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:i: Berlin, Kaiser-Friedricli-Museum	Auf Hol/, 11. (),57, B. 0,IG
Selbstbildnis Rembrandts
Portrait of the artist himself	1634	Portrait de l’aitiste lui-inemc
B. 167THE WORK OF
REMBRANDT
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WITH A BIOGRAPHICAL INTRODUCTION ABRIDGED FROM
ADOLF rosenbfrg
NEW YORK gRENTANO’8
M C M X111Copyright, I9°7•> fy
Brentano’REMBRANDT
HIS LIFE AND HIS ART
A TRUE son of his own people, with all the fibers of his being rooted deep in his native soil, Rembrandt, by his art, outgrew not only the boundaries of his country, but spread his name abroad so that his fame and genius are now the property of the civilized world. In his lifetime lie rose superior to all the artists of his day; now that he has been dead for more than two centuries and a half, no other painter has yet arisen to equal him, either in originality of genius or in force of character. The admiration and praise he received from his contemporaries have grown with the years, until to-day he is acknowledged as perhaps the greatest master in his art. There is no one to whom he may be compared. He can be compared with himself alone. Raphael, in his finest masterpiece only, reached the height where the painter was lost in the painting; but Rembrandt is never visible in the least of his works. He is the greatest of subjective painters. He was tireless in his creative energy, ever putting before himself problems the solution of which are the legacy he left for the ages to come. His art is practically the outcome of a struggle with light, or, rather, of the realization of the respective values of light and shade in embodying in artistic expression the things of life. The struggle is still going on, since no single human life can ever hope to achieve a complete success; but Rembrandt set the standard, and laid the foundation for a method by which victory may be reasonably assured. Two centuries have passed since Rembrandt lived, and the same problem is still fascinating artists. Whether we call these artists impressionists, free-light painters, luminists, nebulists, or by any other name, they all are guided by the same star which set Rembrandt’s course.
Two natures were united in this rare man. Ort one side the realism of the common every-day things of life found a ready
5
267387acceptance of its place in art; on the other, he was moved by those divine thoughts and visions which through his genius rellected back a heavenly light on the real. Rembrandt was thus, among artists, the greatest realist and the greatest idealist at the same time. In the magic of his light the vulgar becomes transfigured so that the repelling realism shines again in the splendor of his chinro-oscuro. Wilhelm Bode, one of the profoundest critics of the peculiar quality of Rembrandt’s art, says: “His light is indeed everything but naturalistic; it is neither sunlight nor candlelight; it is Rembrandt’s own light. Of course the artist began with the light from nature. On this he worked incessantly, so that sunlight and candlelight are, in his earlier pictures, given with almost naturalistic effect. But these he soon found to be too strong and empty, the shadows too black and opaque for the purpose of expressing the thing as he saw it. In studying the influence of the atmosphere he developed his chiaro-oscuroj so that his object lives, as it were, by means of light surrounded by the air. His ‘ chiaro-oscuro ’ may be called the art of making the atmosphere visible.” This is Rembrandt’s own contribution to art. With Correggio the origins of light are mostly visible; with Rembrandt light is the very life of the thing or scene depicted.
Rembrandt was born on July 15, 1606, in Leyden. He was the son of a miller, Harmen Gcrritszoon van Rijn, and his wife, Neeltgen Willemsdochter van Zuytbrouck. At the time of Rembrandt’s birth his father was already in good circumstanees. Besides the house in which he lived with his family, and which was situated not far from the junction of the two branches of the Rhine—-from which he obtained the name “van Rijn” (from the Rhine)—he owned several houses and the greater part of a mill for the grinding of malt for the manufacturing of heer. His appearance we know from a number of portraits by his soit, all painted before 1630, since old Harmen was dead in April, 1630. Rembrandt painted his mother even more frequently, so that we may justly conclude that the relations between parents and son were of a tender nature. In the portraits of the mother she is represented, almost invariably, with a Bible in her hand. No doubt it was from her that Rembrandt heard those stories which incited him to picture their scenes. No one knew his Bible better than did Rembrandt; no one was so successful in finding in them so many different and varied motives. Rembrandt found in his mother a valuable model, even as Gerard Dou, his first pupil, did later. Her kind and lov-
6able face is seen in position after position, and in newer lights, to bring out the beauty he saw in her.
Rembrandt's parents had no thought of making an artist of their son. They had, as they believed, higher ambitions for him. The University of Leyden, founded in 157$) had become a center of learning. Lipsius and Scaliger taught there, and it would seem as if no young man could do better than emulate these great scholars. Toward this end the young man “ from the Rhine ” was entered in the university as a student of Latin in the year 1620. As Orlers, the Mayor of Leyden and Rembrandt’s first biographer, said, this was done u so that, in later years, he would, by his knowledge, be useful to his city and his country.” His parents were to be disappointed. Their son’s natural bent was toward drawing and painting, and they were compelled to send him to a painter. He became the pupil of Jacob van Schwanenburch.
What first awakened Rembrandt’s artistic impulse is uncertain. Of first-rate works of art Leyden at that time had only two altar pictures by Lukas van Leyden and his teacher, Cornelis Engel-brechtsen. It may be that Lukas van Leyden’s etchings, especially those depicting the life of the people, had attracted Rembrandt more. It was not long before pencil and brush did not suffice for Rembrandt; he took up also the needle of the etcher, an implement he used throughout his life, so that his etchings have become so important a part of his art that we cannot do complete justice to the body of work Rembrandt achieved without including them. In this volume, however, we are dealing with Rembrandt the painter; another volume is devoted to Rembrandt the etcher.
The paintings of his time were not of that quality to impel Rembrandt to follow them as examples of what art had to offer at its best. The only painter of any importance in the first quarter of the Seventeenth century was Jan van Goijen; but with his work Rembrandt does not seem to have come into contact. Goijen was a landscape painter, and Rembrandt’s interest in landscapes was of a much later growth. His teacher, Jacob van Schwanenburch, so, far as we can judge from the only picture by him that is left, was but a mediocre artist. Rembrandt, however, according to Orlers, remained with him for three years. He is said to have made such progress that all lovers of art were delighted with his accomplishment, and many felt that he would become a great painter. His father decided to send him to the celebrated painter, Pieter Last-man, at Amsterdam. Although Lastman was an artist of greater
■fame than Schwanenburch, Rembrandt was not able to remain with him longer than six months. He left Leyden in 1623, but in 1624 we find him again in Leyden. Lastman was one of those Dutch painters who, during a stay in Rome, had fallen completely under the spell of Italian influence, and had carried the spirit with him into his own country. Rembrandt, who, at that time at any rate, had no appreciation.for Italian art, found no incentive in Lastman’s handling of it. In Rome, Pieter Lastman had become acquainted with Jacob Elsheimer, a native of Frankfort, and had adopted some of his methods. Elsheimer painted landscapes with small figures, illustrative of biblical or mythological scenes, which he knew how to harmonize naturally, and to produce some excellent light effects. It has been suggested that some of Rembrandt’s early pictures show Elsheimer’s influence. But the suggestion is probably the outcome of a conclusion drawn from the fact that Rembrandt was a pupil of Elsheimer’s friend.
Rembrandt remained several years longer in Leyden, working diligently as a student. It was not until 1627 that he felt himself sufficiently advanced in his art to undertake a painting of his own. He may, however, have practiced painting his own portrait before this, or those of his father and mother. A portrait of himself marked the beginning of his artistic career, and such portraits he continued to paint from time to time to the end of his life, so that even his last painting dated from his hand is a portrait of himsell. As a young man Rembrandt was by no means handsome. His features were of a common cast, his nose heavy and his lips thick. In painting himself he simply employed an easily accessible model which he could utilize for the purpose of experiments oil light and expression. With Rembrandt the study of expression was as important as light. In the heads of old men and in the figures of old men he constantly aims at the realization of expression. Let us take, for instance, his early picture of Paul in prison and of a banker examining a coin by candlelight. In both pictures attention to detail is most marked; expression, however, is predominant; but the desire to seize sharp light contrasts is there also, though the result attained is not yet the Rembrandtian “ chiaro-oscuro.”
Rembrandt’s reputation, about the year 1628, had become already so established that young Gerard Dou, who had already been studying etching and glass painting, became a pupil of the young master, and remained with him until Rembrandt removed to Amsterdam. An interesting memorial of the activity of Dou dur-
8ing this time is a painting representing his youthful teacher in his studio. The young Rembrandt stands at his easel, palette in hand, with his face toward the spectator.
The year 1628 brought two dated pictures, “ Samson and Delilah,” and a group of soldiers around a campfire, presumed to represent Peter among the soldiers of the High Priest. Both pictures show distinct progress compared with the pictures of the previous year. They contain a great number of figures, and these Rembrandt succeeded in unifying artistically by means of light effects. As a composition, in the usual sense of the word, the picture amounts to little; but Rembrandt never did lay much stress on set compositions; it was rather the accidental, so to speak, which drew him.-His Samson, for instance, he clothed in a fantastic oriental costume; an iron collar he possessed he put in the portrait of himself, and again in that of his. father. He must have been struck with the effect of light on the shining metal.
The circle of ambitious youths who worked together in Leyden, and of which Rembrandt and the young Don were parts, was completed by another, Jan Lievens, a former pupil of Pieter Last-man. In the autobiography of Constantin Huygens, the Dutch poet, and secretary to Frederick Henry of Prague, some important information is given of Rembrandt and Lievens. The young men must have even then attracted some attention to have merited this record: “ One is the son of a simple carpet weaver, the other the son of a miller, but not of the same grist as his father. . . . Their low birth marks their talents as so much the more astonishing. Their teachers are mediocre men, hardly known, since the moderate means of their parents did not allow them to give them better masters. What they are they owe to their genius, and I am convinced that, if leftBB themselves, they will achieve great distinction. Rembrandt surpasses Lievens in intellect and vivacity of feeling; the latter, however, is superior to his friend in a certain proud dignity of appearance and a certain fullness of form. With.youthfuljljithusiasm he engages on great and magnificent plans. Rembra|K|lt, however, though confining himself to humble subjects, reaches! a power of concentration for which we look in vain in the more ambitious compositions of his fellow-artist.” As. an example, Huygens names the! picture of Judas-giving back the money to the High Priest, and praises especially the expression of repentance and despair wh^B shakes the kneeling body of the traitor.
This picture has been preserved, and we are able to judge now
9how far Huygens’s admiration was justified. We, who have the whole work of Rembrandt’s life before us, may not quite echo the praise, but we can easily see how important and remarkable the painting must have appeared at the time it was completed. For, in respect to originality of conception and keenness of observation, it is undoubtedly an extraordinary work. Had Huygens seen the picture that followed this Judas, his praise would certainly have rung loud. It is the first really ripe and entirely individual creation of the young master’s genius. It proves how masterly Rembrandt could mass figures within a small space and yet preserve the power of expression. The picture is the “ Simeon in the Temple,” painted in 1631. The artist selects the moment when old Simeon takes the little Jesus in his arms and is in the act of praising God that he has seen the Saviour face to face. Most wonderfully realized are the looks of surprise on the people about—on the parents of the child, on the beggars who are drawing near, and on the High Priest. The effect of the light, coming from some unknown source, is magical; it penetrates into the innermost recesses of the building and plays upon the gold ornaments on the altar. Without, and away from the central group, and hardly visible in the shadow, forty-two figures may be counted. They move up and down a stairway leading to an altar where, under a high canopy, a priest is blessing a kneeling couple. And the artist who achieved this wonder had only entered on the twenty-fifth year of his age! This is the painting which tells us how Rembrandt spent his time in the seven years between the time he left Lastman and the period of his return to Leyden.
The painting served as an indication of the aims Rembrandt had set before himself in his art. Fie was also anxious to achieve a realistic interpretation of the life of his time, and he found an opportunity to do this in his religious pieces, the scenes of which he laid in Dutch surroundings. A “Holy Familv,” painted in 1631 and now in the Pinakothek at Munich, is art idyllic scene of a Dutch homestead. The figures are life size and dressed in the dress of the period. In this respect they are different from the figures in the “ Simeon in the Temple.” But they are more stronglv outlined by the greater accentuated contrast between light and shade. The character the two pictures have in common is in the sympathetic conception and the feelings of the heart which are seen reflected in the features of the chief figures in the painting, which appear as if transfigured by this means.
The admiration which Huygens expressed for the early w'orks
10of Rembrandt seems to have been shared by others. It is not known to which of his pictures he owed his reputation beyond the walls of Leyden; but it is certain that in 1630 he had begun to form Connections with Amsterdam which, at the end of 1631, resulted in his going to that city and settling there. Orlers, the Mayor of Leyden, states that Rembrandt had been induced to go to Amsterdam because his paintings had so pleased the people there that he received a number of commissions for portraits and other pictures. The immediate instigation, however, may have been a special order which must have filled Rembrandt with pride. Professor Tulp, a famous physician and one of the most respected citizens of Amsterdam, had been giving lectures on anatomy since 1628, demonstrating his lectures by means of a dead body before an assembly of surgeons. To commemorate the occasion the professor desired a painting portraying not only himself as demonstrator, but several of his audience as well. The picture was intended to be hung in the hall of the Guild of the College of Surgeons of the city.
Portrait painting had become in great demand in the Netherlands at this time. The desire for possessing portraits may be traced to a personal pride in the citizens in their hard-won civic freedom and to the growth of guilds, unions, and corporations, the more important members of which could be memorialized in this artistic form. The “ anatomical picture ” was a picture of this kind, and Rembrandt received the honor of an order to compete in its execution. His competitors for the prize were two celebrated portrait painters of Amsterdam, Thomas de Keijser and Nicolaes Elias.
Hitherto, Rembrandt had followed his own bent in his por-^ traits of his parents and his younger sister. In accepting the trial of the competition he had to bear in mind that his work wffflld be subjected to the criticism of the possible purchaser. Therefore it was" that he hoped to learn from his competitors some of the methods by which they had succeeded in pleasing their patrons, and, if possible, to surpass them. Between the years 1632 and 1634 he had so far succeeded in this aim that the portraits of this period alone amount to some fifty in number. In spite of the stiff formalytjE of mien and pose of the merchant princes of Amsterdam, and the nd less stiffness of their wives, Rembrandt maintained his own method and imparted to the portraits a new radiance by means of an accomplished technique. In the ensemble of parts in his portraits Rembrandt frequently displays a taste and dignity in the careful execution of the hands, dress, and heads of his subjects that remind us ofthe fashionable portraits of his Contemporary Van Dyck, who was such a favorite with the English aristocracy. Especially good are the portraits of Marten Day and his wife, executed in 163^ Moreover, portrait painting on a large scale was a good training for Rembrandt. Up to this time he had Confined himself to the delineation of small figures—except “The Holy Family*” now at Munich. Now he was compelled to undertake large figures and narrow his genial spirit within the limits of his set purpose. This is what portrait painting did for Rembrandt. As Bode correctly states it: “ His occupation as a portrait painter taught the young artist how to win a true and simple presentation of form and character with a full mastery of technique, without losing his individuality.”
In his “ Anatomical Lecture of Dr. Tulp,” imperfect as it may be in some details, Rembrandt succeeded, more than any of his predecessors, in connecting his figures, by a common interest, into a vivid group; in bringing them closer together by means of a uniform lighting up, and at the same time imparting a greater variety of expression, while being careful to maintain a certain likeness in the different faces. The officers of the Guild of Surgeons insisted that their names should be handed down to posterity; to satisfy this demand one of the figures holds a paper in his hands, on which is painted the names of those portrayed, and the numbers from 1 to 8 correspond with the numbers painted on the different figures. The foreshortening of the corpse is the weakest part of the painting, and Is very carelessly treated. This is unHrstandable when we remember that opportunities for stud;Bn a dead body were, at that time, rare. Rembrandt, however, did not lose sight of this point. When, in 1656, he receffid a similar order, also for a Guild of Surgeons, he made it a special point to portray the corpse in a position more difficult to paint, and yet far better executed in the foreshortening. This was ther Lecture of DrBohannes Deymann,” which, in 1723, was almost completely deslaByed by fire, though parts of it are still preserved. The cJBbse in its excellent foreshortening was very much admired by thofflwlSsaw the painting before the fire.
A female profile of the year 1632 makes us acquainted, for the first time, with the personality who so decisively entered into the life of Rembrandt and, even after her early death, had so great an influence on the trend of his later life. When Rembrandt went to Amsterdam he lived at first in the house of his former friend, the art merchant, Hendrik van Uijlenburgh. It was at this house, most likely, that he met Saskia Uijlenburgh, who, in 1632, had
12come to visit her married sister, the wife of Jan Cornelisz SylviuS. Saskia was a cousin of Hendrik, and was eighteen years old at the time Rembrandt met her. Rembrandt painted a portrait of her in 1632, probably at her uncle’s request. By the time she was twenty, the growing beauty of the young woman had so impressed itself on Rembrandt’s heart that he became engaged to her. From a sketch of her we learn, in Rembrandt’s inscription below it, that the engagement took place on June 5* *633- They were married, according to the documents of that time, which are still in existence, on June 22, 1634.
For the ten years of their married life Saskia became a subject for his most cherished and most finished paintings. He represented her in full face, in profile, with the picturesque “ Rembrandt hat,” adorned with jewels and chains of gold, and in the richest of costumes 'his increasing prosperity permitted him to purchase. She was undoubtedly a continual delight to the man, who never wearied of caressing a canvas on which to fix her charm, grace, and beauty. Probably through this affection Rembrandt indulged himself in the purchase of art curios, precious stones, pearls, and objects of value. All his spare money went to the acquisition of these valuables, until in the end his passion drove him to financial ruin. Saskia had brought her husband a fortune of 40,000 gulden, quite a considerable sum for that time, and for that reason, in the happiness of the first bliss of married life, she may not have thought of restraining her husband’s extravagance. Later, however, she was compelled to bear the brunt of some severe criticism passed on her by her relatives, who accused her of squandering her patrimony on the jewels and personal ornaments with which she was decorated in the portraits Rembrandt made of her. They even went so far as to bring a suit against her on this ground. Rembrandt sued them in return for defamation of character, but he was nonsuited in July, 1^38.
To Rembrandt the jewelry with which he adorned his wife was an artistic incentive by means of which he might solve the various problems of color. He felt he could indulge himself in this, since the change in his fortune had made him independent of an income from portrait painting. He evidently took an intense inter-! est in his wife’s appearance and toilette. There is not a portrait of her but what evinces a loving care in the realization of all details which tended to enhance the effect of light reflections on the features and form of his beloved spouse. In Buckingham Palace is a painting of Rembrandt which was once entitled “ Mayor Panerai
Iand his Wife.” It is undoubtedly a picture of himself and Saskia. Rembrandt never painted portraits of customers in other than the dress of the time. In this picture he is offering the lady a pearl necklace, while she is shown as gently putting it away from her. Every detail in this painting shows the interest he took in his wife’s dress. If we now take a painting of a shipbuilder and his wife, executed about the same time, we shall see how different is the treatment. In the portraits the unifying motive of the figures is scarcely evident; in the latter the motive toward unity is everywhere prevalent. Can there be anything so indicative of happy family life as the tender solicitude shown to the old lady as she hands her husband a letter which has just come for him? The effect is absolutely convincing, and the portraits become an appealing picture. Even more beautifully is this realized in the portraits of the Mennonite priest Cornelis Anslo and his wife—a painting which must rank with the historic masterpieces of art.
In his portraits of himself and his wife Rembrandt troubled himself- little with fidelity to likeness. He was more concerned with realizing effects in color than to care for recording the exact shade of Saskia’s hair. He used her simply as a model on which and by means of which to test his progress in color effects. The result was that by 1640 he had mastered them all completely.
In spite of his prosperous financial position, Rembrandt indulged himself little in luxurious living. He was always a hard worker, and, apart from the portraits of himself and his wife, this period brought forth a goodly number of biblical and historical pictures. Among these may be mentioned: “The Unbelieving Thomas” (1634), “The SacrifiHof Abraham” (1635), “Abraham and the Three Angels” (1633)—all three in the Hermitage of St. Petersburg; “ Sophonisbe ” (1634), with the face and the jewels of Saskia, in Madrid; two pictures from the life of the “Jewish Hercules,” “Samson Threatening his Father-in-Law ” (1635, Berlin), and “ SamsoijHoid ” (1636, Frankfurt-am-Maine), to which were added in 1638, “Samson’s Marriage”(Dresden),“The Farewell of the Angel to the Family of Tobias” (1637, Louvre, Paris), “The Parable of the Workers in the Vineyard” (1637, St. Petersburg), “ Christ Appearing to Mary Magdalen” (1638, London), “ The Holy Family” (1640, Louvre, Paris), “Meeting of Mary and Elizabeth” (1640, London), and, finally, “The Sacrifice of Manoah ” (1641, Dresden).
A special and separate group of the religious paintings of this
14time are five pictures of medium size which Rembrandt painted, between 1633 and 1639, for Prince Frederick Henry of Orange. In contrast to Rubens, upon whom orders from kings and princes were literally showered, this is the only order that Rembrandt ever received from a ruling prince. Had it not been for the governor’s secretary, Constantin Huygens, the order for even this picture might never have been given Rembrandt. But Huygens had already proclaimed Rembrandt’s genius and saw to it that the actual contract for the painting was carefully drawn. The only letters from Rembrandt which have come down to us-are the six from the artist to Huygens referring to this particular order. The five pictures are all scenes of the Passion of Christ, and, as the size indicates, were intended for decorating a single room, probably a private chapel. In 1633 Rembrandt had already finished the “ Raising of the Cross ” and “ The Descent from the Cross.” Later, in 1636, came “The Ascension of Christ,” and finally “ The Resurrection ” and “ The Entombment.” Looked at after a judgment derived from a study of Rembrandt’s entire work, wc can hardly give the first place to these. Bode justly calls attention to the crowded composition, to the forced and exaggerated pathos, and to a certain rudeness and crudeness which are evident.
There can be no doubt that these defects were not evident to his contemporaries. The pictures made a great impression, especially because, for the first time, a Protestant painter had awakened that feeling of devotion which had hitherto been expressed by painters of the Catholic Church. Rembrandt himself, as we can see from his letters, was very proud of these pictures, for each of which he received 600 gulden. “ The Descent from the Cross ” wasIB a special favorite, and Rembrandt himself seems to have considered it as the masterpiece of the series. He repeated the picture on a greater scale, though with many changes as to details, in 1634.,
To show his gratitude for the services rendered him by Huygens, Rembrandt presented him with a great picture, of which, however, he only mentions the size. From the measurement (10 X 8 feet) we infer that the picture must have been “ Samson Blind.”
“ Hang this picture,” he says at the end of the letter accompanying the present, “ in a strong light, so that one can look at it from a distance.” He intended that his pictures should be seen from a distance. As he himself is said to have tersely put it, his pictures were not painted to be smelled.
Rembrandt, however, had another reason for obliging Huygens.We see from one of his letters, dated January 27, 1639, that he was anxious to receive the balance of the amount due him. The money was wanted because Rembrandt had finally decided to buy a house of his own. On January 5, 1639* he had closed a contract by which he acquired possession of a house in the “ Breestraat,” situated in the center of the Jewish quarter. Of the total amount of 13,000 gulden, he had to pay the first quarter at the end of a year, and the balance in five or six years; so that his anxiety for money was not without reason. Evidently there was some basis for the complaint brought against him by his relatives as to his extravagant way of living.
His temporary embarrassment, however, did not prevent Rembrandt from being present at the frequent auctions and making purchases for his art collection. In this way he came across a pen drawing of a picture of Count Castiglione by Raffael. In the spring of 1639 an merchant had arrived at Amsterdam with a whole shipload of Italian paintings, valued at 50*000 gulden, which were put up for auction on April 7th. Rembrandt was present at the auction and had the chagrin to see the Raffael go for 3,500 gulden, an enormous sum for a man in his embarfaSsed financial condition.
For the Italian artists Rembrandt undoubtedly had a great respect and admiration. His collection included paintings of Giorgione, Palma il Vecchio, and the elder Bassano. Of Raffael he possessed a Madonna, the study of a head, and four volumes of etchings. The Madonna della Sedia he copied in a free pen drawing. In his latest expressions of color Rembrandt approaches Titian and the Venetians. Undoubtedly Rembrandt studied the Italians with care and profit; but what he gained from them is so transfigured in the light of his own genius and character that foreign influences are lost to the eye. It is Rembrandt only who remains for us.
The Prince of Orange seems to have been highly satisfied with the Passion paintings, since some years later he ordered Rembrandt to supply two more to the series, namely, “ The Adoration of the Shepherds ” and “ The Circumcision of Christ.” “ The Adoration of the Shepherds,” completed in 1646, is with the other five paintings in the Pinakothek in Munich; “The Circumcision ” cannot be located with certainty.
In September or October, 1640, Rembrandt’s mother died. The year before he had painted a portrait of her as a last expression of his filial love. In his own home, also, death had entered several times and had cast deep shadows over an otherwise happy family
16life. Of his three children, bom to him since 1635, none had lived very long. We can therefore appreciate his joy when, in 1641, another son was born, to whom was given the name of Titus, in honor of Titia, a sister of Saskia, who had died only a short time before. About the same time Rembrandt received an order which brought him in a good deal of money, but which proved to be a source of much vexation of spirit.
Ten years after the completion of his first guild picture, u The Lecture of Dr. Tulp,” Rembrandt was asked to paint a picture for another guild—the Guild of Sharpshooters of the Amsterdam National Guard. It was ordered by Captain Franz Banning Cocq. The order produced what was known as a The Night Watch,” the largest and, perhaps, the most characteristic painting achieved by Rembrandt. It was called “ The Night Watch ” through an igiio-ranee on the part of critics as to its origin. We know now how it came to be painted; but it is still called by the old name.
In painting the picture of the anatomical lecture Rembrandt was mainly moved by a desire to surpass his rivals In the competition. Since that time ten years had passed, and Rembrandt had changed not only as an artist but as a man. He had gained finer and greater freedom of expression for his artistic sense, and it was no longer trammeled by considerations for his customers. In accepting Captain Cocq’s order he determined to show the burghers of Amsterdam and the artists of his day what he really could do if left to his own idea«. “ The Night Watch ” was the result, and it is a masterpiece. The captain has just ordered the drummer to sound the signal for the men to fall in * each man quickly seizes his musket, pike, or lance, while the captain, in conversation with the lieutenant, is stepping into the sunlit street. Evidently the company is about to set out for a field day or a target practice. Including the drummer there are seventeen figures, the face* of which are distinctly visible. Each man of the company paid his share of the cost of the painting, namely, 1,600 gulden, and expected, no doubt, to have a share of the canvas. But Rembrandt sacrificed this to the achievement of hii artistic creation. It mattered little to him how he offended any particular vanity so long as his work represented his ideas, both as to disposition and color. He even introduces two boys and a girl in the act of running between the soldiers in their excitement to follow the march, and this only to add a realism and obtain a freedom which no other artist would have conceived for a set composition of portraits.
17This picture, which we admire as one of the highest achievements of artistic genius, was not so valued either by Rembrandt’s contemporaries or the guild which ordered it. It raised such dissatisfaction among those chiefly interested that Rembrandt’s reputation suffered severely, and the favor of the public turned very quickly from him. Banning Cocq and his lieutenant could not complain about the position given them, and the prominent effect produced by their figures; but the rest, who had paid their three hundred gulden apiece, found ample cause for grumbling and discontent at the treatment they had received. To atone for this a suggestion was made to add the shield with the names of the members on it. The truth i^ however, as the painter Samuel van Hoogstraaten, a pupil of Rembrandt’s at that time, said, the picture was utterly different from any painting that had been done in Holland up to that time. Hoogstraaten, though he writes in admiration, could not help being influenced by the general opinion, and felt that Rembrandt ought to have put more light into it. He seems to have had the feeling that his master had gone to the extreme of; his method.
Rembrandt himself did not feel the disappointment so keenly. He had other troubles to distress him, and almost the greatest of all sorrows drowned him in despair in the very month in which he delivered the painting. After the birth of her-son Titus, Saskia had been seriously ill, and in 1642 her illness had made such progress that she decided to make her will, which was dated June 5th. She made Rembrandt not only sole heir to her entire fortune, estimated at about 40,000 gulden, but she left him a free hand in managing it for her son. She expressly requested the '* Court of Orphans ” not to interfere. Only in the event of a second marriage or in the event of his outliving her son did she make any grant in favor of her relatives. But even in this matter a free hand was left to Rembrandt. She knows, she says, that he is an honest man, and that he will punctually live up to his obligations. A few days later, on June 19th, Saskia was buried, and for many years after, the sunshine was absent from the house in the Breestraat. Rembrandt lived in her love in the portraits of her he still continued to make. In the year following her death Rembrandt finished the beautiful pic-3; ture, now in the Berlin Gallery, the last one for which Saskia sat. Gradually, as the years grow, her face fades from his memory; but in her place comes the little Titus, who from 1650 begins to appear in the paintings of the great master. But the death of Saskia did not interrupt the flow of Rembrandt’s artistic output. Rather it
18seemed to act as an incentive, as if he found consolation for his sorrow in the labor of his mind and hand. In the period which closes with the year 1656 were produced a large number of paintings and the majority of his etchings. His art itself also grew deeper and clearer.
Rembrandt now entered on a new field, one in which he had practiced but little—namely, landscape. In this also he had no thought of competing with the professional landscape painters of his day, who carefully sought to copy nature. As with the human face, the landscape became to Rembrandt the interpreter of his feeling. Sometimes he was satisfied by a simple rendition of the motive, as in the winter scene, now in CasSel; but his highest aim was to enter, as it were, into the soul of nature and reveal its mysteries. In this Rembrandt may be regarded as the first landscape painter in the modern sense. No Dutch landscape painter, not even Jacob van Ruisdael, who ranks high as a great poet of nature, can show.the poetic power and the dramatic force at we find it, for instance, in the landscape with the Good Samaritan, or in the landscape with ruins on the hill, or in the landscape with the Obelisk, and in the celebrated mill, now in the gallery of the Marquis of Lansdownc.
Since his dear wife’s death the house in the Breestraat had lost its real light, and to him was lost his principal source of inspiration. Rembrandt looked around his neighborhood for subjects for his brush, and found among the people of the Jewish quarter some excellent material. Early in the thirties his interest in biblical subjects had been lively, and he was convinced that he could give to biblical scenes no truer interpretation than by taking the Jews of his town for models. He had already a sketch book filled with studies of Jewish heads, and a splendid one may be seen in “ The Rabbi,” dated 1635, which is in the gallery of the Duke of Devonshire. “ The Rabbi ” of the Berlin Gallery was done ten years later, while the studies of old Jews to be seen in the Dresden Gallery and the Hermitage at St. Petersburg were a full decade later still.
Of Rembrandt’s paintings of biblical subjects those with small figures are more likely to please than the larger ones. The latter are weak in conception and have a less color effect than the former. The best may be here given: “ Bathsheba Bathing” (1643, Hague), “The Adulteress before Christ” (1644, London), “The Blind Tobias” and “The Dream of Joseph” (both 1643, Berlin), “The Two Holy Families” (1643 and 1646,'St. Petersburg and Cassel), “The Adoration of the Shepherds” (1646, London), “Susanna
19Bathing,” with a carefully worked out background (1647, Berlin), “ Christ and the Disciples at Emmaus ” and “ The Good Samaritan ” (both 1648, Paris), “Vision of Daniel” (1651, Berlin), “ Christ and Mary Magdalen” (1651, Braunschweig), and, finally, “Joseph and Potiphar’s Wife ” (1655, Berlin). The last picture, of which a weak replica is in St. Petersburg, shows the artist’s love of rich coloring wonderfully harmonized by the Rembrandtesque treatment of light. The vivid characterization which avoids any suggestion of dramatic sentimentality is especially attractive. Rembrandt began once more to accept orders for portraits. He would probably have made it a matter of more special interest had he not been disappointed at the failure of “ The Night Watch.” This entrance on a new lease of portrait painting produced a masterpiece which may rank even among the best of Rembrandt’s work. It is the portrait of the widow of the Admiral Swartenhout, painted in 1642. This is Rembrandt without any of his fantastic effects. It is as true to life as the living person herself. The tightly shut lips evince an energy of character which speaks her very soul. An incomparable art has here embodied and reflected in the features and countenance of this great old lady what a whole life full of joys and sorrows had written in her heart.
Saskia’s death may have impelled the artist on his upward way; but to the man it acted as a descensus Averni. The purchase of his house had placed a heavy burden on him, while his domestic life was much distressed andlRoubled becaulgfrof the strangers on whom he had to rely for help. UR^f^th^^ear 1649 Rembrandt’s housekeeper was hiS^son Titus’s nurse, Geertje Dirck. She was the widow of a trumpeter in the army, and had kept house for him to their mutual satisfaction; so muab^S, indeea^that she left a will in favor of her little charge in January, 1648. Then came misunderstandings and quarrels. Evidently the woman had conceived hopes that Rembrandt had no intention of fulfilling. Whatever may have been the cause for their dissension,	known that in October, 1649,
Rembrandt, in the presencHbf two witnesses in a court, made good by settling a life annuity on the woman. She refused to accept this and emphasized her refusal with vituperative violence. This distressful matter wa^Bj^Kfpsed a year later when the woman became so insane that it was found nectary to place her in an asylum.
To replace her in hjjhouse Rembrandt chose Hendrickje Stop-pels, a young woman of twenty-three, who had been one of the witnesses to the settlement in the previous case. She had been in his
20household as a servant, and was now given the care of the little Titus, whose weak constitution required careful attention. Hen-drickje became intimate with Rembrandt, and in August of 1652 bore him a child, which, however, died shortly after.
So far as a female model was concerned Rembrandt had now no need to go farther than his own home. William Bode, the art critic, has brought together a group of pictures of the master in which the face of Hendrickje is easily evident. Her first portrait is the wonderful half-length painting, executed in 1652, and now in the Louvre. The play of imagination evinced in the Saskia portrait is here in its old richness. She is dressed in a fantastic costume and is almost covered with jewels. She cannot be called beautiful, but the youthful freshness, the tender, deep eyes, and the finely shaped mouth are very appealing. Evidently Rembrandt found great pleasure in painting this portrait. He painted her also sitting on a chair, just after she had left her bath, draped in a mantle.
Another picture shows her lying in bed, with rays of the morning’s sun playing on her partly exposed body. In the “ Bathing Woman ” she is preparing to enter her bath. This last was painted in 1654, the same year in which he finished his “ Bathsheba,” where again Hendrickje’s attractions are displayed. The lower part of the body may not pass the strictest of examinations, but the upper part reminds us of Giorgione, Titian, and Correggio. When we compare the model for the “ Susanna ” of 1647 with this “ Bathsheba ” we may get an idea of the value to him of Hendrickje as a model. She appeared again in the somewhat humorous “ Venus and Amor,” not in the nude, as she should have been painted, but in the gorgeous apparel Rembrandt loved so well.
In spite of Rembrandt’s peculiar relation to Hendrickje his friends remained faithful to him. It was not quite possible for Rembrandt to alter the relation by marrying Hendrickje, since by doing so he would have lost half the fortune Saskia had left him; and in his then position he could not have paid it. At a critiCAl stage Saskia’s relatives stepped in and compelled Rembrandt to fix legally the fortune left his child Titus by means of a recorded inventory. If Rembrandt’s friends took no notice of his intimacy with Hendrickje, the Church did. In 1654 she was cited before the Consistory of the Church, given a warning, and excluded from participation in the Communion. In October of this year she gave birth to a girl, who was baptized Cornelia, in memory of Rembrandt’s mother. No serious consequences resulted from the warn-
21ing of the Church, and what gossip was rife may have died out, especially as Rembrandt had removed from his house in the Bree-straat to a house in another part of the city. Later in life Hen-drickje must have considered herself Rembrandt’s legal spouse, since, in a lawsuit^she called herself the “ wife of the painter, Rembrandt van Rijn.”
About the middle of the fifties his son Titus began to appear in Rembrandt’s paintings and etchings. In the private gallery of Rudolph Kann is a fine portrait of the boy done in 1655, probably the best picture Of the lad. “ He looks like a soft and dreaming Hamlet,” says-.one of Rembrandt’s biographers.
In the year 1655 the catastrophe which was to end with Rembrandt’s financial ruin had already begun to cast its shadows. In 1653 and 1654 he was several times compelled to borrow sums of money tp the total amount of 10,000 gulden. On one occasion an old admirer of his, Jan Six, had helped him out, and out of gratitude, or perhaps at Six’s order, Rembrandt painted the famous portrait which shows Six with a red mantle over the gray suit. It would appear as if Rembrandt had finished the painting at one sitting.
The loans did not suffice 'to satisfy his creditors. Finally the Court of Debts declared Rembrandt insolvent and took a careful inventory of his entire belongings, a record which is still in existence. We see from it how large was the collection of valuable furniture, cloth, <Ktumes, arms, armor, and other rare objects he had made, and how rich his art collection was. In addition to specimens of the Kalian school, his own countrymen were represented by Rubens, Van Dyck, and Brouwer. A large part of the collection consisted of etchii^^B Those after Raffael extended to four volumes, and of Callot’s etchings he had one volume. Of books he had but a few. Apart from a Bible, his favorite book, he possessed only a tragedy, “ MedeaH by Jan Six, several High-German books illustrated with wHdcuts, and several volumes with pictures of antiques,	buildings, etc. Finally, a collection
of antique BulKi re, partly originals, partly copies, mentioned. Among these is a Laocoon, an Amor,Hbust of Homer, and several busts of Roman emperors. The use Rembrandt made of these antiques in his pictures is shown by his painting of Homer (Hague) and the painting of a man of letters in which the Homer bust is shown. In December of the following year the auction took place, or at least was begun, and Rembrandt was compelled to leave the house in the Breestraat. which Kso had to be sold. He took lodg-
11ings in the g Kaiserkrone,” a hostelry in the Kalverstraat. The first attempt at realizing by auction proved so poor in receipts that the disposal of a part of the collection was put off for the following year. Money was scarce and Holland was suffering from the wounds of the great War of Independence. Later, in September, 1658, when the balance of goods was sold, the amount realized was no larger. The complete sale did not bring quite 5,000 gulden; but the house was sold for 11,218 gulden to a shoemaker.
Rembrandt’s troubles were by no means at an end. He waS still liable to his creditors not only with all he would ever possess, but with all he would ever earn by his art. To save at least the fruits of his art, Titus and the brave Hendrickje conceived the idea of opening an art store and taking Rembrandt in as a partner. By a contract, signed December 16, 1660, they bound themselves to give Rembrandt lodging and board, while he bound himself to give them his art as payment. They thusjtf&ved Rembrandt from the persecution of his creditors.
The money obtained by the auction and the sale of the bouse became now the subject of a long litigation. One half belonged to Titus according to Saskia’s will. The fight was a long one, but Titus finally won, and on November 5, 1665, 6,952 gulden were paid over to him.
It can'be easily understood that in such a time of depression and suffering Rembrandt’s creative spirit was not very active. What he did reflects the spirit in which he worked. The color is darker, heavier, and monotonous, and he made no more effort to harmpiiize the colors. Still, between 165* and 1660, some important works came from his brush. Among these are: “The Lecture of Dr. Deymann ” and “ Joseph and Potiphar’s Wife.” The last picture is again rich in color. The same can be said of the beautiful study of a slaughtered ox (Louvre), also of “The Adoration of the Kings” (London) and “The Blessing bf Jacob” (Ca*sel).
What Rembrandt looked like at this time may heft be aeen from the picture of himself painted in 1658, now in Vienna. He had lost the rich costumes of his wardrobe, so that he paints himself in a simple dress, adding only the few local colors which he needed to correspond with his feelings. Toward the end of the fifties, owing to lack of orders, he began painting portraits of himself once more. The pictures are remarkable of their kind; but they show how terribly Rembrandt had changed. The face is bloated, the body heavy, and the eye weak and lusterless. It has never been
Hproven that Rembrandt accelerated this change by drunkenness. It seems more likely that the painful labor of etching in poor, badly lit rooms, in which he lived after his expulsion from his house, had affected his eyesight. The numerous pictures of himself during the last decade of his life show Rembrandt as dressed in a dirty walking COat, on which he is said to have wiped his brush; but he is still erect and working, with brush and palette in his hands.
The arrangement of Hendrickje and Titus made it possible to obtain a quiet time for work. Rembrandt needed quiet, especially between the years 1661 and 1664, when he was at work on two large orders. One, a picture for the City Hall, was to be painted by one of his pupils, Govaert Flinck; but, as he died, Rembrandt took his place. He seems to have had the same trouble with this painting as he had years before with “The Night Watch.” The picture was supposed to represent the conspiracy of Claudius Civilis, who, at a great feast, persuades the chiefs of Batavia to shake off the yoke of the Romans. Rembrandt laid more stress on the fanciful than on the historic element, which displeased the heads of the city. For a short time it hung in its destined place, but was soon removed and cut into several parts. One part, three meters wide and two meters high, about one quarter of the whole painting, is now In Stockholm. The second picture was also for a corporation. It was finished in 1661, and represents the Syndics of the Drapers, a body of gentlemen whose duty it was to examine the cloth manufactured by the corporation as to quality, and put a lead seal on the pieces approved. Six men in black are sitting around a table covered with a red Smyrna carpetHjthat is the whole painting. Rembrandt remembered the unpleasant experience of “ The Night Watch.” Each of those portrHed has received his full share of prominence; but Rembrandt remain® faithful to his principles. The breadth |Sf pictorial treatment he has surpassed only in two later pictures, the sjfiiHled “Jewish Bride” and a family group, most likely the last picture painted to order.
Theffe*paintings show*0}at Rembrandt’s strength remained unbroken. Tie was still on th^aKmut for new problems to solve, when death took the briMh from his handlBg
Shortly before loft. Hencffickje had died, and in September, 1668, Titus had also passed away.nSOtterly alone, forgotten by those who had once admired him, Rembrandt died in the first week of October, 1669. That he died in greatest poverty is seen by the inventory, taken after his death, which shows that he left nothing
Hexcept his clothing and tools. Thus ended a career begun under the most favorable auspices.
Rembrandt had been so completely forgotten, even during his lifetime, that his pictures could be bought for six cents apiece. The price, however, SOOn rose to five dollars, and later to Several hun* dred dollars. From that time on the price has risen steadily, and now a picture like “ The Night Watch ” may no 1‘onger be valued in any money.
Although Rembrandt had a great influence over the art of his time, this influence was short-lived. His pupils were more circum- * spect than their master. They saw that Rembrandt’s style was unfashionable and did not pay. But if for a time his influence had appeared to pass away, and even his memory become faded, a great revival soon set in, and by the middle of the eighteenth century every etcher looked up to Rembrandt as his great master and model. Collectors in England began to gather Rembrandt’s works with eager zeal, with the result that about one third of Rembrandt’s ; work is to be found in that country. After the middle of the nineteenth century Germany and France likewise turned their attention to Rembrandt. But his full greatness became revealed by reason of the great Rembrandt exhibitions of 1898 and 1899 in Amsterdam and London. Here many heretofore unknown pictures were shown for the first time. Now, every newly discovered painting adds but a fresh leaf to the laurel wreath on the miller’s son of Leyden.
25REMBRANDTRELIGIOSE UND HISTORISCHE DARSTELLUNGEN
BIS 1631
RELIGIOUS AND HISTORICAL
paintingM
UNTIL IfflW
TABLEAUX RELKHHX Et HISTQRIQUES
JUSQU’A 1631
üembrandt I» »
• » » »
» » »
» * » *
Pra", Gustav Ritter Hoscliek von Miihlheim (! )
Der Prophet Bileam
The prophet Balaam	Um 1626—1627
Auf Ilolz, 11.0,65, B. 0,47
Le prophète Balaam
3* Berlin, Kniser-Friecli icli-.Museum	•	Auf Holz, 11.0,32, B. 0,42
Der Geldwechsler 1627 B. 1
The money-changer
Le banquierStuttgart, Kgl. Museum	Auf jj0|Zi H 0,70, B. 0,58
Paulus im Gefängnis
St. Paul in the prison	1627	Saint Paul dans la prison
B. 2
■
^ Hamburg, Galerie Weber
Auf Holz, H. Ü,.'»ôô, B. (),4.V>
Die Darstellung Christi im Tempel
The presentation in the temple Urn 1628	La presentation au temple
13. 7
“ Berlin, K. von der Heydt	Auf Kupfer, II. 0,22, B. 0,17
Petrus unter den Knechten des Hohenpriesters (?)
St. Peter and the soldiers	1628	Saint Pierre au milieu des
of the high-priest (?)	B. 5	soldats du grand-prêtre (?)afMjpwpp
* Berlin, Kaiser-Friedrich-Museum		Auf Holz,
	Simson und Delila	
Samson and Dalila	1628	Samson et Dalila
	B. 6	
7

. J
« *
« «
* « *
* Paris, Edouard Aynard	Auf Leinwand, 11.0,745, B. 0,(155
Christus an der Martersäule
Christ at the column of	jg2s	Le Christ au poteau du
torture	martyre
B. 540
8

^i!8SM!Ä1£v 't$

551 Paris, Baron A. von Schickler
Judas bringt die Silberlinge zurück Judas brings again the pieces of silver	Um 1629
Auf Leinwand, H. 0,79, B. 1,03
Judas rapportant les deniers
B. 10
I '&:■>' m si f:

■ (■■ I iflI
* Paris, Madame André-Jacquemart
A ut Holz, li. 0,39, B. 0,42
Christus und die Jünger in Emmaus
Christ and the disciples of Emmaus Um 1029 Le Christ et les disciples d’Emmaüs
B. 9
10: London, Otto Beit
The tribute money
Der Zinsgroschen
1629
Auf Holz, H. 0,42, B. 0,335
Le denier
11SHEgEPffiMg
New York, Cti. T. Yerkes	Auf Holz, II. 0,41, B.0,36
Die Auferweckung des Lazarus
The raising of Lazarus	Um 1630	La résurrection de Lazare
B. 45
12# * #
Frankfurt a. M., Städtisches Kunstinstitut	Auf Holz, 11.0,(12, B. 0,50
David, vor Saul die Harfe spielend
Um 1630—1631
David playing the harp before Saul	David jouant de la harpe devant Saul
B. 46
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■HwliKfeta

* Wien, Frau Rätin Mayer
A man of letters
Ein Gelehrter Um 1629—1630 B. 4
Auf Kupfer, 11.0,135, B. 0,145
U il savant
14Turin, Kgl. Galerie
Auf Holz, H. 0,52, B. 0,41
Schlafender Greis
An old man sleeping	1629	Un vieillard dormant
* Nürnberg, Germanisches Mus
Der Apostel Paulus Um 1629—1630 B. 3
Auf Holz, H. 0,47, B.
St. Paul
Saint Paul’Wien, Ilofmuseum	Auf Leinwand, II. 1,25, B. 1,10
Der Apostel Paulus
Um 1630
The apostle St. Paul
B. 35
L'apôtre Saint Paul
i: Paris, J. H. Harjes
Paulus, an die St. Paul writing to the Thessalonians
Auf Leinwand, H. 1,0S, B. 0,98
Thessalonicher schreibend
Um 1630	St. Paul écrivant aux
B. 34	Thessaloniens
"Petersburg, Graf S. A. Stroganoff
Auf Holz, H. 0,58, B. 0,46
Jeremias, über die
Jeremiah mourning for the destruction of Jerusalem
Zerstörung Jerusalems trauernd
1630	Jérémie pleurant la destruction de
B. 39	Jérusalem
Rembrandt
2
17Paris, Louvre		Auf Holz, II. 0,585, B. 0,450
	Lesender Eremit	
A hermit reading	1630	L’ermite lisant
	B. 557	
Brüssel, Pri
de Rubempr6 de Merode	Auf Holz, H. 0,58, B. 0,465
Petrus im Gefängnis
1631 Saint Pierre dans la prison B. 41
St. Peter in the prisonBraunschweig, Herzogl. Museum
Auf Holz, H. 0,51, B. 0,44
The man of letters
Der Gelehrte
Um 1631
Le savant
* Stockholm, Nationalmuseum	Auf Holz, H. 0,60, B. 0,4S
Der heilige Anastasius 1631 B. 40
St. Anastasius
Saint Anastase< «
* Paris, P. Warneck	Auf Holz, H. 0 IH, li. 0,17
Diana im Bade
Diana in thè bath	Uin 1630—1631	Diane au bain
	B. <177;	
20* Downton-Castle (England), A. R. Boughton Kniglit
Auf Holz, H. 0,765, B. 0,64
Ruhe auf der Flucht nach Aegypten
The rest during the flight to Egypt	Um 1630 Le repos pendant la fuite en Egypte
B. 37
21< f « « t
München, Alte Pinakothek		Auf Leinwand, H. 1,92
	Die Heilige Familie	
The Holy Family	1631	La Sainte Familie
	B. 33	
22Hang, Museum	Simeon im Tempel	Auf Holz, 11.0,60, B. 0,48
Simeon in the temple	1631	Siméon au temple
	B. 44	
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BILDNISSE BIS 1631
SELBSTBILDNISSE — DIE ELTERN REMBRANDTS — UNBEKANNTE
PORTRAITS UNTIL 1631	PORTRAITS JUSQU’A 1631
SELF-PORTRAITS THE PARENTS OF REMBRANDT UNKNOWN PERSONS	PORTRAITS DE L’ARTISTE LES PARENTS DE REMBRANDT PERSONNES INCONNUES
25mSHM
to
Kassel, Kgl. Galerie
Portrait of Rembrandt
Auf Holz, Hl 0,20, B. 0,1(>
Selbstbildnis
Um 162T'--1628	Portrait de l’arüste
B. 11
Gotha, Herzogi. Museum	Selbstbildnis	Auf Holz, H. 0,1X,
Portrait of Rembrandt	1629	Portrait de Partiste
	B. 13	
to
oo
Paris, Gräfin Henri Delaborde	Auf Kupfer, H. 0 145, B. 0,12
Selbstbildnis Um 1628 B. 549
Portrait of Rembrandt
Portrait de Partiste

Glasgow, William Beattie	Auf Holz, H. 0,255, b. 0,215
Selbstbildnis Um 1629 B. 14
Portrait of Rembrandt
Portrait de Partisteto
CO
* Lemberg, Fürst Lubomirski	Auf Holz, H. 0,43, B. 0,33
Selbstbildnis 1628—1629 B. 546
Portrait of Rembrandt
Portrait de l’artiste
*Haag, Museum
Selbstbildnis
Auf Kupier, H. 0,154, B, 0,123
Portrait of Rembrandt
Um 1629—1630 B. 12
Portrait de Partiste(' <
i Byfleet, F. Stoop	Selbstbildnis	Auf Holz,
Portrait of Rembrandt	Um 1629	Portrait de Partiste
	B. 15	
30Oj	* Boston, Mrs. Gardner	Auf Holz, H. 0,885, B. 0,735
Selbstbildnis mit Federbarett
Portrait of Rembrandt	1629	Portrait de l’artiste
B. 18

WÊM
London, R. B. Berens
Auf Holz, H. 0,61, B. 0,47
Portrait of Rembrandt
Selbstbildnis
Um 1629
Portrait de l’artisteOC
to
* Haag, Museum	Selbstbildnis	Auf Holl, H. 0,375, B. 0,29
Portrait of Rembrandt	1629	Portrait de l’artiste
	B. 16	
* Budapest, Nationalgalerie	Auf Holz, H. 0,49, B. 0,39
Selbstbildnis 1630 B. 17
Portrait of Rembrandt
Portrait de l’artiste* Nordamerika (>), Privatbesitz
Portrait of Rembrandt
Selbstbildnis
1631
Portrait de Partiste
Rembrandt 3
33C (
( f.
c « f i
c 1 <
♦Braunschweig, Herzogl. Museum
Selbstbildnis
Portrait of Rembrandt	Um 1631
B. 162
Atif I lolz, H. 0,63, U. 0,47
Portrait de Partiste
A
34CO	* Paris, Dr. Paul Müller	Auf Holz, H. 0,165, B. 0,125
Cn
Rembrandts Vater
The father of Rembrandt Um 1629	Le père de Rembrandt
B. 541
Haag, Museum (Bredius)
Rembrandts Mutter The mother of Rembrandt Um 1629
B. 19
Auf Holz, H. 0,17, B. 0,13
La mère de Rembrandt( < u *
l(l(
p *
t «	(
« «.
(■ (
<. <
<' 1 <


* London, Sir George Donaldson
Aul Hol/, 11.0,35, B. 0,29
Rembrandts Mutter
The mother of Rembrandt Um 1630	La mère de Rembrandt
Bj 21
36Co
* Windsor Castle
Rembrandts Mutter
The mother of Rembrandt Urn 1630—1631
Auf Holz, H. 0,50, B. 0,35
La mère de Rembrandt
B. 24
à ;	‘
ï-î ïixZZ&C&iï&æ ’. <* » ■
life
jpPi

♦Wilton House, Lord Pembroke	Auf Leinwand, H. 0,74, B. 0,61
Lesende alte Frau
An old woman reading	Um 1629	Vieille femme lisant
B. 22C* (
* Oldenburg, Grosslierzogl. Gulerie
Auf Holy, II. (),G(), H. 0,18
Rembrandts Mutter als Prophetin Hanna
The mother of Rembrandt	1631	La mère de Rembrandt
B. 23
38»pwJiyg'
GO
CO
* Brighton, W. Chamberlain	Auf Holz, II. 0,65, B. 0,51
Rembrandts Vater
The father of Rembrandt	Um 1629	Le père de Rembrandt
B. 28
Petersburg, Eremitage
Auf Holz, II. 0,36, B. 0,27
Rembrandts Vater (?)
The father of Rembrandt (?) Urn 1630 Le père de Rembrandt (?)
B. 27f « f
( <
*
r (
« * <
.« «
Paris, Dr. Melville Wassermann
Rembrandts Vater
The father of Rembrandt Um 1629—1630
B. 25
Auf Holz, II. 0,2f^IS. 0,22
Le pere de Rembrandt
40i:Haag, Museum (Bredius)	Auf Ho'/, H. 0,47, B. 0,39
Rembrandts Vater
The father of Rembrandt
Um 1629 B. 30
Le père de Rembrandt

* Kopenhagen, Museum	Auf Holz, 11.0,20, B. 0,17
Rembrandts Vater
The father of Rembrandt
Um 1629 B. 542
Le père de Rembrandt* Innsbruck, Ferdinandeum		Auf Hol/, H.(V:i
	Rembrandts Vater	
Ttie father of Rembrandt	1630	Le père de Rembrandt
	B. 20	
42
■1
* London, F. Fleisclimann	Auf Holz, II. 0,G0, B. 0,51
CO
Rembrandts Vater (?)
The father of Rembrandt (?)	1631	Le père de Rembrandt (?)
B. 544
Boston, Museum ol Fine Arts
Auf Holz, H. 0,74, B. 0,60
Rembrandts Vater
The father of Rembrandt	Urn 1629	Le père de Rembrandt
B. 545Kassel, Kgl« Galerie
Rembrandts Vater
The father of Rembrandt (?) Um 1630—1631
B. 31
Auf Holz, H. 0,43, B. 0,37
(?)
Le père de Rembrandt (?)
* London, S. Neumann
Auf Leinwand, H. 0,75, B 0,62
Rembrandts Vater (?)
The father of Rembrandt (?) Um 1630—1631
Le père de Rembrandt (?)4^
Ül
Leipzig, Städtisches Museum
Auf Holz, H. 0j2J, B. 0,17
Bildnis eines Greises (Rembrandts Vater?)
Portrait of an old man	Um 1630	Portrait d’un vieillard
B. 555
Auf Holz, H O.lSö, B. U,1H5
* Kopenhagen, Kgl. Gemäldegalerie
Bildnis eines Greises
Portrait of an old man Um 1628—1630 Portrait d’un vieillard
Kassel, Kgl* Galerie	Auf Holz, H. 0,66, B. 0,56
Bildnis eines Greises
Portrait of an old man	1630
B. 32
Portrait d’un vieillard
New York, Ernesto G. Fabbri	Auf Holz, ll. 0,59, B. 0,47
Studienkopf eines Greises
A study of an old man	Um 1630
B. 33
Etude de vieillard15 Brüssel, Mme. F. May
Auf Leinwand, 11.0,83, B. 0,04
Bildnis eines Mannes mit Turban
Portrait of a man with a lurban
Um 1629 B. 543
Portrait d’un homme portant un turban
47Nizza, John Jaffe	Auf Holz, H. 0,18, B. 0,155
Männliches Bildnis
Portrait of a young man	Um 1630 Portrait d’un jeune homme
B. 553
* Amsterdam, Sammlung Goudstikker
Bildnis eines jungen Mädchens (eine Portrait of a young girl Um 1630
B. 552
Auf	H. 0,20, U. 0,205
Schwester Rembrandts?) Portrait d’une jeune fille»Yogelenzang (Holland), Texeira de Mattos		Auf Holz, H. 0,c
Bildnis	eines jungen	Mannes
Portrait of a young man	1631	Portrait d’un jeune homme
	B. 548	
Rembrandt 4
49* Windsor Castle
Auf Holz, H. 0,50, B. 0,40
Bildnis eines jungen Mannes
Portrait of a young man
1631 B. 49
Portrait d'un jeune homme
50Auf Holz, H. 0,45, B. 0,32
* Hamburg, Galerie Weber
Bildnis eines jungen Mannes
Portrait of a young man Um 1629—1630 Portrait d’un jeune homme
B. 48

*Haag, Museum (Bredius)
Auf Holz, H. 0.564, B. 0,415
Bildnis eines jungen Mädchens
Portrait of a young girl	Um 1631	Portrait d’une jeune fille
B. 52
« f
« I
14
I 4	•
«	«
I	«
« «
4 4
*Berlin, James Simon	Auf Holz, H.0,42, B. 0,355
Bildnis eines jungen Mädchens
Portrait of a young girl	Um 1631	Portrait d’une jeune fille
B. 53
52III.
BILDNISSE DER SOGEN. SCHWESTER REMBRANDTS
UND ZWEI SELBSTBILDNISSE DES KÜNSTLERS
PORTRAITS
OF THE SO-CALLED SISTER OF REMBRANDT AND TWO PORTRAITS OF THE ARTIST
PORTRAITS
DITS DE LA SŒUR DE REMBRANDT ET DEUX PORTRAITS DE L’ARTISTE
1631 — 1633
53♦Paris, Petit Palais (Sammlung Dutuit)	Selbstbildnis	Auf Holz, H. 0,81, B. 0,54
Portrait of Rembrandt	1631	Portrait de l’artiste
	B. 550	
54Pjgg®


^ Paris, Baron von A. Schickler
Sogen. Schwester Rembrandts,
The sister of Rembrandt	Um 1631
B. 551
Auf Leinwand, H. 0,59, B. 0,46
Lisbeth van Rijn
La sœur de Rembrandt* Wien, Liechtenstein-Galerie
Auf Holz, H. 0,59, B. 0,44
Sogen. Schwester Rembrandts
The sister of Rembrandt	1632	La sœur de Rembrandt
B. 57
* Mailand, Brera
Auf Holz, II. 0,55, B. 0,48
Sogen. Schwester Rembrandts
The sister of Rembrandt	1632	La sœur de Rembrandt
B. 56* Richmond, Sir Frederic Cook
Sogen. Schwester Rembrandts The sister of Rembrandt	1632
B. 58
Auf Leinwand, H. 0,(>8, B. 0,53
La sœur de Rembrandt
57Ol
oo
♦Leipzig, Alfred Tliieme	Auf Holz, H. 0,56, 13. 0,42
Sogen. Schwester Rembrandts
The sister of Rembrandt Um 1632	La sœur de Rembrandt
B. 59
* Stockholm, National museum
Auf Leinwand, H. 0,72, B. 0,54
Sogen. Schwester Rembrandts
The sister of Rembrandt	1632	La sœur de Rembrandt
B. 63t>etwortli, Lord Leconfield
Auf Holz, H. 0,63, B. 0,48
Sogen. Schwester Rembrandts
The sister of Rembrandt Urn 1632	La sœur de Rembrandt
B. 60
*Petworth, Lord Leconfield
Auf Holz, II. 0,63, B. 0,48
Portrait of Rembrandt	Selbstbildnis 1632	Portrait de l’artiste
	B. 61	Auf Holz, II. 0,52, 13. 0,39
Paris, Marquise de Carcano
Sogen. Schwester Rembrandts
The sister of Rembrandt	1633	La sœur de Rembrandt
* London, J. B. Robinson	Auf Leinwand, H. 0,57, B. 0,43
Sogen. Schwester Rembrandts
The sister of Rembrandt Um 1632
B. 65
La sœur de RembrandtWien, Max Ritter von Gutmann
Sogen. Schwester Rembrandts
The sister of Rembrandt	Um 1632
Auf Holz, n. 0,50, B. 0,395
La sœur de Rembrandt
61* Berlin, C. von HoUItsclier	Auf Leinwand, H.0,72, B. 0,655
Sogen. Schwester Rembrandts
The sister of Rembrandt	1633	La sœur de Rembrandt
B. 66
62IV.
BESTELLTE BILDNISSE
1631—1633
ORDERED PORTRAITS 1631—1633
PORTRAITS COMMANDÉS 1631 — 1633
m						<	<
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* Petersburg, Eremitage	Bildnis eines Gelehrten	Auf Leinwand, H. 1,13, B. 0,92
Portrait of a learned man	1631	Portrait d’un savant
	B. 50	
Rembrandt 5
65* London, J. Pierpont Morgan	Bildnis des Nicolaus Ruts	Auf Holz, H. 1,C
Portrait of Nicholas Ruts	1631	Portrait de Nicolas Ruts
	B. 51	
B. 0,90New York,
Portrait <
Frcder. Th. Fleitmann
Auf Leinwand, H. 0,635, B. 0,495
Bildnis
a young man
eines jungen Mannes
Um 1631 Portrait d’un jeune homme B. 559
yaam
Petersburg, P. Delaroff
Auf Holz, H. 0,215, B. 0,16
Bildnis eines jungen Mannes
Portrait ot a young man Um 1632 Portrait d’un jeune homme
B. 554Dalskairtti (Schottland), William A. Coats
Bildnis eines jungen Mannes
Um 1632
Portrait of a young man
Portrait d’un jeune hommeHaag, Museum
Auf Leinwand, H. 1,625, B. 2,165
Anatomie des Professor Tulp
The lesson of anatomy of the professor Tulp	1632	La leçon d’anatomie du professeur TulpHaag, Museum
Anatomie des Professor Tulp
The lesson of anatomy of the professor Tulp (Ausschnitt) La leçon d’anatomie du professeur Tulp (Detail)	1632	(Détail)Haag, Museum
Anatomie des Professor Tulp
The lesson of anatomy of the professor Tulp (Ausschnitt) La leçon d’anatomie du professeur Tulp (Detail)	1632	(Détail)
71ND
* Kassel, Kgl. Galerie	Auf Leinwand, H. 1,00, B. 0,78
Bildnis des Schreib- und Rechenlehrers Coppenol
Portrait of the	Um 1632—1633	Portrait du maître
writing-master Coppenol	B. 74	d’écriture Coppenol
♦Wien, Akademie der Künste
Auf Leinwand, H. 0,92, B. 0,71
Bildnis einer jungen Frau
Portrait of a young lady	1632 Portrait d’une jeune femme
B. 75* Nivaa (Dänemark), J. Hage
Auf Holz, H. 0,765, B. 0,59
Weibliches Bildnis
Portrait of a lady	1632	Portrait d’une dame
B. 560
73:Ne\v York,
Portrait i
Mrs.Henry O. Havemeyer
Auf Leinwand, H. 1,12, B. 0,89
Bildnis eines Herrn aus : a man from the family van Beresteyn
der Familie van Beresteyn
1032	Portrait d’un homme de
van Beresteyn
la famille* New York, Mrs. Henry O. Havemeyet	Auf Leinwand, H. 1,12, B. 8^9
Bildnis einer Dame aus der Familie van Beresteyn
Portrait of a lady from the family van Beresteyn
1632 B. 83
Portrait d’une dame de la famille van Beresteyn
75* Paris, Sammlung des Barons Alphons von Rothschild
Portrait of an old lady
Bildnis einer alten Dame 1632 B. 85
Auf Holz, 11. 0,73, B. 0,555
Portrait d’une vieille dame
76»London, C. Lindsay Holford	Auf Hol^ H, 0,93, B. 0,76
Bildnis des Marten Looten
Portrait of Marten Looten	1632	Portrait de Marten Looten
B. 72
7703
* New York, Mrs. Henry O. Hnvenieycr	Auf Leinwand, II. 1,12, B. 0,91
Männliches Bildnis
1632	Portrait d’un homme
B. 73
Portrait of a man
* Varias (Schweden^ Graf Wachtmeister	Auf Holz, H. 0,03, B. 0,46
Bildnis eines jungen Mannes Portrait of a young man 1632 Portrait d’un jeune homme
B. 78* Hamburg, Kunsthalle
Auf Holz, H. 0,28, B. 0,23
CD
Bildnis des Maurits
Portrait of Maurits Huygens J 1632
Huygens
Portrait de Maurice Huygens
* London, Dulwich College Gallery
Auf Holz, H. 0,28, B. 0,23
Bildnis eines jungen Mannes (Constantyn Huygens?)
Portrait of a young man	1632	Portrait d’un jeune homme
ß. 77* London, Wallace-Museum
Auf Leinwand, H. 1,53, B. 1,21
Bildnis des Jan Pellicorne mit seinem Sohne Caspar
Portrait of Jan Pellicorne with his son Caspar
Um 1632 B. 79
Portrait de Jean Pellicorne avec son fils Gaspard
80
Sängnl
äS:-


* London, Wallace-Museum
Auf Leinwand, H. I,ô3, B. 1,21
Bildnis der Gattin des Jan Pellicorne mit ihrer Tochter
Portrait of the wife of Jan Pellicorne with her daughter
1632 13. 80
Portrait de la femme de Jean Pellicorne avec sa fille
Rembrandt 6
81* New York, James \V. Ellsworth		Auf Holz,
	Männliches Bildnis	
Portrait of a man	1632	Portrait d’un homme
	B. 81	
82oo
CO
* Braunschweig, Herzogl. Museum	Auf Holz, 11.0,035, B. 0,48
Männliches Bildnis
Portrait of a man	1632	Portrait d’un homme
B. 86
* Braunschweig, Herzogl. Museum
Auf Holz, H. 0,635, B. 0,48
Weibliches Bildnis
Portrait of a lady	1633	Portrait d’une femme
B. 87S9I19
l * Wien, Ilofmuseum	Auf Holz, H. 0,91, B. 0,70
Bildnis eines Mannes
Portrait of a inan	Um 1632 Portrait d’un homme
Wien, Hofmuseum	Auf Holz, H.0,91, B. 0,70
Bildnis einer Frau
Portrait of a lady	Um 1632 Portrait d’une femme
B. 94* New York, Charles T. Yerkes
Bildnis eines Offiziers,
Portrait of an officer, probably Joris de Caullery
Auf Leinwand, II. 1,02, B. 0,825
wahrscheinlich Joris de Caullery 1632 Portrait d’un officier, probablement Joris de Caullery B. 84
85* Paris, Henri Pereire
Auf Holz, H. 0,60, B. 0,17
Portrait
Bildnis des Gatten der Cornelia Pronck
the husband of Cornelia Pronck	. ,	_
LKl lb6Z	Portrait du man de Cornelie Pronck
B. 88* Paris, Henri Pereire
Bildnis der Cornelia Portrait of Cornelia Pronck	1633
B. 89
Pronck
Auf HoU, H. 0,60, B. 0,47
Portrait de Cornelie Pronck
87co
oo
* Dresden, Kgl. Gemäldegalerie
Auf Hol/, II. 0,675, B. 0,52
Bildnis des Willem Burggraeff
1633
Portrait de Guillaume Burggraeff
Portrait of Willem Burggraeff
B. 96
* Frankfurt a. M., Städelsclies Kunstinstitut	Auf Holz, II. 0,67, B. 0,56
Bildnis der Margarete van Bilderbeecq 1633
Portrait of Margaret van Bilderbeecq Portrait de Marguerile van Bilderbeecq
B. 97* Boston, Mrs. Gardner		Auf Leinwand, H. 1,29, B.
	Bildnis eines Ehepaars	
Portrait of a married couple	1633	Portrait d’un couple
	B, 99	
89* New York, Mrs. Morris K* Jesup	Al,f Holz, II. 0,<>2.>, B. 0,52
Bildnis eines jungen Mannes
Portrait of a young man	Um 1633	Portrait d’un jeune homme
B. 90
90* New York, Mrs. Morris K. Jesup
Auf Holz, H. 0,62.3, B. 0,ó2
Bildnis einer jungen Frau Um 1633 B. 91
Portrait of a young lady
Portrait d’une jeune femmeCO
to
* London, Buckingham-Palast	Auf Leinwand, II. 1,15, B. 1,65
Der Schiffsbaumeister und seine Frau
1633	Le constructeur de vaisseaux et sa femme
B. 105
The ship-builder and his wife* Meiitinore, Lord Rosebery
Johann Uyttenbogaert
Portrait of John Uyttenbogaert	1633
B. 562
Auf Letnwand, II. 1,22, H. 1,01
Portrait de Jean Uyttenbogaert
93b fc
* Kassel, Kgl- Qalerie	Auf Leinwand, I I. 1,23t B- °>94
Bildnis des Dichters Jan Hermansz Krul
Portrait of the poet Jan Hermansz Krul	1633	Portrait du poète Jan Hermansz Krul
B. 98
94*The Grange, Lord Ashburton
Portrait of a man
Bildnis eines Mannes 1633 B. 104
Auf Holz, H. 0,75, B. 0,6Î
Portrait d’un homme
95*Paris, Graf Edmond Pourtalès		Auf	Leinwand, H. 1,25, B. 1,00
	Männliches Bildnis		
Portrait of a man	1633	Portrait	d’un homme
	B. 100		
96
WmW
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PwSEsI
Petworth, Lord Leconfield		Auf Leinwand, 1
	Bildnis einer Dame	
Portrait of a lady	Um 1633	Portrait d’une dame
	B. 101	
Rembrandt 7
97\
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* Warschau, Exc. von Lachnicki
Auf Hol?, H. 0,67,
Portrait ot'a lady
Bildnis einer Frau
1633	Portrait d’une dame
B. 561Paris, Mme. Isaac Pereire
Portrait of a young lady
Auf Leinwand, II. 0,72, B. 0,62
Bildnis einer jungen Frau
Um 1633	Portrait d’une jeune femme
B. 92
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V.
RELIGIÖSE UND HISTORISCHE DARSTELLUNGEN STUDIEN ALTER MÄNNER UND ORIENTALEN
1632 UND 1633
RELIGIOUS AND HISTORICAL PAINTINGS STUDIES OF OLD MEN AND ORIENTALS
TABLEAUX RELIGIEÖX Ef mSTORfQÜGS ETU^pS DE vieillarDS’L '"■JÈT D’ORIENTAlÄV *
1632 AND 1633
163TET 1633
101* Rennes, Museum
Bathshebah after the bath
Bathseba nach dem Bade
1632 B. 558
Auf llolz, 11. (125, B. 0,21
Bathséba après le bain
103H

Am9I
*Haag, Museum (Bredius)
Die gefesselte Andromeda
The chained Andromeda	Um 1632
Auf Holz, H. 0,345, B. 0,^
Andromède enchaînée
104Reims, P. Charbonneaux		Auf Hoi*, H. 0,435, B. 0,35
	Minerva	
Minerva	Um 1632	Minerve
	B. 67	
105< c
t. «
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Berlin, Kaiser-Friedrich-Museum		Auf Holz, H. 0,59, B. 0,48
	Minerva	
Minerva	Um 1632	Minerve
	B. 68	
106Wien, Liechtenstein-Galerie		Auf	Leinwand, H. 1,09, B. 0,94
	Bathseba bei der Toilette		
The toilet of Bathshebah	1632	La toilette	de Bathséba
	B. 69		
107Paris, Princesse de Broglie	Äüf Holz, H. B. 0,77
Der Raub der Europa 1632 B. 71
The rape of Europa
L’enlèvement d’EuropeBerlin, Kaiser-Friedrich-Museum	Auf iIolZi ,, ()81i g 0,7S
Der Raub der Proserpina Um 1632	L
B. 70
The rape of Proserpine
^’enlèvement de Proserpine< t i , «
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London, Wallnce-Museum	Aul Holz, li 0,27"), B. 0,205
Der barmherzige Samariter
The good Samaritan	Um 1632—1633	Le bon Samaritain
B. 123
110Paris, Louvre	„	•.	.	Auf Holr, H. 0,29, B. 0,33
Der Philosoph
The philosopher	Um 1633	Le philosophe
B. 121
Paris, Louvre		Auf Hol/, 1
	Der Philosoph	
The philosopher	1633	Le philosophe
	B. 122	
111Albert Lehmann -	Hoher priestej	Auf Holz, H. 0,.	Ì8, B. 0,475
A high-priest <.	►-ttltn 1632 B 42	*■ VW 'g}iuj-prêtre	
112Rembrandt
00
Co

* New York, Ch. Stewart Smith	Auf Holz, H. 0,64, B. 0,48
Johannes der Täufer
St. John the Baptist	1632	Saint Jean Baptiste
B. 134
♦Stockholm, Nationalmuseum
Petrus 1632 B. 135
Auf Leinwand, H. 0,82, B. 0,62
St. Peter
Saint Pierre« t
* Brüssel, Léon Jansen	Auf Holz, 11.0,008, B. 0,007
Studienkopf
Study-head	1633	Tête d’étude
B, 565
114Philadelphia, C. A Griscom	Auf Holz, H. 0,64, B. 0,45
Bildnis eines Greises
Portrait of an old man	Um 1632	Portrait d’un vieillard
B. 139
Kassel, Kgl* Galerie
Der
The bald-headed man
Auf Holz, H. 0,50, B. 0,39
„Mann mit der Glatze“
1632	L’homme chauve
B. 136O
* Oldenburg, Grossherzogi. Galerie	Auf Holz, H. 0,665, B. 0,51
Brustbild eines Greises
Portrait of an old man	1632	Portrait d’un vieillard
B. 141

* Kassel, Kgl* Galerie	Auf Heiz, H. 0,59, B. 0,49
Studienkopf eines alten Mannes
A study of an old man	1632 Etude d’après un vieillard
B. 137
^	Paris, Dr. Max Wassermann	Auf Holz, H. 0,25, B. 0,19
Studienkopf eines Greises
Study-head of an old man Urn 1633 Tête d’étude d’un vieillard
B. 144
Woburn Abbey, Herzog von Bedford	Auf Holz, H. 0,71, B. 0,58
Bildnis eines Greises
Portrait of an old man Um 1632—1633 Portrait d’un vieillard
B. 138118
♦ Metz, Stadt. Museum	Auf Holz, H. 0,45, B. 0,42
Bildnis eines Greises
Portrait of an old man 1633	Portrait d’un vieillard
B. 143
4 • • »
♦ Paris, Louvre	Auf Holz, H. 0,70, B. 0,56
Bildnis eines Greises
Portrait of an old man
Um 1633 B. 142
Portrait d’un vieillard* Oldenburg, Grossherzogi. Galerie
H. 0.615, B. 0,475
Brustbild eines Greises
Portrait of an old man Um 1632 Portrait d’un vieillard
B. 140
*Peterborougli, George C. W. Fitzwilliam	Auf Holz, H.0,57, B. 0,47
Bildnis eines Greises
Portrait of an old man Um 1632 Portrait d’un vieillard
B. 564*NewYork, William K* Vanderbilt		Auf Leinwand, 1
	Bildnis eines Orientalen	
Portrait of an Oriental	1632	Portrait d’un Oriental
	B. 145	
120* Petersburg, Eremitage	Auf Leinwand, H. 0,99, B. 0,76
Ein Orientale
Um 1633 B. 146
An Oriental
Un Oriental
München, Alte Pinakothek
Auf Holz, H. 0,84, B. 0,63
Brustbild eines Türken
Portrait of a Turk	1633	Portrait d’un Turc
B. 147< < < (
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(VI.
BILDNISSE DER SASKIA,
EINES KNABEN AUS DER UMGEBUNG DES KÜNSTLERS UND SELBSTBILDNISSE REMBRANDTS 1633—1637
PORTRAITS OF SASKIA, OF A BOY IN THE FAMILIARS OF THE ARTIST AND SELF-PORTRAITS OF REMBRANDT 1633-1637
PORTRAITS DE SASKIE, D’lM GARMON DE L’ENTOURAGE DE L’ARTISTE ET PORTRAITS DE REMBRANDT LUI-M&ME
I 1633—1637
123Haag, Dr. C. Hofstede de Groot
Auf Holz, H. 0,145, 13. 0,105
Studienkopf der Saskia
A study of Saskia	Um 1633—1634 Tête d'étude de Saskie
B. 160
124



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* Paris, Madame André-Jacquemart
Saskia van Uijlenburgh
1632
Auf Leinwand, H. 0,685, B. 0,555
B. 1494 J
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* Dresden, Kgl. Gemäldegalerie
Auf Holz, 11.0,525, B. 0,445
Saskia van Uijlenburgh
1633
B. 151
126* Kassel, Kgl. Galerie	Auf Holz, 11.0,98, B. 0,77
Saskia van Uijlenburgh Um 1633-1634 B. 150
127Broom Hall, Lord Elgin
Auf Holz, H. 0,65, B. 0,48
Saskia van Uijlenburgh
1633



Philadelphia, P. A. B Widener	Auf Holz, H. 0,59, B. 0,455
Saskia van Uijlenburgh Um 1633 B. 153
Rembrandt
9
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* London, Mrs. S. S. Joseph	Auf Holz, H. 0,675, B. 0,525
Saskia van Uijlenburgh 1635 B. 154
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«Paris, Edmond de Rothschild	Auf Holz, H. 0,98 B. 0,70
Saskia van Uijlenburgh 1635 B. 155
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♦Pittsburg, A. M. Bycrs	Auf Leinwand, II. 0,785, B. 0,66
Saskia van Uijlenburgh 1636 B. 156
132♦Dresden, Kgl. Gemäldegalerie	Auf Leinwand, H. 1,61, B. 1,31
Selbstbildnis des Künstlers mit seiner Gattin Saskia
Rembrandt and Saskia	Um 1634	L’artiste et sa femme
B. 157
133London, Buckingham-Palast
Auf Leinwand, H. 1,53, B. 1,955
Bildnis des Künstlers und seiner Gattin Saskia
The artist and his wife Saskia	Um 1634—1635	L'artiste et sa femme Saskie
B. 158♦London, Herzog von Bucdeuch	Auf Holz, H. 1,215, B. 0,965
Bildnis der Saskia als Flora
Portrait of Saskia as Flora	1633	Portrait de Saskie en Flore
B. 186
135r r (
c	f
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c	(
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Paris, Adolphe Schloss
Auf Holz, H. 0,69, B. 0,52ô
Flora
Uni 1633—1634 B. 190
136•Petersburg, Eremitage	Auf Leinwand, H. 1,2KB. 1,01
Bildnis der Saskia als Flora
Portrait of Saskia as Flora	1634	Portrait de Saskie en Flore
B. 189
137Hermance, Comte J. H. Meyer de Stadelhofen
Auf Leinwand, H. 0,67,'B. 0,51
Bildnis der Saskia als Flora Um 1634
Portrait of Saskia as Flora
Portrait de Saskie en FloreLondon, Wallace-Museum
Bildnis
Portrait of a boy
*Paris, Sammlung der Baronin N. von Rothschild	Auf Holz, H. 0,44, B. 0,23
Bildnis eines Knaben
Portrait of a boy	1633	Portrait d’un garçon
B. 177Petersburg, Eremitage
Auf-Holz, II. 0,67, B. 0,48
Bildnis eines Knaben
Um 1633
Portrait of a boy
Portrait d'un garçonPetersburg, Fürst Yussupoff
Auf Holz, H. 0,197, B. 0,167
Bildnis eines Knaben
Portrait of a boy	1633	Portrait d’un garçon
♦Welbeck Abbey, Herzog von Portland	Auf Holz, H. 0,46, B. 0,345
Bildnis eines Knaben r	1634	Portrait d’un garçon
B. 181
Portrait of a boy* Paris, E. Warncck	Auf Holz, H. 0,205, B. 0,175
Rembrandt lachend. Studienkopf
Rembrandt laughing	1633	Rembrandt riant
B. 161
♦Wien, Baron vonTGutmann	Auf Holz, H. 0,575, B. 0,44
Selbstbildnis
Um 1634 B. 172
Portrait of Rembrandt
Portrait de l’artiste♦Paris, Louvre
Selbstbildnis
Portrait of Rembrandt	1634
B. 164
Auf Holz, H. 0,68, B. 0,53
Portrait de Partiste
143
H* Paris, Louvre
Auf Leinwand, II. 0,58, B. 0,45
Portrait of Rembrandt
Selbstbildnis 1633 B. 163
Portrait de Partiste
Berlin, Kaiser-Friedrich-Museum
Auf Holz, H. 0,55, B 0,40
Selbstbildnis
Portrait of Rembrandt Um 1633—1634
Portrait de Partiste
Paris, Charles Sedelmeyer		Auf Holz, H. 0,675
	Bildnis eines jungen	Mannes
Portrait of a young man	Um 1633	Portrait d’un jeune homme
	B. 567	
Rembrandt 10
145

*IIaaK, Museum	Auf Holz, H. 0,625, B. 0,47
Selbstbildnis als Offizier
Um 1634—1635
Portrait of Rembrandt as officer B. 165 Portrait de l’artiste en officier
London, Wallace-Museum	Selbstbildnis	Aul Holz, II. 0^60, B. 0,51
	Um 1634 — 1635	
Portrait of Rembrandt	B. 166	Portrait de l’artisteParis, Baron Gustav von Rothschild
Der
The banner-bearer (Portrait of the artist ?)
Fahnentrager (Selbstbildnis?)
Uni 1635 B. 206
Aut Lelnwand, H. 1,25, B, 1,05
Le porte-drapeau (Portrait de l’artiste?)
147co
* Kassel, Kgl. Galerie	Auf Holz, H. 0,79, B. 0,61
Selbstbildnis mit der Sturmhaube
1634
Portrait of Rembrandt with a steel-cap Portrait de l’artiste coiffé d’un casque
B. 169
Florenz, Galerie Pitti	Auf Holz, H. 0,6?, B. 0,52
Selbstbildnis
Um 1634
Portrait of Rembrandt	Portrait de Partiste
B. 170Glasgow, Corporation Art Gallery	Auf Holz, H. 0,65, B. 0,50
Selbstbildnis Um 1634 B. 173
Portrait of Rembrandt
Portrait de l’artiste
London, Wallace-Museum		H. 0,63, B. 0,49
	Selbstbildnis	
Portrait of Rembrandt	Um 1634	Portrait de l’artiste
	B. 171	
Cn
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*VVlen, Liechtenstein-Galerie	Auf Holl, H. 0,92, B. 0,72
Selbstbildnis 1635 B, 174
Portrait of Rembrandt
Portrait de l’artiste
♦Paris, Louvre
Auf Holz, H. 0,80, B. 0,62
Portrait
Selbstbildnis
Rembrandt	1637	Portrait de l’artiste
B. 176VII.
RELIGIÖSE UND HISTORISCHE DARSTELLUNGEN STUDIENKÖPFE
1633-1638
RELIGIOUS AND HISTORICAL PAINTINGS STUDY-HEADS
TABLEAUXgEOGlBpX ET HISTORIQUES TÈTES D’ETUDE
1633—1638
E3PT-31638
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< <(	<	c	<	( i	c	(	<♦London, Sir George Donaldson	Auf Leinwand, H. 1,22, B. 0,96
Bellona
Portrait of Saskia as Bellona	1633	Portrait de Saskie en Bellone
B. 569
153


Haag, Museum (v. Wageningen)	Auf Holz, H. 0,543, B. 0,473
Bathseba mit dem Brief Davids
Bathshebah with the letter of David Um 1634	Bathseba avec la lettre de David
154*Knowsley House, Earl of Derby	Auf Leinwand, H. 1,64, B. 2,04
Mene Tekel
Um 1634—1635 B. 209♦Madrid, Prado-Museum
Auf Leinwand, H. 1,42, B. 1,53
Sophonisbe empfangt den Sophonisbe receiving the cup of poison from her husband Masinissa
Giftbecher von ihrem Gatten Masinissa
1634 Sophonisbe recevant une coupe à poison de son B. 191	époux Masinissa♦London, Nationalgalerie	Christus vor Pilatus	Auf Leinwand, II.0,53ö
Christ before Pilatus	1633	Le Christ devant Pilate
	B. 214	
157\ I
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* Glasgow, University College
The Entombment of Christ
Die Grablegung Christi
Um 1633—1634 B. 130
Auf Holît H. 0,32, B. 0,40
La mise au tombeau
158* Petersburg, Eremitage
Auf Holz, H. 0,53, B.0,51
Der ungläubige Thomas
The incredulity of St. Thomas	1634	L’incrédulité de Saint Thomas
B. 133
159* Paris, Léon Bonnat
Auf IIolz, H. 0,285, B. 0,265
Mardachai vor Mordecai before Ahasuerus Um and Esther
Ahasver 1633—1634 B. 213
und Esther
Mardochai devant Assuérus et Esther*Ha;ig, Museum	Auf Papier, II. 0,383, B. 0,35
Die Ruhe auf der Flucht nach Aegypten
The rest during the flight to Egypt Um 1634—1635 Le repos pendant la fuite en Egypte
B. 132
Rembrandt
11
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♦Boston, Mrs. Gardner	Christus auf dem Meer	Auf Leinwand, H. 1,595, B. 1,275
Christ at sea	1633	Le Christ sur la mer
	B. 120	
*
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* München, Alte Pinakothek
Auf Leinwand, II. 0,96, B. 0,72
Die Aufrichtung des
The raising of the cross	1633
Kreuzes
L’érection de la croix
B. 124
* München, Alte Pinakothek
Auf Holz, II. 0,89, B. 0,65
Die Kreuzabnahme
The descent from the cross 1633	La descente de croix
B. 125( (
* Petersburg, Eremitage	Die Kreuzabnahme	Auf Leinwand, H. 1,58, B. 1,17
The descent from the cross	1634	La descente de croix
	B. 126	
1640
01
* München, Alte Pinakothek
Auf Leinwand, II. 0,93, B. 0,69
Die
The entombment of Christ
Grablegung Christi
1639	La mise au tombeau
B. 128
* München, Alte Pinakothek		Auf Leinwand, H. 0,92, B. 0,67
Die	Himmelfahrt	Christi
The ascension of Christ	1636	L’ascension du Christ
	B. 127	« « t
< « (
♦München, Alte Pinakothek
Auf Leinwand, II. 0,94, B. 0,70
Die Auferstehung Christi
The résurrection of Christ 1639 La résurrection du Christ
B. 131
166O
Die Findung Mosis
Um 1635 B. 195
- j j j
The salvation of Moses
Moïse sauvé des eauxc —
Anholt, Fürst zu Salm-Salm		Auf Leinwand, H. 0,72, lì. 0,95
	Diana und Actaeon	
Diana and Acta;on	1635	Diane et Actéon
	B. 196	Dresden, Kgl. Gemäldegalerie
Aul Holz, H. 1,715, B. 1,30
Ganymed in
The rape of Ganymedes
den Fängen
1635 B. 197
des Adlers
L’enlevemenl de Ganymede

Auf Leinwand, H. 1,93, B. 1,33
* Petersburg, Eremitage
	MagBMf jf /*"	
	y	Ilh
Abrahams Opfer
The sacrifice of Abraham	1635	Le sacrifice d’Abraham
B. 207
170» » »
* > >
* * >
» ) )
» »
> * # J * #
* Berlin, Kaiser-Friedrich-Museum
Auf Leinwand, H. 1,56, B. 1,29
Simson bedroht seinen Schwiegervater
Samson menacing his father-in-law
1635 B. 210
Samson menace son beau-père
171“<ï
to
-t
♦Belton House, Earl of Brownlow
Isaak segnet Esau
Um 1636
Auf Holz, H. 0,565, B. 0,675
B. 217
Isaac blessing Esau
Isaac bénit EsaüCo
* Frankfurt a. M., Städelschcs Kunstinstitut		Auf Leinwand, H. 2,38, B. 2,87	
	Die Blendung Simsons		
The blinding of Samson	1636	Samson pris par les Philistins	- - ~
	B.211		-1 Herlin, Kniser-Friedrlch-Museum	Auf Papier auf Eichenholz, H. 0,62, B. 0,80
Predigt Johannes des Täufers
The sermon of St. John the Baptist Um 1635—1636 Le sermon de Saint Jean Baptiste
B. 215
äm
♦Amsterdam, Galerie Six	Auf Pappe, H. 0,50, B. 0,38
Joseph, seine Träume erzählend
Joseph relating his dreams	1636	Joseph racontant ses songes
B. 212
175CD
* Petersburg Eremitage
Auf Leinwand, II. 1,85, B. 2,03
Danae 1636 B. 194Rembrandt 12
^4
Petersburg, Eremitage
Danae (Ausschnitt) 1636
Danae (Detail)
Danaé (Détail)♦Brüssel, Herzog von Ar'enberg	Auf Holz, H. 0,48, B. 0,39
Tobias heilt seinen Vater
Tobias healing his father	1636	Tobie guérissant son père
B. 216
178Paris, Louvre
Auf Holz, H. 0,68, B. 0,52
Der Engel verlässt Tobias
The angel quitting Tobias	1637
B. 219
L’ange quittant Tobie
17900
o
Petersburg, Eremitage	Auf Holz, H. 0,41, B. 0,31
Bathseba bei der Toilette
Um 1637—1638
The toilet of Bathshebah
B. 192
La toilette de Bathseba
* Haag, Museum	Auf Holz, H. 0,475, B. 0,39
Susanna im Bade
1637
Susan in the bath	Susanne au bain
B. 193Petersburg, Eremitage	Abraham bewirtet die drei Engel	Auf Leinwand, H. 1,215, B. 1,625	
Abraham receiving the three angels	Um 1636—1637	Abraham recevant les trois anges	
	B. 223		
fHH
Petersburg, Eremitage
Abraham bewirtet die drei
(Ausschnitt)
Abraham receiving the three angels	Um 1636Sl637
(Detail)
Engel
Abraham recevant les trois anges (Détail)
182oo
00
♦Petersburg, Eremitage	Auf Holz, H. 0,31, B. 0,42
Das Gleichnis von den Arbeitern im Weinberg
The parable of Ihe workers in the vineyard	1637	La parabole du maitre de la vigne
B. 220♦London, Otto Beit		Auf Holz, H. 0,i
	Der heilige Franz im Gebet	
Francis praying	1637	Saint François en prière
	B. 218	
184* London, Buckingham-Palast	Auf Holz, H. 0,585, B. 0,485
Christus als Gärtner
Christ appearing to Mary Magdalen	1638 Le Christ apparait & Sainte Madeleine
B. 22*
185
♦Prag, Graf Nostitz	Ein Rabbiner	Auf Leinwand, II. 1,41, B. 1,35
A rabbin	1634	Un rabbin
	B. 198	
Chatswortli, Herzog von Devonshire			Auf Holz, !
A rabbin	Ein	Rabbiner 1635	Un rabbin
		B. 199		New York, Charles T. Yerkes		Auf Holz,
00		Ein Rabbiner	
	A rabbin	Um 1635	Un rabbin
		B. 202	
London, Earl of Derby		Auf Holz, H
	Ein Rabbiner	
A rabbin	Um 1635	Un rabbin
	B. 203	oo
00
Hampton Court, Palace	Ein Rabbiner	Auf Holz, H. 0,70, B. 0,60
A rabbin	1635	Un rabbin
	B. 201	
London, Buckingham-Palast	Ein Rabbiner	Auf Leinwand, H. 0,98, B. 0,76
A rabbin	Um 1635—1636	Un rabbin
	B. 200	London, Wallace-Museum	Auf Holt, h! 0,66, B. Q,S05
Ein Neger im Jagdkostüm
A negro in hunting-dress	Um 1634	Un nègre en costume de chasse
B. 148
189* New York, \V. B. Leeds	Auf Holz, H. 0,67, B. 0,54
Studienkopf eines Mannes
Study-head of a man	1635 Tête d’étude d’un homme
B. 204VIII.
BESTELLTE BILDNISSE
1634—1637
ORDERED PORTRAITS 1634—1637
i^örtraits Command £s
,1634 1163?
191®1
Cronberg i. T., A. de Ridder
Portrait of a man
Bildnis eines Mannes
1634
Auf Hoir, 11.0,70, B. 0,55
Portrait d’un homme
Rembrandt 13
193* Paris, Adolphe Schloss	Auf Holz, H. 0,64, B. 0,47
Bildnis eines Greises
Portrait of an old man	1634	Portrait d’un vieillard
B. 566
London, Nationalgalerie
Auf Holz, H. 0,685, B. 0,53
Bildnis einer alten Frau
Portrait of an old lady	1634 Portrait d’une dame âgée
B. 106* Petersburg, Eremitage	Auf Holz, H. 0,713, B. 0,533
g	Bildnis eines jungen Mannes
Portrait of a young man	1634 Portrait d’un jeune homme
B. 103
Dublin, Nationalgalerie	Auf Holz, H. 0,605, B. 0,52
Bildnis eines jungen Mannes
Portrait of a young man Um 1634 Portrait d’un jeune homme
B. 102I
f	«
< <
Paris, Baron Gustav von Rothschild		Auf Leinwand,
	Bildnis des Martin Day	
Portrait of Martin Day	1634	Portrait de Martin
	B. 107	
196♦Paris, Baron Gustav von Rothschild
Auf Leinwand, H. 2,07, B. 1,32
Bildnis
Portrait of Machteid van Doom
der Machteid van Doom
1634	Portrait de Machteid van Doom
B. 108
197Vf . teMtÄ

iwm
ra&iJBi
MH
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* Paris, Henri Schneider	Auf Leinwand, H. 1,73, B. 1,25
Bildäis des Hans Alenson
Portrait of Hans Alenson	1634	Portrait de Hans Alenson
B. 109
198' «'s «r7

♦Paris, Henri Schneider
Auf Leinwand, II. 1,73, B. 1,25
Die Gattin
The wife of Hans Alenson
des Hans Alenson
1634	La femme de Jean Alenson
B. 110
199200
* Petersburg, Eremitage
Auf Holz, II. 0,70, B. 0,52
Bildnis eines jungen Mannes
Portrait of a young man	1634 Portrait d’un jeune homme
ß. 114
* London, Bridgewatcr-Galerie
Auf Holz, II. 0,69, B. 0,52
Bildnis einer jungen Dame
Portrait of a young lady	1634 Portrait d’une jeune dame
B. 113* Boston, Museum of Fine Arts
Auf Holz, H. 0,665, B. 0,525
Männliches Bildnis
1634	Portrait d’un homme
B. Ill
Portrait of a man
Boston, Museum of Fine Arts	Auf Holz, H. 0,665, B. 0,525
Weibliches Bildnis
Portrait of a lady	1634	Portrait d’une femme
B. 112( ( (
■
New York, Richard Mortimer
Krieger,
A warrior dressing a cuirass
Aut Leinwand, H. 1,00, B. P,S2ô
den Panzer anlegend
Um 1634 Un guerrier mettant une cuirasse B. 205
202London, Nationalgnlerie		Auf Leinwand, II. 0,765, B. 0,57
	Männliches	Bildnis
Portrait of a man	1635	Portrait d’un homme
	B. 116	
»London, Bridgewater-Qalerie	Auf Hola, H. 0,61, B. 0,51
Bildnis einer jungen Dame
Portrait of a young lady	1634 Portrait d’une jeune dame
B. 115Kassel, Kgl. Galerie
Auf Holz, H. 0,72, B. 0,59
Brustbild einer jungen Frau
Portrait of a young lady Um 1635—1636 Portrait d'une jeune femme
B. 182
London, Edm. Davis
Auf Holz, H. 0,73.5, B. 0,635
Dame (Saskia?) bei der Toilette
Saskia (?) at her toilet Um 1635 Saskie (?) ä la toilette
B. 159♦Nantes, Museum		Auf Leinwand, H. 1,00, B. 0,81
	Bildnis einer jungen	Frau
Portrait of a young lady	Um 1635	Portrait d’une jeune femme
	B. 563	
205• • € • • •
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Petronella Buys 1635 B. 118
206WfrMî
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Berlin, Karl von der Heydt
Weibliches Bildnis
1635
B. 117 àN
Pendrait d’arie Tlame
Portrait of a lady
207Paris, Charles; sèdelmeÿer
Auf Leinwand, II. 1,20, B.0,94
Männliches Bildnis
Um 1635	Portrait d’un lionime
B. 225
208
'4 ÄW'‘rf| <?\ t'ÿ?' ■•'
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London, Duveen Brothers		Auf Leinwand, H. 1,2
	Bildnis einer alten Dame	
Portrait of an old lady	1635	Portrait d’une vieille dame
	B. 224	
Rembrandt 14
209( ( (
<	< t
* Philadelphia, Rodman Wanamaker	Auf Holz, II. 0,ö0, B. 0,39
Bildnis eines Mannes
Portrait of a man	1635 Portrait d’un liomrne
B. 568
210Auf Holz, H. 0,83, B. 0,67
* Wien, Sammlung des Barons Natlianiel von Rothschild
Anthonis Coopal
Portrait of Anthony Coopal 1635	Portrait d’Antoine Coopal
B. 185
WÊÊÊÊm
*Ru*Be Priory, Earl of Kinnaird	Auf Hofa, H. 0,68, B. (f.äi
Weibliches Bildnis
1635	Portrait d’une dame
B. 119
Portrait of a lady*Wien, Liechtenstein-Galerie		Auf Holz, 1
	Männliches Bildnis	
Portrait of a man	1636	Portrait d’un homme
	B. 183	
212* Wien, Liechtenstein-Galerie		Auf Holz,
	Bildnis einer Dame	
Portrait of a lady	1636	Portrait d’une dame
	B. 184	
213fe:# frllföW
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♦Antwerpen, Kgl* Museum
Auf Leinwand, H. 1,39, B. 1,09
Bildnis des Predigers Eleazar Swalmius
Portrait of the preacher Eleazar Swalmius	1637	Portrait du prédicateur Eléazar Swalmius
B. 226
214

»London, Bridgewater-Oalei le	Auf Uinwand, H. 1,81, B. 1,00
Bildnis eines Geistlichen
Portrait of a clergyman	1637	Portrait d’un ecclésiastique
B. 227
215Peters bu rg, Ere mitage	Mânnliches Bildnis	Auf Holz, M. 0,97, B. 0.G65
Portrait of a man	1637	Portrait d’un homme
	B. 228	
216Moskau, Fürst Gagarin		Aul Holz, H. 0,8o, B. 0,70
	Bildnis eines jungen	Mannes
Portrait of a young man	1637	Portrait d’un jeune homme
	B. 570	
217							t	«
	4 4	*	« < «	t i	4	! ,«	i	«
	4	* i	« «	i < » «	t 4	4 • s‘ «	« «	< «
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«	4 4	«	• * »	« 4	4	4 4 4	•	t •IX.
STILLEBEN LANDSCHAFTEN RELIGIÖSE DARSTELLUNGEN 1638—1643
STILL-LIFES — LANDSCAPES RELIGIOUS PAINTINGS
NATURES MORTES — PAYSAGES TABLEAUX RELIGIEUX
1638—1643
1638 ft 1643
219to
to

mm


«
Dresden, Kgl- Gemäldegalerie	Simsons Hochzeit	Auf Leinwand, H. 1,265, B. 1,755
The wedding of Samson	1638	Les noces de Samson
	B. 222	* London, Victoria- und Albcrt-Museum	Auf Holz, H. 0,39, B. 0,53
Hagar verlässt Abrahams Haus
1640 ß. 240
Agar leaving the house of Abraham
Agar quittant la maison d’AbrahamParis, Louvre
Auf Holz, II. 0,11, IS. 0,34
Die heilige Familie
1640
The Holy Family
La Sainte Famille
(dite le ménage du menuisier)Auf Holz, H. 0,565, B. 0,475
* London, Herzog von Westminster
Besuch der Maria bei Elisabeth
The visitation
1640
La VisitationRembrandt 15	225
Dresden, Kgl. Gemäldegalerie	Das Opfer Manoahs	Auf Leinwand, H.
The sacrifice of Manoah	1641	Le sacrifice de Manoe
	B. 243	* London, Nationalgalerie
Auf Holz, H. 0,325, B. 0,275
Christus vom Kreuz genommen
Christ taken down from the cross	Um 1642	Le Christ détaché de la croix
H. 245
226* Petersburg, Eremitage
Auf Holz, II. 0,73, B. 0,615
Die Aussöhnung Davids mit Absalon
The reconciliation of David and Absalom	1642	La réconciliation de David et d’Absalom
B. 244
227*Haatf, Baron Steengracht	Bathseba bei der Toilette	Auf Holz,
The toilet of Bathshebah	1643	Bethsabée à sa toilette
	B. 246	
arcaH
♦Dresden, Kgl. Gemäldegalerie
Auf Holz, H. 1,21, B. 0,89
Selbstbildnis des The bittern
(Self-portrait of the artist)
Künstlers mit der Rohrdommel
1639	Le chasseur de butor
B. 23?	(Portrait de l’arlisl^
229♦Philadelphia, John G. Johnson
Auf Holz, H. 0,485, B. 0,38
Ein geschlachteter Ochse
A slaughtered ox	1637	Bœuf écorché
B. 575
230* Boston, Mrs. Gardner
Landscape with an obelisk
Landschaft mit dem Obelisken Um 1638 B. 230
Paysage à l’obélisque
Auf Holz, H. 0,55, B. 0,715mm
\
Amsterdam, Reichsmuseum
A landscape
Landschaft Um 1637—1638 B. 232
Auf Holz, H. 0,29, B. 0,40
Paysage
♦Braunschweig, Herzogi. Museum
A landscape
Landschaft Um 1638 B. 231
Auf Holz, H.'0,52, B. 0,72
Paysage
232to
OO
CO
* Krakau, Museum Czartoryski	Auf Holz, H. 0,465, B. 0,66
Landschaft mit dem barmherzigen Samariter
Landscape with the good Samaritan	1638	Paysage avec le bon Samaritain
B. 229to
CO
				
		Sj|\lié^ ^rÿjmÿaM		Mg Jât
				
* Schloss Bhringerfeld, Freiherr von Ketleler
Waldige Landschaft
Um 1638—1640 B. 572
Auf Holz, H. 0,30, B. 0,40
A woody landscape
Paysage boiséLondon, Wallace-Museuin				Auf Holz, II. 0,46, B. 0,63	w - ^ -
		Landschaft			
	A landscape	Um 1640	Paysage		• - « - -
		B. 233			“ W “London, Earl of Northbrook	Landschaft	Auf Holz, H. 0,22, B. 0,295
A landscape	Um 1640	Paysage
	B. 235	
Oldenburg, Grossherz. Galerie	Ländschäft mit BrÜCkG	Auf Hol/, H. 0,29, B. 0,40
A landscape with a bridge	Um 1640	Paysage avec un pont
B. 234
236237
Madrid, Herzog von Berwick und Alba
Landschaft mit einer Zugbrücke
A landscape with a drawbridge	Um 1640
B. 573
Auf Holz, H. 0,42, B. 0,60
Paysage avec le pont-levisto
Co
CO
c_ _ -
* * • *
<• ■» m
iff
Berlin, Marcus Kappel
Auf Holz, H. 0,57, P. 0,32
A landscape
Landschaft
Um 1643
PaysageTO
X.
BILDNISSE REMBRANDTS UND SEINER VERWANDTEN BESTELLTE BILDNISSE 1638-1644
PORTRAITS OF REMBRANDT AND HIS	PORTRAITS DEREMBRANDT £T DE SES
RELATIVES -i CRDERED PORTRAITS	PARENTSj£ PORTRAITS $0 MMA$e||$
1638—1644
239

* London, Captain Heywood-Lonsdale	Selbstbildnis	Auf HoU, H
Portrait of Rembrandt	1638 (?)	Portrait de l’artiste
	B. 175	
Rembrandt 16
241♦London, Nationalgalerie	Selbstbildnis	Auf Leinwand, H. 0,975, 13. 0,79
Portrait of Rembrandt	1640	Portrait de l’artiste
	B. 256	
242» •»
♦Amsterdam, Re ich s mu se um (van Wee de van DijkveUI)		Auf Holz, H
Weibliches	Bildnis (Saskia?)	
Portrait of a lady	1639	Portrait d’une dame
	B. 274	
243Weimar, Grossherzog von Sachsen
Auf Leinwand, II. 0,(>1, B. 0,48
Selbstbildnis
Portrait of Rembrandt 1643	Portrait de l’artiste
B. 257
244»»"SMS


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Bp
■ ■
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Woburn Abbey, Herzog von Bedford	Selbstbildnis	Auf Leinwand, H. 0,875,	B. 0,725
Portrait of Rembrandt	Um 1640	Portrait de l’artléte	
	B-sS		
245
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* Dresden, Kgl. Gemäldegalerie
Saskia with the red flower
Auf Holz, H. 0,9$5, B. 0,S25
Saskia mit der roten Blume
1641	Saskia tenant uni fleur rouge ä la main
B. 264
246



gPpl
B®
* Berlin, Kaïser-Friedrich-Museum
Saskia van Uijlenburgh
Saskia, lhe wife of Rembrandt	1643
B. 265
Auf Hol/., H. Û,7LlB. 0,58
Saskia, femme de l’artiste
247* Wien, Hofmuseuni	Auf Holz, H. 0,80, B. 0,62
Rembrandts Mutter
The mother of Rembrandt	1639	La mère de Rembrandt
B. 252
248• • • • •
»I
wmm
mm

Ir-Mi*» • rv ■
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* Dresden, Kgl. Gemäldegalerie
An old woman weighing gold
Die Goldwägerin 1643 B. 304
Auf Leinwand, H. 1,13, B. 0,995
La peseuse d’or
249Petersburg, Eremitage	Bildnis	einer alten	Frau	Auf Holz, H. 0,61,
Portrait of an	old woman	1643	Portrait	d’une vieille femme
		B. 263		IO
Oi
♦Kedleston Hall, Lord Scarsdale	Auf Leinwand, 11. 0,85, B. 0,675
Bildnis eines Greises
Portrait of an old man Um 1637—1638 Portrait d’un vieillard
I 276
♦Richmond, Sir Frederick Cook		Auf Holz, H.	0,65, B. 0,56	-
Bildnis	der Aliotte	Adriaens		Q »
Portrait of Aliotte Adriaens	1639 B. 571	Portrait d’Allotte	Adriaens	y---* Perth, Earl of Mansfield	Auf Leinwand, IL 1,05, B. 0,815
Bildnis eines ältlichen Mannes
Portrait of an elderly man	1638	Portrait d’un homme âgé
B. 273
252♦Kassel, Kgl. Galerie
Portrait of a man
Auf Leinwand, H. 1,93, B. 1,21
Bildnis eines Mannes
1639	Portrait d’un homme
B. 254
253< (
I I
c * <
*Ne\v York, Mrs. Henry O. Havemeyer	Auf Holz, H. 0,73, B. 0,54
Bildnis des Herman Doomer
Portrait of Herman Doomer	1610	Portrait de Herman Doomer
B. 275
254

* Petersburg, Eremit ico
Auf Holz, II. 0,76, B. 0,.")6
Bildnis Baartjen Martens’, der Frau Doomers
Portrait of Baartjen Martens, the wife of Herman Doomer
Um 1640	Portrait de B
B. 281	la femme de
aartjen Martens, Herman Doomer
255( * (
(
O
1	t ( (
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New York, Mrs. Henry O. Havemeyer		Auf Holz, H. 0,69, B. 0,60
	Bildnis einer alten	Frau
Portrait of an old lady	1640	Portrait d’une vieille femme
	B. 278	
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♦Amsterdam, Galerie Six
Auf Holz, H. 1,00, B. 0,80
Bildnis der Anna Wymer, Portrait of Anna Wymer, the mother of the burgomaster Jan Six
Mutter des Bürgermeisters Jan Six
1641	Portrait d’Anne Wymer,
B. 280	mère du bourgmestre Jan Six
Rembrandt
17
257to
Cn
oo
Wien, Graf Karl Lanckoronski
Auf Holz, H. 1,04, B. 0,76
Bildnis eines jungen Mädchens Portrait of a young girl 1641 Portrait d’uiie jeune fille
B. 299
*Wien, Graf Karl Lanckoronski	Auf Holz, H. 1,04, B. 0,76
Alter Gelehrter hinter dem Schreibtisch
A man of letters at the writing-desk 1641	Un savant à sa table à écrire
B. 298Ol	S* «Berlin, Kais«ffcrteclrlih-M%*euMU ; T Jj-***,i	Auf Leinwand, H. 1,72, B. 2,09
Der Mennonitenprediger Ansio und seine Frau Aeltje Gerritse Schonten Ansio, the preacher of the Mennonites	1641	Ansio, prédicateur des Mennonites
and hisRdfe	B. 282	et sa femme« (


BgjBf
* Brüssel, Kgl. Museum	Männliches Bildnis	Auf Leinwand, H. 1,05, B.0,83
Portrait of a man	1641	Portrait d’un homme
	B. 2S3	
260% 1
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♦London, Buckingham-Palast	Auf Leinwand, II. 1,045, B. 0,85
Das Porträt einer Dame mit Fächer
Portrait of a lady with a fan	1641 Portrait d’une femme tenant un éventail
B. 284
261* Amsterdam, Reiclismuseum	Auf Leinwand, H. 1,16, B. 0,88
Bildnis der Elisabeth Jacobs Bas
Portrait of Elisabeth Jacobs Bas	Um 1642	Portrait d’Elisabeth Jacobs Bas
B. 279
262Iflil if mm
Amsterdam, Reichsmuseum
Bildnis der Elisabeth Jacobs Bas
The head of Elisabeth Jacobs Bas	(Ausschnitt)	La tête d’Elisabeth Jacobs Bas
Um 1642
263‘	t
« « < «
Paris, Charles Sedelmeyer
Portrait of a man
Auf Holz, H. 0,80, B. 0,65
Männliches Bildnis
Um 1642 Portrait d’un homme B. 277
264265


	.Ætgss	W?4$k Êw
	fi	pin Æ
		
* Amsterdam, Reiclismuseuni
Auf Leinwand, H. 3,65, B. 4,38
The night-watch
Die Nachtwache 1642 B. 253
a ronde de nuittifisi

ÉMmI:
Amsterdam, Reichsmuseum
The night-watch (Detail)
Die Nachtwache
(Ausschnitt)
1642
La ronde de nuit (Détail)
266bO
o>

* London, Mrs. Alfred Morrison
Auf Leinwand, H. 1,025, B. 0,75
Bildnis eines jungen Mannes
Portrait of a young man	1643 Portrait d’un jeune Iiomme
B. 287
19

* Paris, Louis Lebeuf de Montgermont
Auf Leinwand, II. 1,08, B. 0,90
Bildnis einer alten Dame
Portrait of an old lady	1643 Portrait d’une vieille dame
B. 288I « % *. I t
« «
'	«	« I
• I
1. •
I <
* London, Herzog von Westminster
A man with a hawk
Der Mann mit dem Falken 1643 B. 268
Auf Leinwand, H. 1,13, B. 0,97
L’homme au faucon
268• v*
* London, Herzog von Westminster
Die
Portrait of a lady with a fan
Dame mit dem 1643 B. 269
Fächer
Auf Leinwand, H. 1,U, B, 0,97
La dame à l’éventail270
* New York, Mrs. Henry O. Havemeyer	Auf Leinwand, H. 1,20, B. 0,92
Männliches Bildnis
1643	Portrait d’un homme
B. 286
Portrait of a man
* London, Lord Iveagh	Auf Leinwand, H. 1,08, B. 0,935
Bildnis einer Frau
Portrait of a lady	1642	Portrait d’une femme
B. 285*Nevv York, Mrs. Henry O. Ilavemeyer
Auf Leinwand, H. 1,16, B. 0,96
Bildnis eines jungen Mannes
Portrait of a young man	1643 Portrait d’un jeune homme
B. 266
* New York, Mrs. Henry O. Havemeyer
Bildnis
Portrait of a young lady
Auf Leinwand, H. 1,16, B. 0,96
einer jungen Frau
1643 Portrait d’une jeune femme B. 267«	I
»■ < c <
1 < *
t ‘ <
Dresden, Kgl« Gemäldegalerie
Auf Leinwand, H. 0,765, B. 0,67
Bildnis eines jungen Kriegers
Portrait of a young warrior	1643	Portrait d’un jeune guerrier
B. 270
272* New York, B. Altmann		Auf Leinwand, 1
	Männliches Bildnis	
Portrait of a man	1644	Portrait d’un homme
	B. 271	
Rembrandt 18
273< < r <
< f < c (
* London, G. Lindsay Holford
Bildnis eines Mannes mit
einem Schwert
Portrait of
a man with a sword
1644 B. 259
Auf Leinwand, H. 1,02, B. 0,855
L’homme à l’épée
274
*Buscott Park, Alexander HtMiderson	Auf Holz, H. 0,915, B. 0,725
Bildnis einer jungen Frau
Portrait of a young lady	1644	Portrait d’une jeune femme
B. 289
275♦Panshanger, Earl Cowper
Portrait of a young man
Auf Leinwand, H. 1,115, B. 1,05
Bildnis eines jungen Mannes
1644	Portrait d’un jeune homme
B. 272
276XI.
RELIGIOSE DARSTELLUNGEN	UND ALLEGORIEN
1644-1652	
RELiGidös kmmm IpfcïÙD ALLEGORIES	, ;TÂÊLEAÜX RELIGÎeŒS ET ALLÉGÖRiggS
-ÌC44 — ifeS2	11644 à 1652
m
fe^If%
fMg
^-$2
f|M|
London, Nationalgalerie		Auf Holz, H. 0,815, B. 0,64
Christus	und die Ehebrecherin	
The woman taken in adultery	1644	La femme adultere
	B. 247	
279280
Dowton Castle, A. R. Boughto.i Knight
Die heilige Familie
Urn 1644 B. 250ft.
Auf Holz, H. 0,60, B. 0,77
The Holy Family
La Sainte Famille* Petersburg, Eremitage	Die heilige Familie	Auf Leinwand, II
The Holy Family	1645	La Sainte Familie
	B. 251	
281282
* Berlin, Kaiser-I'rledrlch-Museum		Auf Holz, H. 0,20, B. 0,27
	Der Traum Josephs	
The dream of Joseph	1645	Le réve de Joseph
	B. 248	yMWN«f. i» i>irn|r<www»i iwyiCjHagé
\ Ihiiitw#ir<|r~~ ‘•"“rt^
Tf" Tf’' 'r* :',.: >



-*N*fcMppWO*ir'v
Y

oo	^Berlin, Kaisor-Friedrich-Museuni	Auf Holz, H. 0,20, B. 0,27
00
Die Frau des Tobias mit der Ziege
The wife of Tobias with the goat	1645	La femme de Tobie avec la chèvre
B. 249* München, Alte Pinakothek
Auf Leinwand, H. 0,97, B. 0,
Die Anbetung der
The adoration of the shepherds
1646
Hirten
L’adoration des bergersLondon, National^aleric
Auf Leinwand, II. 0,63, B. 0,ö55
Die Anbetung der Hirten
The shepherds adoring Christ	1646
B. 316
L’adoration des bergers
2854, < (
4	4
<	4
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* Paris, L6on Bonnat
Christus
Christ on the cross Um
B.
	Auf
am	Kreuz
1646	Le
318	
Holz, H. 0,335, B. 0,24
Christ en croix
286The Holy Family
La Sainte Famille288
* Paris, Louvre	Auf Holz, II. 0,62, B. 0,48
Studie zu der Susanna im Bade
Study for Susan in the batli Um 1647 Etude pour Suzanne au bain
B. 324
♦Paris, Léon Bonnat	Auf Holz, H. 0,22, B. 0,175
Studie zur Susanna (Hendrickje Stoffels?)
Study for Susan in the bath Um 1647 Etude pour Suzanne au bain
B. 323Rembrandt 19
to
00
O
* Berlin, Kaiser-Friedrich-Museum	Auf Holz, 11.0,76, B. 0,91
Susanna und die beiden Alten
Susan and the two elders	1647	Suzanne et les deux vieillards
B. 322ttguMfr National galerie	Auf Holz, H. 0,34, B. 0,48
Die Ruhe auf der Fluç&t nach Aegypten
The rçst during	to Egypt	MS647	Repos pendant la fuite' en Egypte* London, Brid^ewater-Galerie
Hanna im Tempel
Hannah in the temple	1648
B. 325
Auf iHoIz, H. 0,406, B. 0,Î17
Hannah au temple
291* Berlin, Kaiser-Friedricli-Museum
Der barmherzige Samariter
The good Samaritan	Um 1648
B. 329
Auf UMwand, II. 0,31, B. 0,375
Le bon Samaritain
292Paris, Louvre		Auf Leinwand,
	Der barmherzige Samariter	
The good Samaritan	1648	Le bon Samaritain
	B. 328	■BBS
-/ ■	' *?- ''i,1'• iP •*" ^ V"i^
IBB
* Paris, Louvre
Christus und die Jünger von Emmaus Christ and the disciples of Emmaus	1648
B. 326
Auf Holz, H. 0,68, B. 0,65
Les pèlerins d’Emmaüs
294to
CO
Ol



mMmmz
tiröSmp
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i '• '••.vSL.;vSSa?2v' ‘ »«‘iSÄi •«■firaaBEai&ftMMZs


* Kopenhagen, Kgl. Gemäldegalerie
Auf Leinwand, H. 0,84, B. 1,05
Christus und die Jünger von Emmaus
Christ and the disciples of Emmaus	1648	Le Christ et les pelerins d’Emmaüs
B. 327* Rotterdam, Museum Boymans	Auf Holz, H. 0,74, B. 1,00
Allegorie auf den westphälischen Frieden („Die Eintracht des Landes“)
Allegory of the Westphalian peace („The concord of the state“) 1648 Allégorie de la paix Westphalienne („La concorde du pays“)
B. 321K>
CO
*Richmond, Sir Frederick Cook		Auf Holz, H. 0,412, B. 0,538
	Tobias und seine Frau	
Tobias and his wife	1650	Tobie et sa femme
	B. 331	to
CO
00
Beilin, Kaiser-Friedrich-Museuni		Auf Leinwand, H. 0,96, B.
	Die Vision Daniels	
The vision of Daniel	Um 1650	La vision de Daniel
	B. 332	
* Glasgow, Corporation Art Gallery
Auf Holz, H. 0,775, B. 0,675
Landschaft mit Tobias und
A landscape with Tobias	Um 1650
and the angel	b. 344
dem Engel
Paysage avec Tobie et l’ange
'“Budapest, Museum der bildenden Künste	Auf Leinwand, H. 1,06, B. 0,83
Der Traum Josephs
The dream of Joseph Um 1650 Le songe de Joseph B. 336300
* Petersburg, Eremitage
Auf Leinwan^O|. 1,545, B. 1,68
Rock
RHÄti 1650
Joseph’s
La tunique ensanglantee de JosephAW
jhbebPHhp
I I
* London, Wallace-Museum
Auf Leinwand, H. 1,785, B. 2,18
Das Gleichnis vom ungetreuen Knecht
The parable of the unmerciful servant	Um 1650	La parabole du serviteur infidèle
B. 339302
-------------------------------------------------------------------------- r
»Paris, Jules Porgts	Auf Leinwand, H. 0,98, B. 1,29
Der barmherzige Samariter
Um 1650 B. 330
The good Samaritan
Le bon SamaritainLondon, Earl of Derby
Auf Leinwand, H. 1,22, B. 0,97
Josephs blutiger Rock
Um 1650 La tunique ensanglantée de Joseph B. 335
Joseph’s bloody coat[
* Newnham Paddox, Earl of Denbigh
Auf Leinwand, H. 1,08, B. 1,08
Der Abschied der Hagar
Hagar quitting the house of Abraham Um 1650
B. 334
Agar quittant la maison d’Abraham
304Rembrandt 20
co
0
01
* Braunschweig, Herzogl. Museum
Auf Leinwand, II. 0,«5, B. 0,79
■ Christus und Maria Magdalena
Christ appearing to Mary Magdalen	1651	Le Christ apparait ä Marie-Madeleine
B. 333c < <
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XII.
STILLEBEN UND LANDSCHAFTEN
1645—1652 .
STILL-LIFES AND LANDSCAPES	NATURES MORTEngfWJ^BeS
1645-1652
307\Aynhoe-Park, W. C. Cartwright	Tote Pfauen	Auf Leinwand, 1
Dead peacocks	Um 1645	Des paons morts
	B. 239	
c09<
»Kassel, Kgl. Galerie	Auf Holz, H. 0,16, B. 0,22
Winterlandschaft
A winter-landscape	1646	Paysage d'hiver
B. 341
310
Paris, Adolphe Schloss
Auf Leinwand, H. 0,42, B. 0,63
Landschaft mit Schwänen
A landscape with swans
Um 1650 B. 574
Paysage avec des cygnes312
* Kassel, Kßl. Galerie	Auf Holz, H. 0,66, B. 0,£6
Landschaft mit Ruinen auf dem Berge
A landscape witli ruins on the mountain	Um 1650	Paysage avec des ruines ä la montagne
B. 343313



Bo wood, Marquess of Lansdowne		Auf Leinwand, H. 0,86J, B. 1,025	* - C ~-
	Die Mühle		
The mill	Um 1650	Le moulin	-
	B. 345			t \	1	1				1				•		<
			9	1	t			4	i		«		4
	i	1	1	i	1	«		4	<	‘ »	1		4
		1	t	<	4	1		4	i	,* ;	1'		4
		4	1		4	4		V	i			4	4
( t <	4 \	i <	4 i *	1 1 4 i	4 ^	1 1 i	1 4	4 4		« «	1	4 1	4 » 4 4
* * »	4	<	( «		l 1	t	(	1		«	«		4 *
4	i 1	(	i	« «	• « ’		4	1	<	< «	4	<	4 ‘ 4 '
«XIII.
REMBRANDT UND SEINE ANGEHÖRIGEN^
164^P6^|
REMßftANDT AND HIS	ETSESPARENTS
1645—1652	1645 & 1652
KMNord-Amerikn, H. L. Terrell		Auf Holz, H. 0,71,
	Selbstbildnis	
Portrait of Rembrandt	Um 1645	Portrait de Partiste
	B. 260	
316
1wLondon, Buckingham-Palast
Auf Holz, 11. 0,675, B. 0,575
Selbstbildnis
Um 1646
Portrait of Rembrandt
Portrait de l’artiste
* Karlsruhe, Grossherzogi. Kunsthalle	Auf Holz, H. 0,72, B. 0,59
Selbstbildnis
Portrait of Rembrandt Um 1647-^1648	Portrait de l’artistd«
B. 258Leipzig, Städtisches Museum	Selbstbildnis	Auf	Holz, 11. 0,26, 1
Portrait of Rembrandt	Um 1650	Portrait	de l’artiste
	B. 347		
318319
* Cambridge, Füzwilliam-Museum
Auf Holz, H. 1,26, B 1,03
Rembrandt in Landsknechttracht
Portrait of Rembrandt as lansqut net 1650	Rembrandt en lansquenet
B. 348
* London, Thom. Agnew & Son
Selbstbildnis 1650 B. 346
Auf Leinwand, 11.0,885, B. 0,71
Portrait of Rembrandt
Portrait de l’artisteiè»IÌ
jjgsgsaB
qgStJ; &TTHf
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' >gp* dBjRjâùRS .#ft'^n»>
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» H
*Dulwicli, College Gallery
Auf Leinwand, H. 0,80, B. 0,625
Junges Mädchen am Fenster (Hendrickje Stoffels?)
A girl at a window (Hendrickje Stoffels?)
1645 B. 300
Jeune fille à la fenêtre (Hendrickje Stoffels?)
320New York, Robert Hoe
Auf Leinwand, II. 0,64, B. 0,53
Dasselbe Mädchen, eine Medaille zeigend
A young girl showing a medal	Um 1645	Jeune fille montrant une médaille
B. 303
Rembrandt 21
321* London, Herzog von Bedford
Auf Leinwand, H. 0,75, B. 0,60
Dasselbe Mädchen, über eine Tür gelehnt
A young girl, leaning on a door	Um 1645 Jeune fille, s’appuyant sur une porte
B. 302
322mmm SW g
*
%i*£;■ ' :^SW
ÉS?*#
♦Chicago, Art Institute
Auf Leinwand, H. 1,00, B. 0,84
Dasselbe Mädchen, hinter einer Tür stehend
A young girl behind a door	1645	Jeune fille derrière une porte
B. 301
323324
Köln, Freiherr Albert von Oppenheim
Auf Holz, H 0,21, B. 0,175
Dasselbe Mädchen, Studienkopf
Study-liead of a girl	Um 1650 Tête d’étude d’une jeune fille
H. 374
SSP«
Senlis, Baron Delfau de Pontalba
Auf Holz, li. 0,23, B. 0,19
Dasselbe Mädchen, Studienkopf
Study-head of a girl	Urn 1650 Tête d’étude d’une jeune fille
B. 588325
♦Stockholm, Nationalmuseum
Auf Leinwand, H. 0,98, B. 0,63
Dasselbe Mädchen, auf eine Fensterbrüstung gelehnt
A young girl	1651	Jeune fille
B.ä$7
* Petersburg, Eremitage
Auf Leinwand, II. 1,09, B. 0,92
Dasselbe Mädchen, mit Besen im Arm
A young girl with a broom 1651
B. 398
La balayeuse• w»
* Basildon Park, Charles Morrison
Auf Leinwand, H. 1,00, B. 0,836
Bildnis der Hendrickje Stoffels
Portrait of Hendrickje Stoffels	Um 1652	Portrait de Hendrickje Stoffels
'B. 351
326Paris, Louvre
Auf Leinwand, H. 0,72, B. 0,60
Bildnis der
Portrait of Hendrickje Stoffels
Hendrickje Stoffels
Um 1652	Portrait de Hendrickje Stoffels»Berlin, Oscar Huldschinsky	Auf Leinwand, II. 0,65, B. 0,54
Bildnis der Hendrickje Stoffels
Portrait of Hendrickje Stoffels	Um 1652	Portrait de Hendrickje Stoffels
328329
Glasgow, Corporation Art GaDtry	Auf Holz, H. 0,51, B.0,61
Rembrandt malt Hendrickje
Rembrandt painting Hendrickje	Um 1652 Hendrickje servant de modèle à Rembrandt
B. 352330
*Kiel, Professor p. Martius
Auf Holz, H. 0,68, B. 0,555
Bildnis einer Frau (Geertje Dirks?)
Portrait of Geertje Dirks (?) Um 1648 Portrait de Geertje Dirks (?)
B. 391
* Petersburg, Eremitage	Auf Leinwand, H. 0,88, B. 0,72
Bildnis einer Frau
Portrait of a woman	Um 1648	Portrait d’une femme
B. 369* Paris, Jules Porgès
Auf Leinwand, H. 0,98, B. 0,78
Alte Frau, über das Gelesene nachdenkend
An old woman reflecting over the lecture Um 1649	Vieille femme méditant sur la lecture
B. 392
331Paris, Jules Porgôs
Rembrandt’s brother Adriaen
Auf Holz, H. 0,56, B. 0,43
Rembrandts Bruder Adriaen
Um 1650	Adriaen, frère de Rembrandt
B. 358
332Paris, Jules Porgès
Auf Holz, H. 0,56, B. 0,43
Die Frau von Rembrandts Bruder, Elisabeth van Leeuwen
Elisabeth van Leeuwen, the wife of Rembrandt’s brother
Um 1650 B. 359
Elisabeth van Leeuwen, femme du frère de Rembrandt334
*Haag, Museum
Auf Leinwand, II. 0,78, B. 0,66
Rembrandts Bruder Adriaen
Rembrandt’s brother Adriaen 1650 Adriaen, frère de Rembrandt
B. 355
Paris, Graf Felix Nicolas Potocki
Auf Leinwand, II. 0,71, B. 0,55
Rembrandts Bruder Adriaen
Rembrandt’s brother Adriaen Um 1650 Adriaen, frère de Rembrandt
B. 357ml
âlffM
WÊi

Berlin, Kaiser-Frledricli-Museum
Auf Leinwand, II. 0,67, B. 0,515
Rembrandts
The brother of Rembrandt with a cask
Bruder mit dem Helm
Um 1650 Le frère de Rembrandt coiffé d’un casque
B. 356
3358§' H
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*Althorp House, Earl of Spencer
Auf Leinwand, H. 0,65, B. 0,56
Rembrandts Sohn Titus
Titus, the son of Rembrandt Utn 1648	Titus, fils de Rembrandt
B. 440
336XIV.
BILDNISSE
1645—1652
PORTRAITS
1645—1652
PORTRAITS 1645 à
Rembrandt 22
337Kopenliagen, Ny Carlsbcrg
Auf Leinwand, H. 0,635, B. 0,73
Junger Mann am Fenster
A young man at the window Um 1647	Jeune homme à la fenêtre
B. 320
338Merlin, Frau von Carstanjen	Bildnis eines Geistlichen	Auf Leinwand, 1
Portrait of a preacher	1645	Portrait d’un prédicateur
	B. 290	
339WMmm
$*9)'4&f$	» ? ‘fî>
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♦London, G. Lindsay llolford
Bildnis
Portrait of the preacher’s wife
Auf Leinwand, H. 1,265, B. 1,02
der Frau des Geistlichen
Um 1645 Portrait de la femme du prédicateur B. 291
340* Amsterdam, Galerie Si.c
Der Arzt Ephraim Bonus
The physician Ephraim Bonus	Um 1647	Le médecin
B. 361
Auf Holz, H. 0,19, B. 0,1.1
Ephraim Bonus
341< (
London, Herzog von Westminster	Bildnis eines Mannes	Auf Holz, 1
Portrait of a man	1647	Portrait d’un homme
	B. 362	
342* London, Herzog von Westminster	Bildnis seiner Frau	Auf Holz, :
Portrait of a woman	1647	Portrait d’une femme
	ß. 363	
343♦Paris, Léon Bonnat	Auf Holz, H. 0,25, B. 0,20
Bildnis des Bürgermeisters Six
The burghermaster Six	Um 1647	Le bourgmestre Six
B. 319
344I. c. Frick		Auf Leinwand, H
	Bildnis eines Malers	
Portrait of a painter	Um 1648	Portrait d’un peintre
	B. 365	
345
London, J. Pierpont-Morgan	Auf Leinwand, H. 1,10, B. 0,85
Bildnis eines Malers
Portrait of a painter	Um 1648	Portrait d’un peintre
B. 364Panslianger, Earl Cowper
Auf Leinwand, H. 2,825, B. 2,35
Portrait of
a rider
Reiterbildnis
1649
Portrait d’un cavalier* Kassel, Kgl. Galerie
Auf Leinwand, H. 1,05, B. 0,90
Bildnis des Nicolaes Bruyningh
Portrait of Nicolaes Bruyningh
1652
Portrait de Nicolaes BruyninghCO
-U
CO
♦London, Dowdeswell and Dowdeswells	Auf Holz, H. 0,06, B. 0,52
Bildnis einer Frau
Portrait of a woman	1652	Portrait d’une femme
B. 584
♦Buscott Park, Alexander Henderson
Auf Leinwand, H. 0,925, B. 0,7.V
Bildnis eines jungen Mannes
Portrait of a young man
Um 1650—1652 B. 368
Portrait d’un jeune hommeV
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STUDIENKOPFE
1642—1652
STUDY-HEADS
1642-1652
TETES D’ETUDE 1642 a 1652
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* Budapest, Museum (1er bildenden Künste
A rabbin	Ein Rabbiner 1642
	B. 293
Auf Hol/, II. 0 71, B. 0,545
Un rabbin
352Rembrandt 23	353
* Paris, Jules Porgès	Ein Rabbiner	Auf Holz, I:
A rabbin	1642 '■	Un rabbin
	B. 292	
pWmmWr WBeÊwWSm.
mm
Mm
Paris, E. Warneck
Auf Holz, H. 0,23,
• • • • H. [h\
Bildnis eines Greises
Portrait of an old man	Um 1643	Portrait d’un vieillard;
B. 307
PLelden, Museum	Auf Hol*, H. 0,195, B. 0,16
Männliches Bildnis
Um 1643 Portrait d’un homme
Portrait of a man* Paris, Adolphe Schloss	Auf Holz, H. 0,205, B. 0,17
Cs*
01	Bildnis eines alten Mannes
Portrait of an old man 1643 Portrait d’un vieil homme
B. 577
Studienkopf eines Greises
Study of an old man	1643 Tête d’étude d’un vieillard
B. 306CO Cn O
* Philadelphia, John G. Johnson	Auf Holz, 11.0,20, B. 0,165
Bildnis eines Mannes
Portrait of a man	Um 1643^1645 Portrait d’un horame
B. 579
* Kassel, Kgl» Galerie
Auf Holz, II. 0,20, B. 0,16
Study-head of an old
Studienkopf eines
man	Um 1643
Alten
Etude d’après un vieil homme
B. 309Dublin, Nationalgalerie
Auf Holz, H. 0,62, B. 0,46
Bildnis eines Greises
Portrait of an old man	Um 1643	Portrait d’un vieillard
B. 372
* Hamburg, M. Bromberg
Auf Holz, H. 0,20, B. 0,155
Bildnis eines Greises
Portrait of an old man
1643 B. 576
Portrait d’un vieillard00
Cn
oo
* Petersburg, Eremitage	Auf Hol/, 11. 0,51, B. 0,42
Bildnis eines alten Juden Um 1643—1645
Portrait of an old Jew	Portrait d’un juif âgé
B. 294
:i Dresden, Kfd* Gemäldegalerie	Auf Leinwand, 11.0,95'), B. 0,«S()ö
Bildnis eines Alten mit Stock
Um 1645
Portrait of an old man witli a stick Portrait d’un vieillard tenant un bâton359
Berlin, Kaiscr-Friedrich-Museum	Auf Leinwand, H. 1,10, B. 0,82
Ein Rabbiner
A rabbin	1645	Un rabbin
B. 297
* Petersburg, Eremitage	Auf Leinwand, II. 1,29, B. 1,12
Männliches Bildnis
Portrait of a man	1645 Portrait d’un homnie
B. 295Auf Holz, II. 0,75, B. 0,61
London, Sir Henry St. John Mildmay
Bildnis eines Mannes
Portrait of a man	Um 1645 Portrait d’un homme


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Panshanger, Earl Cowper	Auf Holz, H. 0,315, B. 0,235
Bildnis eines Juden
Portrait of a Jew Um 1645	Portrait d’un juif
B. 313* Paris, Louvre	Auf Holz, H. 0,26, B. 0,19
Bildnis eines Juden
Portrait of a Jew Um 1645 Portrait d’un juif B. 308
London, Bridgewater-Galerie	Auf Holz, 11.0,20, B. 0,18
Bildnis eines Juden
Portrait of a Jew Um 1645 Portrait d’un juif B. 310*Grittleton Housc, Sir Audley W. Neeld	Auf Holz, H. 0,375, H. 0,30
Bildnis eines Juden
Portrait of a Jew Um 1645	Portrait d’un juif
B. 312
* Petersburg, Paul Delaroff
Auf Leinwand, H. 0,83, IL 0,08
Bildnis eines Juden
Portrait of a Jew Um 1645	Portrait d’un juif
B. 586Boston, Quincy A. Shaw	Auf Holz, H. 0,22, B. 0,18
O)
00	Bildnis eines alten Mannes (König Saul?)
Portrait of an old man	Um 1645 Portrait d’un vieil homme
(King Saul?)	B. 578	(l-e r°i Saül?)


Glasgow, Corporation Art Gallery
Auf Holz, H. 0,2-4, B. 0,21
Studienkopf eines Mannes
Study of a man’s head	Um 1645 Tête d’étude d’un homme
B. 311Berlin, Kaiser-Friedrich-Museum	Auf Holz, H. 0,245, B. 0,205
Bildnisstudie eines Juden
Portrait of a Jew	Um 1645	Portrait d’un juif
	B. 314	
* Beetsterzwaag, Baron van Harinxma thoe Slooten
Studienkopf
Study-head	1647
B. 305
Auf Holz, H. 0,235, B. 0,205
Tête d’étude
aParis, Moritz Kann (ÿ)		Auf IIolz, II. 0,615
	Ein jüdischer Philosoph	
A Jewish philosopher	Um 1650	Un philosophe juif
	B. 582	
365366
Paris, Léon Boiinat
Auf Leinwand, H. 0,51, B. 0,425
Studienkopf eines Greises
Study-head of an old man Um 16§Û Tête d’étude d’un vieillard
B. 378
♦New York, George J. Gould
Auf Leinwand, H. 0,68, B. 0,56
Bildnis eines Greises
Portrait of an old man 1650
Portrait d’un vieillardco
0>
London, National^alerie
Auf Leinwand, II. 1,:M, B. 1,04
Bildnis eines jüdischen
Portrait of a Jewish merchant Um 1650
Kaufmanns
Portrait d’un marchand juif
B. 384
*Vanas (Schweden), Graf Wachtmeister	Auf Leinwand, II. 0,77, B. 0,00
Männliches Bildnis
Portrait of a man	1651 Portrait d’un homme
B. 583CO
o>
00
Strassburg, Städtische Galerie	Auf Leinwand, H. 0,61, B. 0,46
Bildnis eines Greises
Portrait of an old man Um 1650 Portrait d’un vieillard
B. 379
* Lützschena b. Leipzig, FreihOpeck v. Sternburg	Auf Leinwand, H. 0,60,
Bildnis eines alten Mannes
Portrait of an old man 1651	Portrait d’un vieillardRembrandt 24
♦ London, Herzog von Devonshire		Auf Leinwand, 11. 0,79,
Bildnis	eines alten	Mannes
Portrait of an old man	1651	Portrait d’un vieillard
	B. 380	
♦London, J. B. Robinson
Auf Leinwand, 11.0,66, B. 0,57
Bildnis eines Greises
Portrait of an old man
Portrait d’un vieillard
Um 1652 B. 585il h <
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Auf Leinwand, H. 1,115, B.0,88
Studie nach einem alten Manne
Study of an old man
1652 B. 381
Etude d’après un vieillard
370XVI.
RELIGIÖSE UND HISTORISCHE DARSTELLUNGEN
1652—1660
RELIGIÖÜS V,
AND HISTORICAL PAINTl^QS
TABLEAUX “RELiGlBUM /' ET HISTQftQlJBS ”
1653—1660
1653 ä 1660
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* London, Mr. Newgass	Au[ Leinwand, H. lfll, B. 1,94
Suessa befiehlt seinem Vater Q. Fabius Maximus, vom Pferde zu steigen Suessa commanding his father Q. Fabius Maximus Suéssa commandant à son père Q. Fabius Maximus to descend from the horse	1653	de descendre du cheval
373IM—I

* Paris, Louvre		Auf Leinwand,
	Bathseba im Bade	
Bathshebah in the bath	1654	Bethsabée au
	B. 354	
374CO
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* Glasgow, Corporation Art Gallery
Auf Leinwand, H. 1,30, B. 1,025
Rembrandts Rembrandt's son Titus as Mars
Sohn Titus als Mars
1655 Titus, fils de Rembrandt en Mars
Petersburg, Eremitage
Auf Leinwand, H. 1,17, B. 0,91
Rembrandts Sohn Titus als Mars
Rembrandt’s son Titus as Mars (or Pallas Athena ?)
Um 1655
(oder Pallas Athene?)
Titus, fils de Rembrandt en Mars (ou Pallas Athéné?)
B. 418
B. 419Petersburg, Eremitage
Auf Leinwand, H. 1,05, B. 0,97
Joseph wird von Potiphars Weib verklagt
The wife of Potiphar accusing Joseph	1655 La femme de Putiphar accusant Joseph
B. 401
376
mßSmmm

* Berlin, Kaiser-Friedrich-Museum
Auf Leinwand, H. 1,10, B. 0,87
Joseph wird von Potiphars Weib verklagt
The wife of Potiphar accusing Joseph	1655 La femme de Putiphar accusant Joseph
B. 402
377* Berlin, Kziiser-Friedricli-Museum	Auf Holz, H. 0,46, B. 0,40
Christus und die Samariterin am Brunnen
Christ and the Samaritan woman 1655	Le Christ et la Samaritaine* Harrogate {England), Rev. Mr. Sheepshanks	Auf Holt, H. 0,62, C. 0,475
Christus und die Samariterin
Christ and the Samaritan woman	1655	Le Christ et la Samaritaine
379380
“tf-ondon, Lord Allondale	Auf Leinwand, H. 0,63, B. 0,34
Der Zinsgroschen 1655 B. 403
The tribute money
Le denier de CésarCo	* Kassel, Kgl. Galerie	Auf Leinwand, H. 1,74, B. 2,09
00
Jakobs Segen
1656 B. 404
The benediction of Jacob
La bénédiction de JacobAlthorp House, Earl of Spencer
Auf Leinwand, H. 1,00, B. 0,92
Hendrickje Stoffels als Flora
Urn 1656
Hendrickje Stoffels as Flora
Hendrickje Stoffels en FlorePetersburg, Eremitage	Petri Verleugnung	Auf Leinwand, H. 1,
The denial of St. Peter	Um 1656	Le reniement de Saint Pierre
	B. 405	
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*Canford Manor, Earl of Wimborne
St. Paul at the writing-desk
Paulus am Schreibtisch
Um 1656 B. 382
Auf Leinwand, H. 1,29, B. 1,02
Saint Paul à la table à écrire
384
* Kassel, Kgl. Galerie
Der Apostel Bartholomäus (?) The apostle Bartholomew (?)	1656
B. 383
Auf Leinwand, H. 1,20, B. 0,90
L’apôtre Barthélemy (?)
Rembrandt 25
385
386
* Newport, Theodore Davis
Eine Sibylle
Um 1656 B. 528
Auf Leinwand, H. 0,96, B. 0,76
A sibyl
Une sibylle
* Berlin, Frau von Carstanjen	Auf Holz, 11.0,34, B. 0,28
Studie zu einer Geisselung Christi Study for a scourging of Christ Um 1656	Le Christ au poteau
B. 317* London, Buckingham-Palast	Die Anbetung der Könige	Auf Holz. H. 1,22, B. 1,03
The magi adoring Christ	1657	L’adoration des rois
	B. 406	
387388
* New York, Charles T. Yerkes
Auf Holz, 11.0,54, B. 0,68
Jupiter und Merkur bei Philemon und Baucis
Jupiter and Mercury with Philemon and Baucis 1658	Jupiter et Mercure chez Philémon et Baucis
B. 407Co
00
CO
♦Petersburg, Eremitage
Auf Leinwand, H. 0,595, B. 0,745
Christus und
Christ and the Samaritan woman at the fountain
die Samariterin am Brunnen
1658	Le Christ et la femme samaritaine à la fontaine
B. 592Philadelphia, John G. Johnson
Auf Holz, H. 0,335, B. 0,29
Christ
Christus
Um 1656—1658	Le Christ
B. 412
Berlin, Kaiser-Friedrlch-Museum
Auf Holz, H. 0,25, B. 0,20
Studienkopf eines jungen Juden
Study-head of a young Jew Urn 1656—1658 Tête d’étude d’un jeune juif
B. 413♦Schloss Pawlowsk b. St. Petersburg
Christ
Auf Holz, H. 0,25, B. 0,23
Christus
Um 1658	Le Christ
B. 591
391Paris, Sammlung + Rudolph Kann	Christus	Auf Leinwand, 11. 1,08, B. 0,89
Christ	Um 1659	Le Christ,
	B. 415	
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Paris, Moritz Kann (t)	Aut Leinwand, H. 0,47, B. 0,S7
Christus
Christ	Um 1659	Le Christ
B. 414
393394
* Berlin, Kaiser-Frledrich-Museum	Auf Leinwand, H. 1,67, B. 1,35
Moses zerschmettert die Gesetzestafeln
Moses breaking the tables of laws 1659 Moïse brisant les tables de la loi
B. 409
* Berlin, Kaiser-Fricdricli-Museum
Auf Leinwand, H. 1,37, B. 1,16
Jakob ringt mit dem Jacob wrestling with the angel Um 1660
B. 410
Engel
Jacob luttant avec l’ange^xyii-
REMBRANDT UND SEINE FAMILIE
1653—lëSÔ
REMBRANDT AND HIS FAMILY
i65â—IbKk
REMÔRANDT ET SA PAMILH
395* Kassel, Kgl* Galerie
Selbstbildnis
Portrait of Rembrandt	1654
B. 349
Auf Leinwand, H. 0,73, B. 0,59
Portrait de Partiste
396Berlin, R. v. Mendelssohn		Auf Holz, I
	Selbstbildnis	
Portrait of Rembrandt	1655	Portrait de Partiste
	B. 426	
397398
Florenz, Uffizien	H. 0,72, B. 0,58
Selbstbildnis
Portrait of Rembrandt Um 1656	Portrait de l’artiste
B. 425
Portrait of Rembrandt
Selbstbildnis 1657 B. 427
Portrait de l’artisteIli
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Wien, Hofmuseum		Auf Leinwand, t
	Selbstbildnis	
Portrait of Rembrandt	Urn 1657	Portrait de l’artiste
	B. 424	
399Auf Leinwand, H. 1,29, B. 1,01
*Ne\v York, II. C. Frick
Selbstbildnis
Portrait of Rembrandt	1658
B. 428
Portrait de l’artiste
400* London, Bridgewater-Galerie	Selbstbildnis	Auf Leinwand, H. 0,51, B. 0,435
Portrait of Rembrandt	1659	Portrait de l’artiste
	B. 430	
Rembrandt 26
401London, Nationalgalerie
Portrait of Rembrandt
Selbstbildnis Um 1659 B. 433
Auf Leinwand, H. 0,85, B. 0,695
Portrait de l’artiste
402
mm
mmÊ
mm
wÊÊm
London, Herzog von Buccleuch	Selbstbildnis	Auf Leinwand, I
Portrait of Rembrandt	1659	Portrait de l’artiste
	B. 431	
403Aix (Provence), Museum	Selbstbildnis	Auf Holz, H. 0.30, B. 0,24
Portrait of Rembrandt	Um 1659	Portrait de l'artiste
	B. 432	
404
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Paris, Louvre		Auf Leinwand, f
	Selbstbildnis	
Portrait of Rembrandt	1660	Portrait de l’artiste
	B. 434	
405Berlin, Paul von Schwabach
Studie nach einem Study of a young girl (Hendrickje Stoffels?)
Auf Hol*, H. 0,21, B. 0,18
jungen Mädchen (Hendrickje Stoffels?)
1653 Jïtude d’après une jeune fille B 373	(Hendrickje Stoffels?)
•Petersburg, Eremitage	Auf Holz, H. 0,40, B. 0,33
Saskia bei der Toilette
Saskia at the toilet	1654	Saskia ä la toilette
B. 400* London, Lord Ridley
Auf Leinwand, II. 0,85, B. 0,71
Bildnis eines jungen Mädchens Portrait of a yöung girl 1651 (?) (Hendrickje Stoffels?)	3 399
(Hendrickje Stoffels?) Portrait d’une jeune fille (Hendrickje Stoffels?)
♦London, National-Galerie	Auf Holz, H. 0,61, B. 0,455 s.
Badendes Mädchen (Studie nach Hendrickje Stoffels)
A girl bathing	1654	Jeune femme au bain
(Study after Hendrickje Stoffels)	ß 353 (Etude d’après Hendrickje Stoffefs)•Edlnburg, Nationalgalerie	Auf Holz, H. 0,81, B. 0,67
Hendrickje Stoffels im Bett
Hendrickje Stoffels in bed	1657	Hendrickje Stoffels au lit
ß. 435
4084

Berlin, Kaiser-Frledrlch-Museum
Auf Leinwand, H. 0,86, B. 0,65
Bildnis der Hendrickje Stoffels
Portrait of Hendrickje Stoffels	Um 1658—1659	Portrait de Hendrickje Stoffels
B. 437
409*Berlin, R, von Mendelssohn
Aul Holz, H. 0,725, B. 0,515
Bildnis
Portrait of Hendrickje Stoffels
der Hendrickje Stoffels
Um 1658	Portrait de Hendrickje Stoffels
B. 436
410♦Paris, Charles Sedelmeyer
Auf Leinwand, H. 0,77, B. 0,05
Selbstbildnis
Portrait of Rembrandt Um 1660
Portrait de l’artiste
New York, Mrs. Collis P. Huntington
Auf Leinwand, H. 0,76, B.0,€>
Bildnis der Hendrickje Stoffels
Portrait of Hendrickje Stoffels	1660 Portrait de Hendrickje Stoffels
B. 438»H 5*f Æ
«Si

* Haigh Hall, Wigan, Earl of Crawford
Rembrandts Sohn Titus
Titus, the son of Rembrandt	1655
B. 441
Auf Leinwand, H. 0,77, B. 0,63
Titus, fils de Rembrandt
412413
*Nevv York, B. Altmann
Auf Leinwand, H. 0,76, B. 0,56
Rembrandts Sohn
Titus, the son of Rembrandt 1655
Titus
Titus, fils de Rembrandt
B. 442
Wien, Hofmuseuni	Auf Leinwand, H. 0,71, B. 0,62
Rembrandts Sohn Titus
Titus, the son of Rembrandt Uni 1656	Titus, fils de Rembrandt
B. 443* London, Thom. Agnew & Sons		Auf Leinwand, H. 0,^2
	Rembrandts Sohn Titus	
Titus, the son of Rembrandt	Um 1656	Titus, fils de Rembrandt
	B. 590	
414415
* Kopenhagen, Kgl. Gemäldegalerie
Auf Leinwand, H. 0,75, B. 0,65
Rembrandts Sohn Titus
Titus, the son of Rembrandt Um 1656	Titus, fils de Rembrandt
B. 451


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* Kopenhagen, Kgl. Gemäldegalerie
Auf Leinwand, H. 0,75, B. 0,65
Bildnis einer jungen Frau
Portrait of a young lady	1656 Portrait d’une jeune femme
B. 452416
London, Wallace-Museum	Auf Leinwand, H. 0,675, B. 0,61
Rembrandts Sohn Titus
Titus, the son of Rembrandt Um 1657	Titus, fils de Rembrandt
B. 444
»Piyis, Louvre	Auf Leinwand, H. 0,73, B. 0,61
Rembrandts Sohn Titus
Titus, the son of Rembrandt 1658	Titus, fils de Rembrandt
B. 457

L . i
* Paris, Moritz Kann (y)
Rembrandts Sohn Titus (?)
Titus, the son of Rembrandt (?)	1658
■6. 458
Auf Leinwand, H. 1,08, B. 0,85
Titus, fils de Rembrandt (?)
Rembrandt 27
417WPS


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* London, G. Lindsay Holford
Rembrandts Sohn Titus
Titus, the son of Rembrandt	Um 1658
B. 445
Auf Leinwand, H. 0,76, B. 0,635
Titus, fils de Rembrandt
418419
1 Peris, MjOTflE KmA#1 igif *■#,''Aut Holz,	B. 0,31
Rembrandts Sohn Titus
Titus, the son of Rembrandt 1659	Titus, fils de Rembrandt
B. 459
rtfersburg, Eremitage	Auf Leinwand, II. 0,72, B. 0,öj
Rembrandts Sohn Titus
Titus, the son of Rembrandt Um 1660 Titus, fils de Rembrandt
B. 447♦Belvoir Castle, Herzog von Rutland
Auf Leinwand, H. 0,785, B. 0,67
Rembrandts Sohn Titus
Titus, the son of Rembrandt 1660	Titus, fils de Rembrandt
B. 446* Petersburg, Eremitage
Auf Leinwand, II. 0,74, B. 0,63
Rembrandts Bruder Adriaen
Rembrandt’Bbrother Adriaen 1654 Adriaen, frère de Rembrandt
B. 360
hJ*At
* Petersburg, Eremitage
Auf Leinwand, H.0,74, B. 0,63
Bildnis der Frau von Rembrandts Bruder (?)
Portrait of the wife	1654	Portrait de la femme
of Rembrandt’s brother (?) b. 394 du frère de Rembrandt (?)Kopenhagen, Graf Moltke	Auf Leinwaml, II. 0,72, B. 0,61
Bildnis der Frau von Rembrandts Bruder (?)
Portrait of the wife	Um 1654
of Rembrandt’s brother (?) g 395
Portrait de la femme du frere de Rembrandt (?)
422Auf Leinwand, II. 1,09, B. 0,84
* Petersburg, Eremitage
Bildnis der Frau von Rembrandts Bruder (?J %
Portrait of the wife	1654	Portrait de la femme
of Rembrandt’s brother (?) b. 39Ï du frère de Rembrandt (?)
London, Herzog von Buccleucli	Auf Leinwand, 11.0,80, B. 0,06
Bildnis der Frau von Rembrandts Bruder (?)
Portrait of the wife	Um 1654 Portrait de la femme
of Rembrandt’s brother (?) g. 395 du frère de Rembrandt (?)	» * (	(	<	t	1	i	< t	(	
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0XVIII.
BILDNISSE UND STUDIENKOPFE - STILLEBEN
1653-^1660
PORTRAITS AND STUDYljEADS STILL-LIFES
PORTRAITS TßX TÉTE$
NATURES MORTES T
1653—1660
1653 & 1660
425* New York, Mrs. Collis P. Huntington
Virgil (?)
Virgil (?)	1653
B. 385
Auf Leinwand, II. 1J3J, B. 1,33
Virgile (?)
426427
Petersburg, Eremitage	Auf Leinwand, II. 1,08, B. 0,80
Bildnis eines Greises
Portrait of an old man Um 1654 Portrait d’un vieillard
B. 388
mm
W&mm
* Petersburg, Eremitage
Auf Leinwand, II. 1,09, B. 0,84
Bildnis eines 80jährigen Juden
Portrait of a Jew of eighty 1654 Portrait d’un juif de quatre-years	b. 337	vingts ans428
* New York, George J. Gould
Auf Leinwand, H. 1,38, B. 1,14
Ein Fahnenträger
A standard-bearer	1654	Un porte-drapeau
B. 370
* Dresden, Kgl. Gemäldegalerie
Auf Holz, H. 1,02, B. 0,78
Bildnis eines bärtigen Alten
Portrait of an old man	1654	Portrait d’un vieillard
B. 386* Amsterdam, Galerie Six
Auf Leinwand, H. 1,12, B. 1,02
Portrait of John Six
Bildnis des Jan Six
1654
Portrait de Jean SixHang, Museum (Bredius)
Betende Frau
A praying woman	Um 1654
B. 375
Auf Holz, II. 0,20, B. 0,16
Femme priantflip?
PI»
Washington, W. A. Slater
Auf Leinwand, 11.0,82, B. 0,65
Bildnis* eines Greises
Portrait^f an old man Um 1655 Portrait d’un vieillard
Philadelphia, John O. Johnson	Auf Hol*, H. 0;29, B. 0,195
Studienkopf eines Juden
Study-head of a Jew	Um 165&	Tête d’étude d’un juif
B. 473432
* Kassel, Kgl. Galerie
Auf Leinwand, H. 1,13, B. 0,90
Mann im Harnisch
A harnessed man	1655 L’homme à l’atmure
B. 464
♦Dresden, Kgl. Gemäldegalerie	Auf Leinwand, H. 0,895, B. 0,685
Mann mit roter Pelzmütze
Um 1655
A man with a red fur-cap Un homme coiffé d’un bonnet fourré rouge
B. 467

♦Montreal, James Ross		Auf	Leinwand, H. 1,14, B. 0,87
	Männliches Bildnis		
Portrait of a man	1655	Portrait d’un	homme
	B. 448		
Rembrandt 28
4334^
CO
4—
^Stockholm, Nationalmuseum	Auf Leinwand, H. 0,89, B. 0,73
Bildnis eines alten Mannes
Portrait of an old man 1655	Portrait d’un vieillard
B. 462
Stockholm, Nationalmuseum	Auf Leinwand, 11.0,87, B. 0,73
Bildnis einer alten Frau
Portrait of an old woman	1655 Portrait d’une vieille femme
B. 463CO
Ol
* Dzikoxv (Galizien), Graf Tarnovvski
Auf Leinwand, 11. 1,15, B. 1,335
Bildnis eines polnischen Offiziers zu Pferde
Portrait of a Polish horsaman	Um 1655	Portrait d’un cavalier polonais
B. 466436
* London, Leopold Hirsch	Auf Holz, H. 0,29, B. 0,245
Bildnis eines Greises
Portrait of an old man Um 1654 Portrait d’un vieillard
B. 587
Berlin, Kalser-Friedrich-Museum	Auf Leinwand, H. 0,51, B. 0,^
Der Alte mit der roten Mütze An old man with	Um 1655	Un vieillard coiffé d’un
a red cap	B. 389	bonnet rouge436
* London, Leopold Hirsch
Auf Holz, H. 0,29, B. 0,245
Bildnis eines Greises
Portrait of an old man Um 1654 Portrait d’un vieillard
B. 587
:i:Berlin, Kaiser-Friedrich-Museum	Auf Leinwand, H. 0,51, B. 0,37
Der Alte mit der roten Mütze
An old man with	Um 1655	Un vieillard coiffé d’un
a red cap	b. 389	bonnet rouge$P§S|
* Amsterdam, Reichsmuseum
I
Auf Leinwand, H. 1,00, B. 1,32
Die Anatomie des Doktor Joan Deyman (Fragment)
The anatomy of the doctor John Deyman (Fragment) 1656 Fragment de l’anatomie du docteur Jean Deyman
B. 450* Paris, Mme. André-Jacquemntt	Auf Leinwand, H. 0,76, b. 0,63
Bildnis des Advokaten Tholinx
Portrait of the lawyer Tholinx 1656 Portrait de l’avocat Tholinx
B. 449
Paris, John H. Harjes	Auf Leinwand, II 0,6?, B. 0,58
Bildnis eines lesenden Greises
Portrait of an old man reading Um 1656 Portrait d’un vieillard lisant
B. 589* Petersburg, Eremitage
A young woman with
Auf Leinwand, H. 1.02, B. 0,87
Junge Frau mit Nelke
a pink 1656	Jeune femme ä l’oeillet
London, F. Fleischmann
Die Köchin
The cookmaid Um 1655 B. 465
Auf Leinwand, H. 0,745, B. 0,615
^a cuisinière440
* Paris, fe Klcinberger
Auf Molz, II. 0,19, B.O.lf)
Studienkopf einer alten Frau
Study-head of an old woman	1657 Tête d’étude d’une vieille femme
B. 472
London, Nationalgalerie	Auf Leinwand. H 0,7ôô, B. 0,6r5
Ein Rabbiner
Um 1657 B. 469
A rabbin
Un rabbin*Penrhyn Castle, Lord Penrhyn
Bildnis der
Portrait of Catherine Hooghsaet
Auf Leinwand, H. 1,245, B. 0,965
Katharina Hooghsaet
1657	Portrait de Catherine Hooghsaet
B. 454
441442
Paris, I*'. Warneck
Auf Holz, II. 0,215, B. 0,18
Bildnis eines jungen Mannes
Portrait of a young man Um 1657 Portrait d’un jeune homme
B. 474
♦Paris, Louvre	Auf Leinwand, 11.0,83, B. 0,GG
Männliches Bildnis
1657	Portrait d’un homme
B. 471
Portrait of a manWien, Hofmuseum
Auf Leinwand, H.0,71, B. 0,62
Brustbild eines bärtigen Mannes
Portrait of a bearded man Um 1658 Portrait d’un homme barbu
B. 475
♦London, Alfred Tothschild
Auf Papier, H. 0,35, B. 0,28
Der Schreibmeister Coppenol
The writing-master Coppenol Um 1658 Le maître à écrire Coppenol
B. 456Petersburg, Eremitage An old woman with
Auf Leinwand, H. 1,33, B.1,07
Alte Frau mit Buch
book Um 1658 Vieille femme avec un livre
♦New York, B. Altmann	Auf Leinwand, H. 1,26, B. 1,00
Alte, sich die Fingernägel schneidend
An old woman cutting the nails 1658 Vieille femme se coupant les ongles* Schwerin, Galerie
Auf Leinwand, H. 0,57, B. 0,47
Bildnis
Portrait of an old man
eines Greises
Um 1658
Portrait d’un vieillard
Florenz, Galerie Pitti	Auf Leinwand, 11.1,02, B. 0,83
Bildnis eines Greises
Portrait of an old man	Um 1658	Portrait d’un vieillard
B. 479London, Nationalgalerie
Portrait of a man
Auf Leinwand, H. 0,98, B. 0,81
Männliches Bildnis
1659	Portrait d’un liomme
B. 460
446»»
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*Duncombe Park, Earl of Feversham	Auf Leinwand, H. 1,13, B. 0,955
Männliches Bildnis
Portrait of a man	1659	Portrait d’un homme
	B. 461	
447
»* Budapest, Georg von Rath	Atf HoU, H. 0,53,
Ein geschlachteter Ochse	
A slaughtered ox Um 1655	Bceuf ecorche
B. 423	
448Rembrandt 29	449
*Parfs, Lûuvre	Ant Uni?, II. 0,94, B. 0,67
Ein geschlachteter Ochse
A slaughtered ox	16Ä	Bœuf écorché
B. 421
* Glasgow, Corporation Art Gallery	Auf Hol/, H. 0,735, B. 0,52
Ein geschlachteter Ochse Um 1655
B. 422
A slaughtered ox
Bœuf écorché
XIX.
RELIGIÖSE DARSTELLUNGEN
RELIGIOUS PAINTINGJ 1660—1669
TABLEAUX RELlOfEUX 3660 ä
451
■m
>-r^n
m^mMï
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«
* Kopenhagen, Kgl. Gemäldegalerie
Bildnis eines Orientalen (Studie
Portrait of an oriental	Um 1660
(Study for the following picture?)
zum folgenden Bild?)
Portrait d’un oriental (Etude pour le tableau suivant?)
4524^
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* Moskau, Rumiantzoff-Museum
Auf Leinwand, II 0,715, B. 0,93
Ahasver und Haman beim Mahle der Esther
Ahasuerus and Aman dining wilh Esther	1660	Assuere et Aman au repas chaz Esther
B. 411-v -W *	> &gj|


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*Rogalin (Posen), Graf Eduard Raczynski
Christ
Christus 1661 B. 417
Auf Leinwand, II. 0,945, B. 0,S 15
Le Christ
4544^
en
Ol
* Paris, Sammlung f Rudolph Kann
Auf Holz, II. 0,250, B. 0,195
Studienkopf zu dem Matthâus
Study-head for St. Matthew Um 1661 Tête d’étude pour Saint Mathieu
B.BflU
*Paris, Léon Bonnat
Auf Holz, II. 0,25, B. 0,22
Studienkopf zu dem Matthâus
Study-head for St. Matthew Um 1661 Tête d’étude pour Saint Mathieu
B. 523* Paris, Louvre
Auf Leinwand, H. 0,96, B. 0,81
Der Evangelist Matthäus
St. Matthew, the evangelist	1661	Saint Mathieu, évangéliste
B. 521
* Downton Castle, A. R. Bougthon Knight
Auf Leinwand, II. 0,87, B. 0,74
Der heilige Bartholomäus (?)
St. Bartholomew (?)	1661	Saint Barthélemy (?)
B. 508Paris, Moritz Kann (j)
Auf Leinwand, II. 0,90, B. 0,78
Betender Pilger
Hl
B. 485
A präjSng pilgrim
Pèlerin en prière
London, Nationalgalerie	Auf Leinwand, II. 0,87, B. 0,64
Bildnis eines Kapuziners
A capuchin monk	Um 1661	Un capucin
B. 484* London, Sulley & Co.
An evangelist
Auf Leinwand, H. 1,05, B. 0,82
Ein Evangelist
Um 1663	Un évangéliste
B. 525* Wien, Graf Harrach	Auf Leinwand, H. 0,83, B. 0,67
Betender Greis
A praying old man	1661	Vieillard en prière
B.ll94
459Gosford House, Earl of Wemyss
Auf Leinwand, H. 0,735, B. 0,61
A reading monk
Lesender Mönch
1661
Un moine lisant
*Pelersburg, Graf S. A. Stroganoff	Auf Leinwand, Htflysl, B.0,78
Ein Kapuzinermönch irai B. 482
A capuchin monk
Un capucin# • •
Epinal, Museum		Nonne	Auf Lelnwand, H. 1,14, B. 0,80
	A nun	1661	Une religieuse
		B. 511	
461•>
Der	auferstandene	Christus
Christ resurrected	1661	Le Christ ressuscité
	B. 416	
462Paris, Louvre			Auf Leinwand, H. 0,43, B. 0,62
		Christus in Emmaus	
	Christ at Emmaus	Um 1661	Le Christ à Emmaüs
		B. 519	mm
Petersburg, Eremitage	Auf Leinwand, H. 0,63, B. 0,75
Abschied des Tobias von seinen Eltern
Tobias taking leave from his parents Um 1661—1663 Tobie prenant congé de ses parents
B. 593) )
> » )
♦Althorp House, Earl of Spencer	Die Beschneidung	Auf Leinwand, L
The circumcision	1661	La circoncision
	B. 518	
♦Stockholm, Nationalmuseum
Auf Leinwand, H. 1,96, B. 3,09
Das Mahl des Claudius Civilis
The supper of Claudius Civilis
1661 Le repas de nuit de Claudius Civilis B. 520
Rembrandt 30
465*Haag, Museum (.Bredius)
Auf Leinwand, H. 1,08, B. 0,824
Homer	Homer 1663	Homère
	B. 524	
466. -r^'-3.&^*äsfia£*öSfflnflL.-JK^5löMStt^»>SySj':?■•.», v.i^w-'i- • Si-Vv, .»«.V; <>,-::	• >, •■■ c-;.\W:
IM
liajMOwWw
É11I2«fadstem
BB
IkSkHmRÌ
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\. C. D. Borden		Auf Leinwand, 1
	Lukretia, sich erdolchend	
The suicide of Lucretia	1664	Le suicide de Lucrèce
	B. 595	
467New York, B. Altmann
Pilatus, sich die Hände waschend Um 1665 B. 532
Auf Leinwand, II. 1,25, B. 1,63
Pilatus washing his hands
Pilate se lavant les mains*Bukarest, König von Rumänien	Auf Leinwand, H. 2,18, B. 1,85
Mardachai<vor Esther und Aha$ver
Mordecai before Ästher	Um 160 Mardochai devant Esther
and Ahasuerus	g. 530	et Assuerus
Petersburg, Eremitage
Haman in Ungnade Um 1665 B. 531
Auf Leinwand, H. 1,27, B. 1,17
Haman in disgrace
La disgrace d’Aman470
Museum (Brediusj	David vor Saul	Auf Leinwand, H. 1,305, B. 1,64
David before Saul	Um 16C5	David devant Salii
	I 529	Darmstadt, Grossherzogl. Museum
Auf Leinwand, H. 0,94. B. 0,73
Geisselung Christi
The scoutging of Christ	1668	La flagellation du Christ

* Petersburg, Eremitage	Auf Leinwand, 11.2,62, B. 2,05
Rückkehr des verlorenen Sohnes
The return of the prodigal son Um 1668—1669 Le retour de Tenfant prodigue
B. 533<	< (		(. <	c			< c		
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( < (	rî	( (	1 it 1	f > (		1	(.	( *	c
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c‘ ; ; 1	<	i «	< 1 < i 1	f (		(	( t <	( 1	c <
( < <	(	( <	*	( «	( I	: <	< (		XX.
REMBRANDT UND SEINE FAMILIE 1660—1669
REMBRANDT AND HIS FAMILY 1660—1669
REMBRANDT ET SA FAMILLE 1660 à 166*9
473


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Rossie Priory, Far! of Kinnaird		Auf Leinwand, 1
	Selbstbildnis	
Portrait of Rembrandt	1661	Portrait de Partiste
	B. 501	
475Newbattle Abbey (Schottland), Marquess of Lothian
Selbstbildnis
Portrait of Rembrandt Urn 1662
B, 502
Auf Holz, H. 0,57, B. 0,44
Portrait de l’artiste
476London, Lord Iveagh	Selbstbildnis	Auf Leinwand, II.
Portrait of Rembrandt	Um 1663	Portrait de l’artiste
	B. 503	
477478
Horcnz, Uffizien	Auf Leinwand, 11.0,70, B. 0,555
Selbstbildnis
Portrait of Rembrandt
Um 1664 B. 504
Portrait de l’artiste
* Wien, Ilofmuseum
Selbstbildnis
Portrait of Rembrandt Um 1666
B. 505
Auf H^p, II. 0,50» B 0,41
Portrait de l’artiste* Berlin, Frau v. Carstanjen
--4
CD
Portrait of Rembrandt
Auf lêinwând, H. 0,82, B. 0,(>3
Selbstbildni»„_ ■
Urn 16C8	Portrait de l’artiste
B. 506
* Grittleton House, Sir Audley W. Neeld
Selbstbildnis 1660 B. 507
Auf Leinwand, H. 0,59, B. 0,51
Portrait of Rembrandt
Portrait de l’artisteParis, Louvre
Auf Leinwand, II. 1,10, B. 0,$S
Hendrickje Stoffels mit Hendrickje Stoffels with her child as Venus and Amor
ihrem Kind als Venus und Amor Um 1662 Hendrickje Stoffels avec son enfant B 439	en Vénus et l’Amour
480* München, Alte Pinakothek
Auf Leinwand, II. 0,98, B. 0,77
Rembrandts Sohn Titus
Tituji the son of Rembrandt Um 1683	Titus, fils de Rembrandt
B. 527
Auf Leinwand, H. 0,80, B. 0,62
Kolmar, Museum
Magdalene van Loo, die spâtere Frau des Titus
Magdalen van Loo,	Um 1665	Madeleine van Loo,
the second wife of Titus b. 491 femme seconde de Titus* Paris, Moritz Kann (f)	Renibrandts Sohn Titus	Auf Leinwand, H. 0,93, B,
Titus, The son of Rembrandt	Um 1667—1668	Titus, fils de Rembrandt
	B. 535	
482



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Paris, Moritz Karin (f)
Magdalene
Magdalen van Loo, the wife of Titus
Auf Leinwand, H. 0,90, B. 0,725
van Loo, die Frau des Titus
Um 1667—1668 Madeleine van Loo, femme de Titus B. 536
483* Petersburg, Fiirst Yussupoff
Rembrandts Sohn Titus
Titus, the son of Rembrandt	Urn 1668
B. 489
Auf Leinwand, H. 0,98, B. 0,82
Titus, fils de Rembrandt
484Stifa
fini
$$$££
È,.siÿ® •

■ Petersburg, Fürst Yussupoff
Auf Leinwand, H.0,99, B. 0,825
Magdalen van
Magdalene van Loo, the wife of Titus
Loo, die Frau des Titus
Um 1668 Madeleine van Loo, femme de Titus B. 490
485Montreal (Canada), R. 15. Angua
Magdalene van Magdalen van Loo, the second wife of Titus
Auf Leinwand, H. 0,575, B. 0,495
Loo, die spätere Frau des Titus
Um 1666	Madeleine van Loo,
B. 537 femme seconde de Titus
486CX	* Amsterdam, Rcichsmuseum	Auf Leinwand, H. 1 ,lîS, B. 1,64
Rembrandts Sohn Titus und seine Frau Magdalene van Loo (die sog. Judenbraut)
Titus, the son of Rembrandt, and his wife	um 1668	Titus, fils de Rembrandt, et sa femme
Magdalen van Loo, called „The Jewish bride“	B. 538	Madeleine van Loo, nommée „La fiancée juive“0^
00
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Braunschweig, Herzogi. Museum	Familienbild	Auf Leinwand, II. 1,26
A family-group	Um 1668—1669	Portrait de famille
	B. 539	r XXI.
BILDNISSE UND STUDIENKÖPFE
1660—1669
PORTRAITS AND STUDY^HEADS V- PORTRAITS ET.TÊTES D’ÉTUDE 1660—1660f '	..1660 à 1669 -
489Bildnis eines jungen Mädchens Portrait of a young girl	, 1660	Portrait d’une jeune fille
B. 481
London, Otto Beit
Auf Leinwand, H. 1,01, B. 0,815
Bildnis eines jungen Mannes
Portrait of a young man Um 1660 Portrait d’un jeune homme
B. 455* Amsterdam, Reichsmuseum
Auf Leinwand, H. 1,85 B. 2,74
Die Syndici der Tuchhândler 1661 — 1662 B. 486
The syndics of the drapers
Les syndics des drapiersAmsterdam, Reichsmuseum
The »rndics of the draped (Detail)
Die Syndici der Tuchhändler
(Ausschnitt)
1661—1662
Les syndics des drapiers (Détail)
*mjêà

mm


»
Amsterdam, Reiciismusciim
Die Syndici der Tuchhändler
The syndics of the drapers (Detail)
(Ausschnitt)
1661
Les syndics des drapiers (Détail)
494) ) )
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Haag, Museum (Bredius)	Zwei Neger	Auf Leinwand, H. 0,77, B. 0,63
Two negros	1661	Deux nègres
	ß. 513	
4954^
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* Paris, F. Kleinberger	Auf Leinwand, H. 0,77, B. 0,64
Eine alte Frau
1661	Une vieille femme
B. 480
An old woman
* Petersburg, Eremitage	Auf Leinwand, H. 0,71, B. 0,61
Männliches Bildnis
1661	Portrait d’nn homme
B. 510
Portrait of a manLondon, Lady Wantage		Auf Leinwand, H. 0,76."
	Bildnis einer alten	Dame
Portrait of an old woman	1661	Portrait d’une vieille femme
	B. 492	
Rembrandt 32
497•••
♦Paris, Sammlung f Rudolph Kann
Auf Leinwand, H. 0,64, B. 0,57
Bildnis eines jungen
Portrait of a young Jew	1661
B. 509
Juden
Portrait d’un jeune juif
498CO
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fwmm
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London, Nationalgalerie	Auf Leinwand, II. 1,29, B. 0,965
Bildnis eines alten Mannes
Portrait of an old man Um 1662 Portrait d’un vieillard
B. 512
♦London, Nationalgalerie	Auf Leinwand, II. 1,29, B. 0,9('>5
Bildnis einer alten Dame
Portrait of an old lady	Um 1662 Portrait d’une vieille femme
B. 493500
mamma*
HKnü

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ft
Kptô.yi
^ Vr;iii;is (Schweden.), Graf Wachtmeister
Auf Leinwand, II. 1,10, B. 0,90
Bildnis eines jungen Mannes
Portrait of a young man	1G62 Portrait d’un jeune homme
B. 488
Canforcl Manor, Bail of Wirnborne
Auf Leinwand, IL 1,21, B. 0,91
Männliches Bildnis
Portrait of a man
Um 1662 B. 487
Portrait d’un homme*.5	^ %.'f/,»ju"..’,
^ßMvmw 8HW®
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New York, Privatbesitz			Auf Leinwand, H. 1,1
	Bildnis eines	alten Mannes	
Portrait of an old man	Um	1662	Portrait d’un vieil homme
	B.	494	
501I*
Pittsburg (Nordamerika), Charles Mt Scliwab	Auf Leinwand, H. 1,02, B. 0,S0
Männliches Bildnis
Portrait of a man	Um 1663	Portrait d’un homme
B. 526
502♦Berlin, Leopold Koppel
Auf Leinwand, IL 1,12, B. 0,87
Bildnis eines jungen Mannes
1663 (?)
Portrait of a young man
Portrait d’un jeune homme( ( • I
< (, c. < <
Berlin, Marcus Kappel
Study-head
Studienkopf
Um 1663
Auf Holz, H. 0,24, B. 0,19
Tête d’étude
504* Petwortli, Lord Leconfield
Köchin am Fenster
A cookmaid at the window	Urn 1664
B. 514
Auf Leinwand, H. 0,83, B. 0,65
Cuisinière à la fenêtre
505♦New York, Metropolitan-Museum	Auf Leinwand, 11.0,71, B. 0,63
Männliches Bildnis
Portrait of a man	1665	Portrait d’un homme
B. 496
506Cn
O
^4
*Newbattle Abbey (Schottland), Marquess of Lothian
Studienkopf
Study-head	Um 1665
B. 515
Auf Holz, H. 0,48, B. 0,36
Tête d’étude

mlmmê


New York, Metropolitan-Museum
Bildnis
Portrait of a young man
Auf Leinwand, II. 0,79, B. 0,63
eines jungen Mannes
Um 1665 Portrait d’un jeune homme B. 495Cn
O
00
m
Petersburg, Hreniitage		Auf Holz, II. 0.7&,
	Männliches	Bildnis
Portrait of a man	1666	Portrait d’un homme
	B. 498	
* London, Nationalgalerie
Auf Leinwand, H. 0,68, B. 0,60
Bildnis einer Frau
Portrait of a woman
1666 B. 499
Portrait d’une femme509
*Petworth, Lord Leconfield
Auf Leinwand, IL 0,73, B. 0,f>05
Bildnis eines Jünglings
Portrait of a young man	1666 Portrait d’un jeune homme
B. 497
* London, Earl of Northbrook	Auf Leinwand, H. 0,70, IL 0,5S
Bildnis eines Greises
Portrait of an old man	1667	Portrait d’un vieillard
B. 516Dresden, Kgl. Gemäldegalerie
Auf Leinwand, H. 0,82, B. 0,71
Bildnis eines Mannes mit Perlen am Hut Portrait of an old man	Um 1667 Portrait d’un homme âgé
B. 517
510* London, Otto Beit
Portrait of a young man
Auf Leinwand, H. 1,02, B. 0,83
Bildnis eines jungen Mannes
1667	Portrait d’un jeune homme
B. 500
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VON REMBRANDT ÜBERGANGENE SCHÜLERARBEITEN UND VERSCHOLLENE ORIGINALGEMÄLDE
WORKS OF SCHOLARS OF REMBRANDT REVISED ŒUVRES DE L’ÉCOLE DE REMBRANDT RÉVISÉES BY THE ARTIST AND LOST P1CTURES	PAR L’ARTISTE ËT TABLEAUX PERDUS
Für diese Gruppe vergleiche auch C. Hofstede de Groot: Zoekgeraakte Rembrandts im Leidsch Jaarboekje 1905, wo diejenigen verlorenen Gemälde Rembrandts aufgezählt sind, über die wir sichere Nachrichten nur durch die Urkunden besitzen.
Rembrandt 33
513♦München, Alte Pinakothek		Auf Leinwand, H. 1,1	)4, B. 1,31
	Abrahams Opfer		
The sacrifice of Abraham	1636	Le sacrifice d’Abraham	
	B. 208		
515

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:}: Dresden, Kgl. Gemäldegalerie
Die Grablegung Christi
The entombment of Christ	1653
B. 129
Auf Leinwand, II. 0,975, B. 0,6S5
La mise au tombeau
516Nach der Lithographie von Langlade
Die heilige Familie
The Holy Family	La Sainte Familie
Originalgemälde um 16®—1629 entstanden
* Oldenburg, Orossherzogl. Galerie
Auf Holz. H. 1,15, B. 0.99
Die Taufe des Kämmerers
The baptism of the officer	Le baptême de l’intendant
Alte Kopie nach dem um 1628 entstandenen Original
* Aachen, Suermondt-Museum	Auf Holz, H. 1,02, B. 0,895
Der heilige Hieronymus
St. Hieronymus
Saint Jérôme
Alte Kopie nach dem um 1630 entstandenen Original519
Nach dom Stich von J. G. van \rliet
Rembrandts Vater
The father of Rembrandt	Le père de Rembrandt
Originalgemälde um 1630 entstanden
*Nach der Radierung von A. Riedel
Rembrandts Mutter
The mother of Rembrandt	La mère de Rembrandt
Originalgemälde um 1630 entstanden* Nacli dem Stich von J. G. van Vllet
Bildnis eines Greises
Portrait of an old man	Portrait d’un vieillard
Originalgemälde um 1630 entstanden
♦Nach dem Stich von W. de Leeuw
Bildnis eines jungen Mädchens, gen. Mariana
Portrait of a young woman,	Portrait d’une jeune fille
called Mariana	nommée Mariana
Originalgemälde um 1633 entstanden» >
» » »
> > » • » >1» » » *
Nach dem Stich von J. G. van Vliet
Loth und seine Töchter
Loth and his daughters	Loth et ses filles
Originalgemälde um 1633—1634 entstanden
521Nach dem Stich von A. de Marcenay
Sogen. Schwester Rembrandts
gen. „La Dame aux Perles“
The sister of Rembrandt	La sœur de Rembrandt
called „La Dame aux Perles“	nommée „La Dame aux Perles
Originalgemälde um 1632 entstanden
Nach dem Stich von L. Lowenstam
Bildnis eines Jünglings
Portrait of a youth	Portrait d’un jeune homme
Originalgemälde um 1633 entstandenNach dem Stich von L. A. Claessens
Bildnis eines Jünglings
Portrait of a youth	Portrait d’un jeune homme
Originalgemälde um 1633—1634 entstanden

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♦Nach dem Stich von S. Savery (?)
Bildnis des Admirals Philipps van Dorp
Portrait of the admiral	Portrait de l’amiral
Philip van Dorp	Philippe van Dorp
Originalgemälde um 1634 entstanden♦Nach dem Stich von J. Suydcrhocf
Bildnis des Predigers Eleazar Swalmius
Portrait of the preacher	Portrait du prédicateur
Eleazar Swalmius	Eléazar Swalmius
Originalgemälde um 1636—1637 entstanden
524On
to
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Nach dom Scliabkunstblatt von J. Stoiker
Bildnis eines Mannes
Portrait of a man	Portrait d’un homme
Originalgemälde um 1636—1638 entstanden

* Nach dem Scliabkunstblatt von R. Houston
Alte Frau, ein Huhn pflückend Old woman plucking a hen Vieille femme plumant une poule Originalgemälde um 1654 entstanden♦Nach dem Schabkunstblatt von Aquila (Arend van Halen)
Jeremias de Dekker
Originalgemälde um 1C60 entstandenOl
to
Nach dem Schabkunstblatt von Picard
Genannt „Der Philosoph Zeno“
Zeno, the philosopher	Zénon, Afcphilosophe
Originalgemälde um 1659—1660 entstanden
Nach dem Schabkunstblatt von Picard
Genannt „Der Philosoph Lucian“
Lucian, the philosopher	Lucien, le philosophe
Originalgemälde um 1(559—1660 entstanden
SaiRÈiZWEIFELHAFTE UND UNECHTE WERKE
DOUBTFUL AND FALSE P1CTURES	TABLEAUX DOUTEUX ET PAS AUTHENTIQUES
Rembrandt 34
529Cn	* Petersburg, Paul Delaroff	Auf Holz, H. 0,75, B. 1,06
H“‘	Jesus unter den Schriftgelehrten
Jesus in the temple	datiert 1628	L’enfant Jésus parmi les savantsCn
co
to
Nürnberg, German. Nationalmuseum
Auf Holz, H. 0,39, 13 0,32
New York, M. C. D. Borden
Auf Leinwand, H. 1,18, B. 0,95
Der Apostel Paulus
B, 36
Portrait of Rembrandt
Selbstbildnis
Um 1629
Portrait de l’artiste
The apostle St. Paul
L’apôtre Saint Paul* Paris, Comtesse de Béarn
The lamentation over Christ
Auf Leinwand, H. 1,775, B. 1,965
Beweinung Christi
datiert 1650 Le Christ mort pleuré par les siens B. 337

* Heidelberg, Professor Dr. II. Thode
Der barmherzige Samariter
The good Samaritan	datiert 1631
Auf Leinwand, H. 0,68, B. 0,83
Le bon Samaritain
533c e
♦Stockholm, Xatlonalmuseum
Auf Leinwand, H. 0,71, B. 0,60
Bildnis des Johann
Portrait of John Uyttenbogaert
B. 95
Uyttenbogaert
Portrait de Jean Uyttenbogaert
534535
*Invergarry, Mrs. EUice	Auf Leinwand, I I. 1,21, B. 0,96
Bildnis der Saskia als Flora
Portrait of Saskia as Flora Um 1635 Portrait de Saskie en Flore
B. 187
* London, Tliom. Agnew & Sons	Auf Leinwand, II. 1,54, B. 1,27
Bildnis der Saskia als Flora Portrait of Saskia as Flora Um 1635 Portrait de Saskie en Flore
B. 188Cn
Co
05
♦London, Lord Ridley	Auf Leinwand, 11.0,675, B. 0,53
Bildnis eines Greises
Portrait of an old man	Portrait d’un vieillard
Paris, F. Kleinberger
Auf Holz, H. 0,225, B. 0,19
Bildnis eines alten
B. 580
Mannes
Portrait d’un vieil homme
Portrait of an old manen
co
^4
* Hamburg, Galerie Weber
Christ and the adulteress
Auf Leinwand, II. 1,14, B. 1,35
Die Ehebrecherin vor Christus
Le Christ et la femme adultère
B. 338
/
* Kassel, Kgl. Galerie
Auf Holz, H. 0,20, B. 0,16
Männliches Bildnis
Portrait of a man	Portrait d’un homme
* London, Naüonalgalerle	Auf Holz, H. 0,56, B. 0,S6
Landschaft mit Tobias und dem Engel
Landscape with Tobit and the angel	Paysage avec Tobie guidé par l’ange
538539
* Boston, Museum of Fine Arts
Auf Leinwand, H. 0,72, B. 0,91
Danae and Mercury
Danae und Merkur
datiert 1652
Danaé et MercureMünchen, Alte Pinakothek	Auf Holz, H. 0,82, B. 0,67
Selbstbildnis
datiert 1654
Portrait of Rembrandt
Portrait de l’artiste
Suresnes, L. Nardus
Auf Holz
Studienkopf
Study-head
Tête d’étude♦Paris, Sammlung des Barons Alphons von Rothschild
Männliches Bildnis
Portrait of a man
B. 468
Auf Leinwand, H. 1,01, B. 0,92
Portrait d’un homme
541»Irland, Privatbesitz	Auf Leinwand
Bildnis eines jungen Mannes
Portrait of a young man	Portrait d’un jeune homme
542) > >
♦Paris, Adolphe Schloss
Studie zu einem Engel Study for an angel	Um 1655—1660
Auf Holz, H. 0,26, B. 0,235
Etude d’un ange
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