The following is a list of etchings by the Dutch painter and etcher Rembrandt, with the catalogue numbers of Adam Bartsch. Each change or addition to the plate that can be seen in a print is referred to as a 'state' of the print.
Image | Bartsch | States | Title | Year |
---|---|---|---|---|
B059 | 1 | The rest on the flight into Egypt | About 1626 | |
S398 | 2 | The circumcision | About 1626 | |
B054 | 6 | The flight into Egypt: a sketch | About 1627 | |
B352 | 2 | The artist's mother: head only, full face | 1628 | |
B354 | 2 | The artist's mother: head and bust, three-quarters right | 1628 | |
B004 | 1 | Self-portrait with a broad nose | About 1628 | |
B005 | 3 | Self portrait leaning forward: bust | About 1628 | |
B009 | 1 | Self portrait, leaning forward, listening | About 1628 | |
B027 | 1 | Self portrait bareheaded, with high curly hair: head and bust | About 1628 | |
B183 | 1 | Beggar man and woman | About 1628 | |
B184 | 1 | A stout man in a large cloak | About 1628 | |
B338 | 1 | Self portrait bare-headed: bust, roughly etched | 1629 | |
S376 | 1 | A beggar in a tall hat and long cloak, with a cottage and two figures in the background | About 1629 or earlier | |
B012 | 1 | Self portrait in a fur cap, in an oval border | About 1629 | |
B095 | 1 | Peter and John at the gate of the Temple: roughly etched | About 1629 | |
B106 | 1 | St. Jerome kneeling: a large plate | About 1629 | |
B115 | 1 | The small lion hunt: with two lions | About 1629 | |
B116 | 1 | The small lion hunt: with one lion | About 1629 | |
B149 | 1 | St. Paul in meditation | About 1629 | |
B153 | 5 | The blindness of Tobit: a sketch | About 1629 | |
B162 | 1 | Beggar in a high cap, standing and leaning on a stick | About 1629 | |
B166 | 5 | Beggar with a crippled hand leaning on a stick | About 1629 | |
B182 | 1 | Two studies of beggars | About 1629 | |
S399 | 1 | Old man with snub nose | About 1629 | |
B327 | 3 | Head of a man in a fur cap, crying out | About 1629-30 | |
B168 | 2 | Old beggar woman with a gourd | About 1630 | |
B175 | 2 | Seated beggar and his dog | 1631 | |
B010 | 3 | Self portrait, frowning: bust | 1630 | |
B013 | 3 | Self portrait open-mouthed, as if shouting: bust | 1630 | |
B024 | 4 | Self portrait in a fur cap: bust | 1630 | |
B051 | 2 | Simeon's hymn of praise [The presentation in the Temple with the angel: the small plate] | 1630 | |
B066 | 3 | Christ disputing with the doctors: small plate | 1630 | |
B164 | 1 | Beggar man and beggar woman conversing | 1630 | |
B174 | 1 | Beggar seated on a bank | 1630 | |
B292 | 3 | Bald-headed man in right profile [The artist's father?] | 1630 | |
B294 | 1 | Bald-headed man in right profile: small plate [The artist's father?] | 1630 | |
B304 | 5 | Man wearing a close cap: bust [The artist's father?] | 1630 | |
B309 | 1 | Old man with a flowing beard | 1630 | |
B316 | 6 | Self portrait in a cap, laughing | 1630 | |
B320 | 1 | Self portrait in a cap, with eyes wide open | 1630 | |
B321 | 2 | Bust of a man wearing a high cap, three-quarters right [The artist's father?] | 1630 | |
B325 | 1 | Bust of an old man with a flowing beard, the head bowed forward, the left shoulder unshaded | 1630 | |
B001 | 2 | Self portrait with curly hair and white collar | About 1630 | |
B048 | 1 | The circumcision: small plate | About 1630 | |
B151 | 3 | Man in a coat and fur cap leaning against a bank | About 1630 | |
B160 | 1 | Old man in a long cloak sitting in an armchair | About 1630 | |
B163 | 1 | Beggar leaning on a stick, facing left | About 1630 | |
B165 | 9 | Beggar man and woman behind a bank | About 1630 | |
B172 | 6 | Ragged peasant with his hands behind him, holding a stick | About 1630 | |
B173 | 2 | Beggar seated warming his hands at a chafing dish | About 1630 | |
B179 | 2 | Beggar with a wooden leg | About 1630 | |
B314 | 2 | Bearded old man with a high forehead | About 1630 | |
B357 | 2 | The white negress | About 1630 | |
B374 | 1 | Three studies of old men's heads | About 1630 | |
B015 | 5 | Self portrait in a cloak with a falling collar: bust | 1630-1631 | |
B366 | 1 | Sheet of studies of men's heads | About 1630-31 | |
B007 | 11 | Self portrait in a soft hat and embroidered cloak | 1631 | |
B016 | 1 | Self portrait in a heavy fur cap: bust | 1631 | |
B134 | 3 | Old woman seated in a cottage with a string of onions on the wall | 1631 | |
B135 | 5 | Peasant with his hands behind his back | 1631 | |
B138 | 3 | The blind fiddler | 1631 | |
B142 | 1 | A polander standing with his stick: right profile | 1631 | |
B150 | 4 | Beggar with his left hand extended | 1631 | |
B171 | 7 | The leper [“Lazarus clep”] | 1631 | |
B190 | 1 | A man making water | 1631 | |
B191 | 1 | A woman making water | 1631 | |
B260 | 3 | Bust of an old bearded man, looking down, three-quarters right | 1631 | |
B263 | 4 | Bearded man, in a furred oriental cap and robe [The artist's father?] | 1631 | |
B315 | 2 | Old man with a flowing beard: bust | 1631 | |
B348 | 3 | The artist's mother seated, in an oriental headdress: half-length | 1631 | |
B349 | 2 | The artist's mother with her hand on her chest: small bust | 1631 | |
B355 | 7 | Bust of an old woman in a furred cloak and heavy headdress | 1631 | |
B008 | 6 | Self portrait with long bushy hair: head only | About 1631 | |
B140 | 1 | The barrel-organ player [Polander standing with arms folded] | About 1631 | |
B154 | 2 | Two beggars tramping towards the right | About 1631 | |
B198 | 2 | Naked woman seated on a mound | About 1631 | |
B201 | 1 | Diana at the bath | About 1631 | |
B204 | 2 | Jupiter and Antiope: the smaller plate | About 1631 | |
B291 | 1 | Bust of an old man with flowing beard and white sleeve | About 1631 | |
B302 | 5 | Head of a man in a high cap | About 1631 | |
B312 | 2 | Bust of an old man with a fur cap and flowing beard, nearly full face, eyes direct | About 1631 | |
B319 | 6 | Self portrait with cap pulled forward | About 1631 | |
B343 | 3 | The artist's mother seated at a table, looking right: three-quarter length | About 1631 | |
B101 | 3 | St. Jerome praying: arched print | 1632 | |
B121 | 3 | The rat-poison peddler [The rat catcher] | 1632 | |
B152 | 1 | The Persian | 1632 | |
B073 | 10 | The raising of Lazarus: the larger plate | About 1632 | |
B062 | 1 | The holy family | About 1632 | |
B117 | 2 | A cavalry fight | About 1632 | |
B139 | 1 | Turbaned soldier on horseback | About 1632 | |
B141 | 6 | Polander leaning on a stick | About 1632 | |
B262 | 3 | Old man with beard, fur cap and velvet cloak | About 1632 | |
B363 | 2 | Sheet of studies: head of the artist, a beggar couple, heads of an old man and woman, etc. | About 1632 | |
B017 | 2 | Self portrait in a cap and scarf with the face dark: bust | 1633 | |
B052 | 2 | The flight into Egypt: the small plate | 1633 | |
B081 | 5 | The descent from the cross: the second plate | 1633 | |
B090 | 4 | The good Samaritan | 1633 | |
B111 | 2 | The ship of fortune | 1633 | |
B266 | 2 | Jan Cornelis Sylvius, preacher [1564-1638] | 1633 | |
B351 | 2 | The artist's mother in a cloth headdress, looking down: head only | 1633 | |
B038 | 2 | Joseph's coat brought to Jacob | About 1633 | |
B018 | 2 | Self portrait with raised sabre | 1634 | |
B023 | 3 | Self portrait [?] with plumed cap and lowered sabre | 1634 | |
B039 | 2 | Joseph and Potiphar's Wife | 1634 | |
B044 | 3 | The angel appearing to the shepherds | 1634 | |
B071 | 2 | Christ and the woman of Samaria: among ruins | 1634 | |
B088 | 1 | Christ at Emmaus: the smaller plate | 1634 | |
B100 | 1 | St. Jerome reading | 1634 | |
B177 | 1 | A peasant calling out ‘Tis vinnich kout’ | 1634 | |
B178 | 1 | A peasant replying ‘Dats niet’ | 1634 | |
B345 | 3 | Woman reading | 1634 | |
B347 | 1 | Saskia with pearls in her hair | 1634 | |
B002 | 1 | Self portrait wearing a soft cap: full face, head only | About 1634 | |
B144 | 1 | Two tramps, a man and a woman | About 1634 | |
B069 | 2 | Christ driving the moneychangers from the Temple | 1635 | |
B097 | 2 | The stoning of St.Stephen | 1635 | |
B102 | 1 | St. Jerome kneeling in prayer, looking down | 1635 | |
B124 | 3 | The pancake woman | 1635 | |
B129 | 1 | The quacksalver | 1635 | |
B279 | 6 | Jan Uytenbogaert, preacher of the Remonstrants [1557-1644] | 1635 | |
B286 | 2 | The first oriental head | 1635 | |
B287 | 1 | The second oriental head | About 1635 | |
B288 | 1 | The third oriental head | 1635 | |
B289 | 1 | The fourth oriental head | About 1635 | |
B340 | 5 | The great Jewish bride | 1635 | |
B068 | 2 | The tribute money | About 1635 | |
B080 | 1 | The crucifixion: small plate | About 1635 | |
B119 | 2 | The strolling musicians | About 1635 | |
B290 | 1 | Old bearded man in a high fur cap, with eyes closed | About 1635 | |
B306 | 1 | Bald old man with a short beard, in right profile | About 1635 | |
B019 | 3 | Self portrait with Saskia | 1636 | |
B077 | 5 | Christ before Pilate: larger plate | 1636 | |
B091 | 1 | The return of the prodigal son | 1636 | |
B269 | 3 | Samuel Menasseh ben Israel [1604-57] | 1636 | |
B365 | 1 | Studies of the head of Saskia and others | 1636 | |
B350 | 1 | Old woman sleeping | About 1633-39 | |
B030 | 1 | Abraham casting out Hagar and Ishmael | 1637 | |
B268 | 2 | Young man in a velvet cap [Petrus Sylvius, preacher?; 1610-53] | 1637 | |
B313 | 1 | Bearded man in a velvet cap with a jewel clasp | 1637 | |
B368 | 1 | Three heads of women, one asleep | 1637 | |
B033 | 2 | Abraham caressing Isaac | About 1637 | |
B367 | 3 | Three heads of women, one lightly etched | About 1637 | |
B020 | 1 | Self portrait in a velvet cap with plume | 1638 | |
B028 | 2 | Adam and Eva | 1638 | |
B037 | 3 | Joseph telling his dreams | 1638 | |
B311 | 1 | Man in a broad-brimmed hat | 1638 | |
B342 | 1 | The little Jewish bride [Saskia as St. Catherine] | 1638 | |
B021 | 2 | Self portrait leaning on a stone sill | 1639 | |
B099 | 3 | The Death of the Virgin | 1639 | |
B109 | 1 | Death appearing to a wedded couple from an open grave | 1639 | |
B133 | 1 | A peasant in a high cap, standing leaning on a stick | 1639 | |
B281 | 2 | Jan Uytenbogaert, [1606-84; ‘The goldweigher’] | 1639 | |
B049 | 3 | Simeon's hymn of praise [The presentation in the Temple: oblong print] | About 1639 | |
B156 | 1 | The skater | About 1639 | |
B192 | 2 | The artist drawing from the model | About 1639 | |
B259 | 1 | Old man shading his eyes with his hand | About 1639 | |
B092 | 2 | The beheading of John the Baptist | 1640 | |
B265 | 2 | Old man with a divided fur cap | 1640 | |
B158 | 3 | Sleeping puppy | About 1640 | |
B207 | 1 | Small gray landscape: a house and trees beside a pool | About 1640 | |
B210 | 1 | View of Amsterdam from the northwest | About 1640 | |
B372 | 1 | Sheet with two studies: a tree, and the upper part of a head of the artist wearing a velvet cap | Between 1640 and 1644 | |
B043 | 4 | The angel departing from the family of Tobias | 1641 | |
B061 | 1 | Virgin and child in the clouds | 1641 | |
B098 | 2 | The baptism of the eunuch | 1641 | |
B114 | 2 | The large lion hunt | 1641 | |
B118 | 2 | Three oriental figures [Jacob and Laban?] | 1641 | |
B128 | 1 | Woman at a door hatch talking to a man and children [‘The Schoolmaster’] | 1641 | |
B136 | 2 | The card player | 1641 | |
B225 | 1 | Landscape with a cottage and haybarn: oblong | 1641 | |
B226 | 1 | Landscape with a cottage and a large tree | 1641 | |
B233 | 1 | The windmill | 1641 | |
B261 | 4 | Man at a desk wearing a cross and chain | 1641 | |
B271 | 2 | Cornelis Claesz Anslo, preacher [1592-1646] | 1641 | |
B310 | 1 | Portrait of a boy, in profile | 1641 | |
B040 | 1 | The triumph of Mordechai | About 1641 | |
B079 | 2 | Christ crucified between the two thieves: an oval plate | About 1641 | |
B130 | 3 | Man drawing from a cast | About 1641 | |
B359 | 1 | Sick woman with a large white headdress [Saskia] | About 1641-42 | |
B369 | 1 | Sheet of studies, with a woman lying ill in bed, etc. | About 1641-42 | |
B072 | 2 | The raising of Lazarus: the small plate | 1642 | |
B082 | 1 | The descent from the cross: a sketch | 1642 | |
B105 | 2 | St. Jerome in a dark chamber | 1642 | |
B188 | 4 | The flute player [L’espiegle] | 1642 | |
B257 | 1 | Man in an arbor | 1642 | |
B026 | 1 | Self portrait in a flat cap and embroidered dress | About 1642 | |
B120 | 1 | The Spanish gypsy ‘Preciosa’ | About 1642 | |
B148 | 1 | Student at a table by candlelight | About 1642 | |
B356 | 2 | Girl with a basket | About 1642 | |
B157 | 2 | The hog | 1643 | |
B212 | 1 | The Three Trees | 1643 | |
B220 | 1 | The shepherd and his family | 1644 | |
B057 | 4 | The rest on the flight: a night piece | About 1644 | |
B189 | 1 | The sleeping herdsman | About 1644 | |
B034 | 1 | Abraham and Isaac | 1645 | |
B058 | 1 | The rest on the flight: lightly etched | 1645 | |
B096 | 1 | St. Peter in penitence | 1645 | |
B208 | 3 | ‘Six’s bridge’ | 1645 | |
B209 | 2 | The Omval | 1645 | |
B231 | 3 | The boat house [Grotto with a brook; ‘Het spelonkje’] | 1645 | |
B084 | 1 | Christ carried to the tomb | About 1645 | |
B147 | 2 | Old man in meditation, leaning on a book | About 1645 | |
B219 | 1 | Cottages and farm buildings with a man sketching | About 1645 | |
B228 | 1 | Cottages beside a canal | About 1645 | |
B170 | 1 | Beggar woman leaning on a stick | 1646 | |
B186 | 5 | ‘Ledikant’ or ‘Lit à la française’ | 1646 | |
B193 | 2 | Nude man seated before a curtain | 1646 | |
B196 | 2 | Nude man seated on the ground with one leg extended | 1646 | |
B280 | 2 | Jan Cornelis Sylvius, preacher [1564-1638] | 1646 | |
B187 | 1 | The monk in the cornfield | About 1646 | |
B194 | 3 | A young man seated and standing [The walking trainer] | About 1646 | |
B278 | 2 | Ephraim Bonus, Jewish physician [1599-1655] | 1647 | |
B285 | 4 | Jan Six [1618-1700] | 1647 | |
B277 | 3 | Jan Asselyn, painter [‘Crabbetje’; 1610-52] | About 1647 | |
B022 | 5 | Self portrait drawing at a window | 1648 | |
B103 | 2 | St. Jerome beside a pollard willow | 1648 | |
B112 | 5 | Medea: or the marriage of Jason and Creusa | 1648 | |
B126 | 3 | Pharisees in the Temple [Jews in the synagogue] | 1648 | |
B176 | 3 | Beggars receiving alms at the door of a house | 1648 | |
B232 | 3 | Cottage with a white paling | 1648 | |
B074 | 2 | Christ preaching [‘The hundred-guilder print’] | About 1643-49 | |
B159 | 3 | The shell [Conus Marmoreus] | 1650 | |
B217 | 3 | Landscape with three gabled cottages beside a road | 1650 | |
B218 | 4 | Landscape with a square tower | 1650 | |
B235 | 2 | Canal with an angler and two swans | 1650 | |
B236 | 2 | Canal with a large boat and bridge [‘Het schuytje op de voorgrondt’] | 1650 | |
B227 | 2 | Landscape with an obelisk | About 1650 | |
B237 | 2 | Landscape with a cow | About 1650 | |
B253 | 1 | The bull [‘Het stiertje’] | About 1650 | |
B042 | 2 | The blindness of Tobit: the larger plate | 1651 | |
B053 | 6 | The flight into Egypt: a night piece | 1651 | |
B195 | 2 | The bathers | 1951 | |
B234 | 1 | The Goldweigher's Field | 1651 | |
B272 | 6 | Clement de Jonghe, printseller [1624/25-77] | 1651 | |
B370 | 1 | Sheet of studies with the head of the artist, a beggar woman, woman and child | 1651 | |
B113 | 1 | The star of the kings: a night piece | About 1651 | |
B223 | 4 | Landscape with trees, farm buildings and a tower | About 1651 | |
B041 | 3 | David in prayer | 1652 | |
B065 | 3 | Christ disputing with the doctors: a sketch | 1652 | |
B222 | 2 | Clump of trees with a vista | 1652 | |
B224 | 2 | Landscape with a hay barn and a flock of sheep | 1652 | |
B046 | 8 | The adoration of the shepherds: a night piece | About 1652 | |
B067 | 1 | Christ preaching [‘La petite tombe’] | About 1652 | |
B085 | 1 | The Virgin with the instruments of the passion | About 1652 | |
B131 | 2 | Peasant family on the tramp | About 1652 | |
B213 | 2 | Landscape with a fisherman [‘Het melkboertje’] | About 1652 | |
B221 | 1 | Landscape with a road beside a canal | About 1652 | |
B270 | 4 | Doctor Fautrieus | About 1652 | |
B078 | 5 | Christ crucified between the two thieves [‘Three crosses’] | 1653 | |
B056 | 7 | The rest on the flight: altered from Seghers | About 1653 | |
B211 | 2 | Landscape with a shepherd and a dog [‘Het jagertje’] | About 1653 | |
B104 | 2 | St. Jerome reading in an Italian landscape | About 1653 | |
B047 | 2 | The circumcision in the stable | 1654 | |
B055 | 1 | The flight into Egypt: crossing a brook | 1654 | |
B060 | 1 | Christ returning from the Temple with his parents | 1654 | |
B063 | 2 | The Virgin and the child with the cat and snake | 1654 | |
B064 | 1 | Christ seated disputing with the doctors | 1654 | |
B083 | 1 | The descent from the cross by torchlight | 1654 | |
B087 | 3 | Christ at Emmaus: the larger plate | 1654 | |
B125 | 2 | The golf player | 1654 | |
B045 | 2 | The adoration of the shepherds: with the lamp | About 1654 | |
B050 | 1 | The presentation in the Temple in the dark manner | About 1654 | |
B086 | 4 | The entombment | About 1654 | |
B035 | 1 | Abraham's Sacrifice | 1655 | |
B036 | 3 | Four illustrations to a Spanish book | 1655 | |
B076 | 8 | Christ presented to the people: the oblong plate [‘Ecce homo’] | 1655 | |
B123 | 2 | The goldsmith | 1655 | |
B275 | 5 | Pieter Haaringh [‘Young Haaringh’; 1609-85] | 1655 | |
B274 | 2 | Thomas Haaringh [‘Old Haaringh’; died 1660] | About 1655 | |
B029 | 1 | Abraham Entertaining the Angels | 1656 | |
B089 | 1 | Christ appearing to the apostles | 1656 | |
B276 | 3 | Jan Lutma, goldsmith [1584-1669] | 1656 | |
B284 | 2 | Arnold Tholinx, inspector [died 1679] | About 1656 | |
B011 | 1 | The artist's son Titus | About 1656 | |
B107 | 2 | St. Francis beneath a tree praying | 1657 | |
B075 | 1 | The agony in the garden | About 1657 | |
B273 | 9 | Abraham Francen, apothecary [born 1613] | About 1657 | |
B070 | 3 | Christ and the woman of Samaria: an arched print | 1658 | |
B110 | 1 | The phoenix or the statue overthrown | 1658 | |
B197 | 7 | Woman sitting half dressed beside a stove | 1658 | |
B199 | 2 | Seated naked woman with a hat beside her [Woman at the bath] | 1658 | |
B200 | 1 | Seated naked woman [‘Woman bathing her feet at a brook’] | 1658 | |
B205 | 3 | ‘Negress lying down’ | 1658 | |
B282 | 6 | Lieven Willemsz van Coppenol, writing-master [1598 - 1671] | About 1658 | |
B283 | 6 | Lieven Willemsz van Coppenol, writing-master: the larger plate | About 1658 | |
B094 | 4 | Peter and John healing the cripple at the gate of the Temple | 1659 | |
B203 | 2 | Jupiter and Antiope: the larger plate | 1659 | |
B202 | 3 | The woman with the arrow [Venus and Cupid?] | 1661 | |
B264 | 5 | Jan Antonides van der Linden [1609-64] | About 1665 |
Drypoint is a printmaking technique of the intaglio family, in which an image is incised into a plate with a hard-pointed "needle" of sharp metal or diamond point. In principle, the method is practically identical to engraving. The difference is in the use of tools, and that the raised ridge along the furrow is not scraped or filed away as in engraving. Traditionally the plate was copper, but now acetate, zinc, or plexiglas are also commonly used. Like etching, drypoint is easier to master than engraving for an artist trained in drawing because the technique of using the needle is closer to using a pencil than the engraver's burin.
Sir Francis Seymour Haden PPRE, was an English surgeon, better known as an original etcher who championed original printmaking. He was at the heart of the Etching Revival in Britain, and one of the founders of the Society of Painter-Etchers, now the Royal Society of Painter-Printmakers, as its first president. He was also a collector and scholar of Rembrandt's prints.
The etching revival was the re-emergence and invigoration of etching as an original form of printmaking during the period approximately from 1850 to 1930. The main centres were France, Britain and the United States, but other countries, such as the Netherlands, also participated. A strong collector's market developed, with the most sought-after artists achieving very high prices. This came to an abrupt end after the 1929 Wall Street crash wrecked what had become a very strong market among collectors, at a time when the typical style of the movement, still based on 19th-century developments, was becoming outdated.
Rembrandt Harmenszoon van Rijn, usually simply known as Rembrandt, was a Dutch Golden Age painter, printmaker and draughtsman. An innovative and prolific master in three media, he is generally considered one of the greatest visual artists in the history of art and the most important in Dutch art history. It is estimated Rembrandt produced a total of about three hundred paintings, three hundred etchings and two thousand drawings.
In printmaking, a state is a different form of a print, caused by a deliberate and permanent change to a matrix such as a copper plate or woodblock.
William Baillie (1723–1810) often known as "Captain William Baillie" was an Irish printmaker, known especially for works in the style of, or directly copied from, the etchings of Rembrandt. Usually described as an amateur artist, he was an officer in the British Army until 1761, and later held the post of Commissioner of Stamps. He also acted as an agent for art collectors, most notably Lord Bute.
The Hundred Guilder Print is an etching by Rembrandt. The etching's popular name derives from the large sum of money supposedly once paid for an example. It is also called Christ healing the sick, Christ with the Sick around Him, Receiving Little Children, or Christ preaching, since the print depicts multiple events from Matthew 19 in the New Testament, including Christ healing the sick, debating with scholars and calling on children to come to him. The rich young man mentioned in the chapter is leaving through the gateway on the right.
Dutch and Flemish graphics and engravings in National Museum of Serbia represent important part of the vast inventory of the Serbia's National Museum. There are over 220 graphics, etchings and engraves in National Museum of Serbia, Belgrade from Hendrik Goltzius-(10 graphics), Rembrandt -, Jan Toorop-(15 prints), Sadeler family -, Lucas van Leyden, Jan van de Velde, Cornelis Bos, Frederik Bouttats the Younger, Adriaen van Ostade, Nicolaes Pietersz. Berchem, Lucas Vorsterman, James Ensor-(2 works), Aegidius Sadeler, Jozef Peeters, Carel Willink, Marius Bauer etc.
Joseph and Potiphar's Wife is a 1634 etching by Rembrandt. It depicts a story from the Bible, wherein Potiphar's Wife attempts to seduce Joseph. It is signed and dated "Rembrandt f. 1634", and exists in two states.
The dozens of self-portraits by Rembrandt were an important part of his oeuvre. Rembrandt created approaching one hundred self-portraits including over forty paintings, thirty-one etchings and about seven drawings; some remain uncertain as to the identity of either the subject or the artist, or the definition of a portrait.
The Raising of Lazarus is an oil-on-panel painting by the Dutch artist Rembrandt from early in his career; it was probably painted between 1630 and 1632. The work depicts the Raising of Lazarus as told in the Gospel of John, Chapter 11. It is in the collection of the Los Angeles County Museum of Art.
The Three Crosses is a 1653 print in etching and drypoint by the Dutch artist Rembrandt van Rijn, which depicts the crucifixion of Jesus Christ. Most of his prints are mainly in etching and this one is a drypoint with burin adjustments from the third state onwards. It is considered "one of the most dynamic prints ever made".
Gary Schwartz is an American-born Dutch art historian, who is a scholar of Rembrandt and art of the Dutch Golden Age.
Descent from the Cross by Torchlight is a print by Rembrandt in etching and drypoint, produced in 1652. Only one state of the work is known, with copies in major collections including the Rijksmuseum, British Museum, and Rembranthuis. It is signed and dated at the bottom right. It was assigned the number B. 83 by Adam von Bartsch. Some late impressions of the work are on Japanese paper, which Rembrandt used more and more from 1650 onwards. The depiction of the shadows on the plate was modified after the artist's death.
The Death of the Virgin is a 1639 print in etching and drypoint by Rembrandt, showing the death of the Virgin Mary from The Golden Legend.
The Three Trees is a 1643 print in etching and drypoint by Rembrandt, his largest landscape print. It was assigned the number B.212 by Adam von Bartsch and impressions of the work are in the Rijksmuseum, the Musée des beaux-arts du Canada and the Bibliothèque nationale de France.
The Shell, also known as Rembrandt's Shell or Conus Marmoreus, or in Dutch as De schelp or Het schelpje, is a 1650 drypoint and etching by Rembrandt van Rijn. Catalogued as B.159, it is Rembrandt's only still life etching. Only a handful of original prints are known, in three states.
In printmaking, surface tone, or surface-tone, is produced by deliberately or accidentally not wiping all the ink off the surface of the printing plate, so that parts of the image have a light tone from the film of ink left. Tone in printmaking meaning areas of continuous colour, as opposed to the linear marks made by an engraved or drawn line. The technique can be used with all the intaglio printmaking techniques, of which the most important are engraving, etching, drypoint, mezzotint and aquatint. It requires individual attention on the press before each impression is printed, and is mostly used by artists who print their own plates, such as Rembrandt, "the first master of this art", who made great use of it.
Charles Albert Waltner, aka C. A. Waltner was a French artist and etcher. His father, Charles Jules Waltner, was also a French artist and etcher who engraved religious subjects for specialized publishers from 1848. Waltner studied painting under the guidance of Jean-Léon Gérôme and Léon Bonnat. Later he was taught by Henriquel-Dupont in the art of copper cutting and etching.
Rembrandt Laughing is a c. 1628 oil on copper painting by the Dutch painter Rembrandt van Rijn. It is an elaborate study of a laughing face, a tronie, and, since it represents the painter himself, one of over 40 self-portraits by Rembrandt, probably the earliest elaborate one. The painting, which was only recently discovered, is now in the J. Paul Getty Museum, California.