.s. 42. 
 
 Half-length, directed slightly to right, looking to front; beard; 
 white turban; large cloak fastened in front by an elaborate, jewelled 
 clasp; hands folded. An inner chamber visible through an archway 
 in background, to right; in it a table with an open book; an em- 
 blematic vase, and a skull in a niche in the wall behind; a satchel 
 hanging on the wall to left of the niche; a chair in front of the table. 
 
 H. 152. Sub: 138. W. 1 14. 
 
 Inscribed in engraved lettering : — Rembrandt pinx* C. 
 
 Spooner fecit. a jew rabbi, [shaded capitals] 
 
 Printed for Robert Sayer, Printseller in Fleet 
 Street. Pr. i®. 
 
 J. C. {coloured) 
 
 This and the two following numbers seem to belong to a 
 series to which Chaloner Smith refers, vol. iii. p. 1346, 
 note to N° 42. 
 
 H. de Groot (N° 346), following J. Smith (N° 290), says 
 that this picture was “engraved by Spencer”. Probably this 
 is a mistake for “Spooner”. 
 
 See also N°® 1 18, 119, 120, 144 & 168. 
 
SPOONER 
 
 135 
 
 163 
 
 See Bode^ vol. vii. p. 2420. Original not known. 
 
 A MAN MENDING A PEN. C. Spooner. 
 
 An interior, window to left. Behind a table near the window a man, 
 seated, flat cap on head, mending a pen. Books and rolls of paper 
 on table. 
 
 H. 152. Sub: 134. W. 1 13. 
 
 Inscribed in engraved lettering: — Rembrandt pinx‘. 
 Spooner fecit. London. Printed for Jn° Smith, at 
 
 Hogarth’s head Cheapside. (A flourish in centre, above 
 publication line.) 
 
 7-C. 
 
 J. Smith, Cat: raisonne, N° 396, says that this picture was 
 “also engraved by Charles Phillips” {} in mezzotinto). 
 
 See also N° 83, and note to N? 162. 
 
 164 
 
 Part of Bode 122. Klass: der Kunst mb. 
 
 THE PHILOSOPHER IN MEDITATION. C. Spooner. 
 Interior. An old man seated; directed slightly to right, facing to 
 front. Close-fitting cap; white beard; long gown with wide sleeves; 
 hands clasped in lap. To right a table under a window. In back- 
 ground a wall with an arched doorway. 
 
 H. 150. Sub: 136. W. 1 14. 
 
136 
 
 S P O O N E R— S T O L K E R 
 
 Inscribed in engraved lettering: — Rembrant pinxt 
 Spooner fec‘ The Philosopher in Meditation 
 
 [capitals shaded] Sold by R Sayer, in Fleet Street, 
 
 J,C. 
 
 See note to N° 162. 
 
 165 
 
 Bode 106. Klass: der Kunst 194^. 
 
 AVIA. J. Stolker. 
 
 Nearly half-length. An old woman, directed to, and looking to 
 front. White Dutch cap and white ruff. 
 
 H. 202. Sub: 180. W. 150. 
 
 I. Before any inscription. 
 
 BM. 
 
 J.C. 
 
 II. Inscribed in engraved lettering: — Remb* Pinx. J: 
 
 Stolker, Fee. & Excud: Avia S: Cruys, Excud: 
 
 B.M. 
 
 See also N? 77. 
 
STOLKER 
 
 137 
 
 166 
 
 BUST OF A MAN. Jan Stolker. 
 
 In the catalogue of a sale in Amsterdam, Dec: 1906, Lot 280 is 
 thus described : — Buste d’homme avec moustache, portant bonnet et 
 manteau de fourrure convert d’une chaine avec I’ordre de I’^ephant. 
 Pet. in-12. 
 
 Superbe epreuve, tr^s rare. L’original n’est pas encore retrouve. 
 
 Not seen. 
 
 167 
 
 Bode 29. Klass: der Kunst 44^. 
 
 .? REMBRANDT’S FATHER. J. Stolker. 
 
 An old man, half-length, directed to right, looking to left; moustache 
 and beard; large earring in left ear; large hat with plumes; gorget; 
 cloak with chain across it. 
 
 H. 280. W. 203. (the whole plate engraved.) 
 
 I. Before any letters. 
 
 y.c. 
 
 II. In the work, to left : — Remb : pinx: J : Stolker Fecit. 
 
 Mr Reiss. 
 
 This is most probably one of the two mezzotints mentioned 
 by J. Smith, Cat: raisonne, N° 456. See N? 17 above. 
 
138 
 
 STRANGE 
 
 i68 
 
 Bode 199. Klass: der Kunst 186^. 
 
 A JEW RABBI. W. Strange. 
 
 J.C.S. p. 1351. 
 
 Half-length, directed slightly to right, looking to front; beard; 
 white turban; large cloak fastened in front by an elaborate, jewelled 
 clasp ; hands folded. An inner chamber visible through an archway 
 in background, to right; in it a table with an open book; an em- 
 blematic vase, and a skull in a niche in the wall behind; a satchel 
 hanging on the wall to left of the niche; a chair in front of the table. 
 H. 355. Sub: 314. W. 254. 
 
 Inscribed in engraved lettering: — Rembrandt pinx*. 
 
 W. Strange fecit A Jew Rabbi, [shaded capitals] 
 
 From one of the most Capital Pictures ever Painted 
 by Rembrandt, In the Collection of his Grace the 
 
 Duke of Devonshire. London, Printed for Rob? 
 
 Sayer Printseller, near Serjeants Inn, Fleet Street. 
 
 B.M. 
 
 J.C. 
 
 Chaloner Smith describes another state, thus: — “As above, 
 but with the publication line thus : — Sold by R. Martin Book 
 & Printseller; 47 Great Queen Str Lincolns Inn Fields. 
 
 342.” 
 
 Not seen. 
 
 Note. Chaloner Smith says: — “This appears a different 
 plate from that by Pether,” [N? 120 ante~\ “otherwise, as the 
 
STRANG E— T O W N L E Y 
 
 139 
 
 size nearly corresponds, it might be taken to be an after-state 
 of it.” The difference that will be most easily recognized is 
 that in Pether’s plate the two jewels hanging from the clasp 
 of the robe are level, while in Strange’s plate the jewel on 
 the left is decidedly below that on the right. There are 
 many other differences. 
 
 See also N? 1 18, 1 19, 120, 144 & 162. 
 
 169 
 
 Bode 170. Klass: der Kunst 148^. 
 
 REMBRANDT. C. Townley. 
 
 J.C.S. 22. 
 
 Half-length, young; long hair; velvet cap; gorget; velvet cloak 
 fastened over left shoulder by a chain ; directed to right, looking to 
 front. 
 
 H. 415. Sub; 354. W. 290. 
 
 Inscribed in engraved lettering: — Born in the Year 1606. 
 Died in the Year 1674. Rembrandt^.^^ Painted 
 by Himself Drawn and Engraved by Charles Townley 
 Member of the Royal Academy of Painting in Florence. 
 
 From the Original Portrait in the Collection of the 
 Marquis Gerini at Florence. Published as the Act 
 
 directs i» March 1778, and to be had of C. Townley N? 75, 
 near the Adelphi Strand. 
 
 See also N°.® i & 186. 
 
 B.M. 
 
140 
 
 TO WNLE Y 
 
 170 
 
 Bode 504. Klass: der Kunst 478 
 
 REMBRANDT. C. Townley. 
 
 J.C.S. 23. 
 
 Nearly half-length, directed slightly to right, looking to front; 
 velvet cap ; a sort of tartan scarf across forehead ; furred cloak, open 
 in front. 
 
 H. 420. Sub: 357. W. 291. 
 
 I. Inscribed in engraved lettering: — Born in the Year 1606. 
 Died in the Year 1674. Rembrandt Painted 
 
 by Himself Drawn and Engraved by Charles Townley 
 Member of the Royal Academy of Painting in Florence. 
 From the Original Portrait in the Medici Collection. 
 Published as the Act directs, June 30, 1777, and 
 to be had of C. Townley, N° 7, New Bond Street. 
 
 Plymouth. 
 
 II. As I, but after “1777” : — by Jean Mare \sic\ Pascal Berlin 
 
 Sale in Vienna., Feb: 1912. 
 
TRAUNFELLNE R— T URNER 
 
 141 
 
 171 
 
 Original not identified. 
 
 THE RAISING OF LAZARUS. J. Traunfellner. 
 
 Lazarus rising from the tomb in centre of foreground. Christ stands 
 behind, directed slightly to left, both hands outstretched downwards 
 and forwards. Three men and a woman (kneeling) to right. One 
 man holding his nose. Eight other figures to left. An illegible 
 inscription, beginning “RE...” on a tablet on a rock in back- 
 ground. 
 
 H. 565. Sub: 565. W. 725. 
 
 Without any inscription. On one impression seen was written 
 in pen and ink:— Rembrand pinx. J. Traunfellner 
 Sculp. Vienna 1798. 
 
 J.C. {cut) 
 
 172 
 
 Bode 365. Klass: der Kunst 345. 
 
 “NICOLAAS BERCHEM.” C. Turner. 
 
 * A.W. 37. 
 
 Half-length, seated, directed to left, looking to front; large hat; 
 moustache; cloak; holding papers in front of him with both hands; 
 right hand also holds a port e-crayon. 
 
 H. 510. Sub: 450. W. 417. Sub: 390. 
 
 * “Charles Turner”, by Alfred Whitman. London, 1907. 
 
142 
 
 TURNER 
 
 I. Unfinished. Margins uncleaned all round. Before any 
 inscription. 
 
 B.M. 
 
 II. Margins cleaned. Still before any inscription. 
 
 B.M. 
 
 J.C. 
 
 III. Inscribed in engraved lettering: — painted by rembrandt. 
 
 ENGRAVED BY CHARLES TURNER. NICHOLAS 
 
 BERGHEM. [name of subject in open capitals] London : 
 
 PUBLISHED BY W. TEGG, PANCRAS LANE. Printed by 
 
 T. Brooker. 
 
 Mr L. B. Moz/ey. 
 
 173 
 
 Bode 501. Klass: der Kunst 475. 
 
 REMBRANDT. C. Turner. 
 
 Half-length, directed to right, looking to front; turban; cloak; 
 handle of sword showing from under it; papers in right hand. In 
 the work, to left, above right shoulder: — Rembrant J 1661 
 H. 509. Sub: 430. W. 418. Sub: 370. 
 
 I. Before any inscription and before “Rembrant J 1661” in 
 the work. 
 
 J.C. 
 
TURNER 
 
 143 
 
 II. As I, but with the “Rembrant J 1661” in the work. 
 
 H.W.B. 
 
 III. Inscribed in fine engraved lettering: — Rembrant Pinx‘ 
 
 London: Published Jan: 2^ 1809, by edw“ orme, 
 Printseller to the King; Engraver & Publisher, Bond Street, 
 corner of Brook Strl Cha®. Turner Sculp* 
 
 REMBRANT [open Capitals] proof [open capitals] 
 
 B.M. 
 
 IV. As III, but with the open capitals filled in. 
 
 M^- y. Brownlee Hunter, 
 
 174 
 
 Bode 345. Klass: der Kunst 313. 
 
 REMBRANDT’S MILL. C. Turner. 
 
 A.W. 812. 
 
 A windmill in centre, on a bluff over a river (to right). Some figures 
 in foreground to left; a man in a boat, of which only the bow is 
 visible, on river to right. Trees behind river to right. 
 
 H. 177. Sub: 137. W. 205. Sub: 177. 
 
 I. Inscribed in etched lettering : — Painted by Rembrandt. 
 Engraved by Ch® Turner. Rembrandt’s Mill. 
 
 Gems of Art, Plate, i. Published by W B Cooke 
 
 9 Soho Square Jan^ i, 1823. 
 
 B.M. 
 
 J.C. 
 
144 
 
 TURNER— VAILLA NT 
 
 II. ' Inscribed in finely engraved lettering Painted by Rem- 
 brandt. Engraved on Steel by Cha®. Turner. 
 
 Rembrandt’s mill, [shaded capitals] The Picture in 
 
 the possession of the Marquess of Lansdowne. gems 
 
 OF ART. PLATE I. London, Published Jan? i®.‘ 
 
 1823; by W. B. Cooke, 9 Soho Square. 
 
 B.M. 
 
 III. As II, but without publication line, and with “Plate 4” 
 instead of “Plate i In a volume published in 1848. 
 
 Sale at Messrs: Sothebys' 
 26 Jan: 1920. 
 
 See also N°.® 153 & 154. 
 
 175 
 
 CHARLES II. W. Vaillant 
 
 * Wess: 28. 
 
 Wessely, in his catalogue of the works of Wallerant Vaillant [Vienna 
 1881], page 21, N?28, has this note:— “Prinz Carl II mit dem 
 Kissen, nach links — Links steht im Weissen Unterrande ausge- 
 kratzt, aber doch in guten Abdriicken sichtbar; Rembrandt Pinx 
 Rechts: W. Vaillant fee. et Exc. Hohe 6" 9'". Breite 4" ii"'.” 
 This must be the portrait of King Charles II as an infant, from the 
 group by Vandyck. 
 
 * “Wallerant Vaillant”, by J. E. Wessely. Vienna, 1881. 
 
VAI LLANT 
 
 145 
 
 176 
 
 J. Smith, Cat: raisonn^, N? 137. H. de G. 17 1 a. 
 
 ST JOHN THE BAPTIST. ? W. Vaillant. 
 
 Wess: 78. 
 
 Bust, directed to front, looking to left. Long hair, beardless face; 
 halo. Cloak with a cord across left shoulder. 
 
 H. 172. Sub: 168. W. 159. 
 
 I. Before any inscription. 
 
 II. Inscribed in (?) engraved lettering: — Rembrant pinx. 
 
 Wessely s catalogue. 
 Not seen. 
 
 See N? 4. 
 
 This is «o/Bode 135. Klass: der Kunst 113^?. 
 
 177 
 
 AN OLD BEARDED MAN. W. Vaillant. 
 
 Wess: 132 & 133. 
 
 [Wessely describes two plates — but a comparison of the descriptions 
 and the measurements will, I think, show that they are one and the 
 same.] 
 
 An old man, less than half-length, directed to front (or.? to right); 
 wears a fur-trimmed cap. 
 
 H. 182. W. 130. 
 
 C 
 
 10 
 
146 
 
 VAILLANT 
 
 I. Inscribed [ ? in engraved lettering] : — Rembrant Pinx. 
 
 W. Vaillant fee. et Exc. 
 
 II. The lower margin with the inscription has been cut away 
 and the plate now measures H. 108. W. 82. 
 
 [All descriptions from Wessely.] 
 
 Not seen. 
 
 178 
 
 Cf. Bode 304. Klass: der Kunst 249. 
 
 AN OLD WOMAN WEIGHING GOLD. W. Vaillant. 
 
 JVess: 153. 
 
 “Die alte Dame sitzt im Profil nach Rechts im schwarzen Kleide, 
 einem weissen Kopftuch, dariiber ein grosser schwarzer Schleier, 
 der auch den ganzen Oberkorper bedeckt. Sie halt mit der linken 
 Hand die Goldwage vor sich ; auf dem Tische vor ihr sieht man funf 
 Miinzen, einen geofFneten Geldkasten, oflFenes Munzenbuch; 
 hinter dem Kastchen ist theilweise das hohe Fenster sichtbar. Vor 
 dem Tische liegen auf einer Bank Schriften und ein Geldbeutel. 
 Links schaut ein Hund zu seiner Herrin auf. 
 
 Hohe ii" 6'", Breite 8" 10'" 
 
 (= H. 298. W. 217 mm.) 
 
 Rechts am Boden steht: W. Vaillant fee. 
 
V A I L L A N T— W A L K E R 
 
 147 
 
 I. Vor der Adresse. 
 
 II. Links unten am Boden; F. de Wit Excudit.” 
 [Description &c. taken from Wessely.] 
 
 Not seen. 
 
 179 
 
 Bode, vol. VII. p. 232 a. H. de G. 155. 
 
 HANNAH INSTRUCTING SAMUEL. J. Walker. 
 
 25. 
 
 To knees. A woman sitting in an armed chair; large black hood; 
 white kerchief underneath, and over her chest; left hand holding 
 eye-glasses; right arm round the shoulders of a child who is leaning 
 over her lap, and reading a book. 
 
 H. 510. Sub: 458. W. 357. 
 
 I. Inscribed in etched lettering: — Rembrant Pinxit Ja® 
 Walker Fecit 
 
 H.W.B. 
 
 10-2 
 
148 
 
 WALKER 
 
 II. Inscribed in engraved lettering: — Rembrant Pinxit. 
 
 Ja® Walker Sculp* [Arms in centre. Dedication in 
 
 Russian to left, and in English to right ; thus : — ] Dedicated to 
 her IMPERIAL MAJESTY CATHERINE the SECOND Emprcss and 
 AUTOCRATRix of all the RussiAS. [capitals shaded] By her 
 much obliged most devoted and veryhumble [sic] Servant 
 James Walker Engr. to her Imperial Majesty. From the 
 Original Picture in the Imperial Gallery at S| Petersburg. 
 Sr Petersburg luly 10= 1787. 
 
 B.M. 
 
 III. Inscribed in engraved lettering : — Rembrant Pinxit. 
 
 Ja® Walker Eng^. to her I.M. and memb^. of the Imp! AcadT 
 of Arts S*. Petersburg fecit. [Arms in centre. 
 
 Dedication in Russian to left, and in English to right; 
 thus: — ] Dedicated to her imperial majesty Catherine 
 the SECOND Empress and Autocratrix of all the russias. 
 [capitals shaded] By her much obliged most devoted and 
 veryhumble [j/V] Servant James Walker From the 
 
 Original Picture in the Imperial Gallery at Sr Petersburg. 
 
 Publish’d JanT I. 1792 as the Act directs by 
 Ja? Walker S? Petersburg W. Hodges Queen Street May 
 Fair and R. Blamire, Strand, London. 
 
 B.M. 
 
 F.M. 
 
 This picture is also known as “Timothy and his Grand- 
 mother”, and as “The Nun and the Child” {H. de G. 155). 
 
WARD 
 
 149 
 
 180 
 
 Bode 339. Klass: der Kunst 301. 
 
 THE CENTURION CORNELIUS J. Ward. 
 
 (or The Parable of the Unmerciful Servant.) 
 
 *J,F. 22. 
 
 Nearly whole lengths, standing. On the left, behind a table on 
 which are papers, a man in a large turban, with beard &c. directed 
 to right, right hand on table, left arm extended towards a group of 
 three other men, who are attentively watching him. 
 
 H. 587. Sub: 512. W. 662. Sub: 613. 
 
 Several trial proofs are in the British Museum. 
 
 I. Inscribed in fine engraved lettering : — Painted by Rembrant 
 Engraved by Ja® Ward Painter & Engraver to his 
 R.H. the Prince of Wales The Centurion Cornelius 
 
 [open capitals] From an Original Picture brought to this 
 Country by M Bryan Esq- London [open capitals] 
 
 Pub. April 10 1800 by Mess’*.® Wards & C° [open capitals] 
 N° 6 Newman Street [On either side of title : — ^] And 
 when the Angel which spake unto Cornelius was departed 
 he called two of his houshold \sic\ servants and a devout 
 soldier of them that waited on him continually And when 
 he had declared all these things unto them he sent them to 
 Joppa Acts, Chap' X Verse 7 & 8 
 
 F.M. 
 
 J.C, 
 
 * “James Ward, R.A.”, by Julia Frankau. London, 1904. 
 
WARD 
 
 150 
 
 II. As I, but with the letters of the title (The Centurion 
 Cornelius) shaded; the lettering, all through, strengthened, 
 and many marks of punctuation added. 
 
 B.M. 
 
 H.W.B. 
 
 Very likely there is a state with “James Ward & Co” 
 instead of “Mess"? Wards & Co” in the publication line. 
 
 This picture is also called “The Unfaithful Servant” and 
 “The Workers [or Labourers] in the Vineyard ”. (ff. de 
 G. 1 14.) 
 
 181 
 
 Bode 1 2 1 . Klass: der Kunst iiia. 
 
 THE PHILOSOPHER IN DEEP STUDY. W. Ward. 
 Interior of vaulted building, with a wide winding staircase on right. 
 An old man in a furred cloak sits at a table by a window on the left. 
 A large wicker bird-cage hangs above his head. On the table are 
 large books, a globe and a crucifix. 
 
 H. 222. Sub: 176. W. 227. Sub; 202. 
 
 Inscribed in fine engraved lettering : — Painted byRembrant. 
 
 Engraved by W. Ward. Published by R. 
 
 Ackerman & C° 96. Strand. 1829. 
 
 See also N“ 87 & 1 17. 
 
 B.M. 
 
WATSON 
 
 151 
 
 182 
 
 Bode 407. Klass: der Kunst 388. 
 
 BAUCIS AND PHILEMON ENTERTAINING JUPITER 
 
 AND MERCURY. T. Watson. 
 
 *G.G. 50. 
 
 Interior of a cottage. Behind a table on the right sits Jupiter, in rich 
 clothing, bareheaded; long hair, beard &c. On his left, back to a 
 window sits Mercury, at the end of the table; he is depicted as a 
 negro. On the table is a basket of fruit. On Jupiter’s right are 
 Baucis and Philemon, the former with a live goose in her hands. 
 
 H. 456. Sub: 413. W. 528. 
 
 I. “Avant le texte dans la marge inferieure.” 
 
 Not seen. 
 
 Lot 639 in sale at Amsterdam Afril 1910. 
 
 II. Inscribed in engraved lettering Rembrandt pinx‘- 
 
 Tho®. Watson fecit. Publish’d March 1772 for 
 
 S„ Hooper, at N° 25 Ludgate Hill, W„ Shropshire, New 
 Bond Street, & T : Watson, N° 8 Broad Street. 
 
 F.M. 
 
 7-C. 
 
 III. Inscribed in engraved lettering: — Rembrandt pinxV 
 
 Tho?. Watson fecit. Baucis and Philemon, [capitals 
 
 shaded] From an Original-Painting by Rem- 
 brandt: Published March iV 1772 for S„ Hooper, 
 
 * “Thomas Watson”, by Gordon Goodwin. London, 1904. 
 
152 
 
 WATSON 
 
 at N? 25 Ludgate Hill, W„ Shropshire, New Bond Street, 
 & T: Watson, NS 8 Broad Street. 
 
 [At each side of the title: — ] 
 
 Devotion seiz’d the Pair, to see the Feast 
 With Wine, and of no common Grape, increas’d 
 And up they held their Hands, and fell to Pray’r, 
 Excusing, as they could, their Country Fare. 
 
 One Goose they had, (’twas all they could allow) 
 
 Whom to the Gods for Sacrifice they Vow: 
 
 But persecuted, to the Pow’rs she flies. 
 
 And close between the Legs of Jove she lies. 
 
 Dryden. 
 
 J.C. 
 
 183 
 
 A JEWISH RABBI. T. Watson. 
 
 C.G. 73. 
 
 Included in the catalogue of the works of Thomas Watson 
 by Gordon Goodwin on the authority of “Dodd and Le 
 Blanc”. 
 
 Probably the same as the following number. 
 
 Not seen. 
 
WATSON 
 
 153 
 
 184 
 
 Bode 469. Klass: der Kunst 440^. 
 
 A RABBI. 
 
 REMBRANDT’S FATHER (?). T. Watson. 
 
 G, G. 4B. 
 J.C.S, 42. 
 
 Half-length, directed to front, looking slightly to right. An old 
 man in a velvet cap; beard &c.; cloak. 
 
 H. 379. Sub: 327. W. 281. 
 
 Inscribed in engraved lettering : — Rembrant pinx‘ 
 
 T„ Watson fecit. Done from an Original Picture Painted 
 by Rembrant, in the Collection of the Duke of Argyle. 
 
 Published as the Act directs for T. Watson Jun^ in 
 Little Windmill Street Golden Square. 
 
 HW.B. 
 
 J. Smith, Cat: raisonne N° 459 (note), says: — “There is a 
 print engraved by J. Watson, corresponding with the pre- 
 ceding, with the exception that, instead of a cap, he has on 
 a large hat.” I can find no other trace of it. 
 
154 
 
 WRENK 
 
 185 
 
 Bode says the picture was painted by Govaert Flinck. 
 HAGAR IN THE DESERT. F. Wrenk. 
 
 Hagar, on the right, kneeling to left; hands clasped and face resting 
 on them; right arm leaning on a fallen tree. Behind her stands an 
 Angel, with halo. Trees in background. 
 
 H. 650. Sub: 590. W. 498. 
 
 I. Before any inscription. 
 
 Sale in Vienna^ June 1888. 
 Not seen. 
 
 II. Inscribed in engraved lettering: — Gemahld von Rem- 
 brandt. Gedruckt von Senn. Gestochen von 
 
 Wrenk. agar in der wtiSTE. [capitals shaded] 
 
 Das Originalgemahlde von Rembrandt befindet sich in der 
 Sammlung des Hrn. Grafen v. Schonborn. Wien, im 
 
 Verlage des Kunst- und Industrie-Comptoirs. 1804. 
 
 B.M. 
 
 186 
 
 Bode 170. Klass: der Kunst 148^. 
 
 REMBRANDT. F. Wrenk. 
 
 Bust, directed to left, looking to front. A young man; long hair; 
 velvet cap; gorget; velvet cloak fastened across right shoulder by a 
 chain. 
 
 H. 224. Sub: 194. W. 140. 
 
WRENK 
 
 155 
 
 Inscribed in engraved lettering: 
 Grave par F: Wrenk. 1790. 
 [shaded capitals] 
 
 See also N°.® i & 169. 
 
 — Peint par Rembrand. 
 
 REMBRAPID VAM RYU. 
 
 y.c. 
 
 Note. In the catalogue of a sale at Leipzig, in May 1912, 
 Lot 1179 was thus described: — “Halb-figur nach rechts in 
 pelzverbramtem Sammetmantel und Kappe. Fr Wrenk sc. 
 gr. fol. Prachtvoller erster Abdruck vor aller Schrift.” 
 Apart from the difference in the direction of the portrait the 
 size of the plate (“gr. fol.”) seems to indicate another 
 engraving than the one described above. 
 
 187 
 
 Original unknown. 
 
 TOBIAS AND THE ANGEL. F. Wrenk. 
 
 Tobias, facing to right, kneels on his right knee, with both hands 
 raised in surprise at the sight of the fish, which appears above the 
 surface of the river, on the right. The Angel is behind Tobias, and 
 points to the fish with his left hand. In the foreground is a dog, 
 snarling. In the background trees to left, an old man walking 
 towards the left among them. 
 
 H. 510. Sub: 460. W. 605. 
 
 Without any inscription. 
 
 B.M. 
 
156 
 
 YOUNG 
 
 188 
 
 Bode 227. Klass: der Kunst 215. 
 
 PORTRAIT OF A DUTCH CLERGYMAN. John Young. 
 Nearly full-length, seated; directed slightly to left, facing to front. 
 Skull cap, white hair, beard &c. Furred gown, long white bands; 
 hands resting on arms of chair. Two ruled lines round subject. 
 
 H. 95. W. 73. 
 
 Inscribed in engraved lettering: — rembrandt. [open 
 capitals] At top, above the outer surrounding 
 
 line: — N*? 222. 
 
 B.M. 
 
 This is N? 222 in the “Stafford Collection”, 4to, London, 
 1825, where it is called “A Burgomaster”. 
 
 189 
 
 Bode 430. Klass: der Kunst 401. 
 
 REMBRANDT. John Young. 
 
 Bust, directed to right, facing to front. Velvet cap, curling hair, 
 moustache and imperial; coat with high collar, turned up. In the 
 work, to right : — Rembrandt f. 1659. Two ruled lines round subject. 
 
 H. 74. W. 59. 
 
YOUNG 
 
 157 
 
 Inscribed in engraved lettering: — rembrandt. [open 
 capitals] At top, above the outer surrounding 
 
 line: — N° 145. 
 
 B.M. 
 
 This is N? 145 in the “Stafford Collection”, 4to, London, 
 1825. 
 
 See also N? 100. 
 
 190 
 
 Bode 325. K/ass: der Kunst 291. H. de G. 154. 
 
 TIMOTHY AND HIS GRANDMOTHER. John Young. 
 An old woman, seated in the Temple, directed to, and looking to 
 left. A large book on her lap. Against her right knee kneels a boy. 
 Other figures in the background. Two ruled lines round subject. 
 
 H. 85. W. 70. 
 
 Inscribed in engraved lettering: — rembrandt. [open 
 capitals] At top, above the outer surrounding 
 
 line: — N° 224. 
 
 BM. 
 
 This is N'?224 in the “Stafford Collection”, 4to, London, 
 1825, where it is called “Samuel and his Mother”. It is 
 also known as “Hannah in the Temple”. 
 
CAMBRIDGE: PRINTED BY 
 W. LEWIS 
 
 AT THE UNIVERSITY PRESS 
 
f 
 
I