Studies of the head of Saskia and others
(Bartsch 365; New Hollstein 157)
Etching, 1636, a fine early impression of New Hollstein's first state of two, with fine zig-zag lines on the forehead of the woman lower centre and numerous fine wiping scratches, on laid, with thread margins, 151 x 126mm (5 7/8 x 4 7/8in)
Self Portrait in a slant fur cap: Bust
(Bartsch 14; New Hollstein 97)
Etching and engraving, circa 1631, a good impression of New Hollstein's fifth state of seven, with additional diagonal shading to the upper lip and the forehead, on laid, trimmed to or along the platemark, 62 x 56mm (2 3/8 x 2 1/4in
Self Portrait with plumed cap and lowered sabre
(Bartsch 23; New Hollstein 135)
Etching and engraving, 1634, a fine impression of the final third state, after the plate has been reduced to a regular oval, on laid, with a Foolscap watermark, trimmed to the platemark, 130 x 108mm (5 1/8 x 4 1/4in)
The sabre of the title only appears in the rare first state where the plate is rectangular and shows Rembrandt in a three-quarter length pose. In the second and third it has been reduced to an oval, concentrating the viewer's attention on the artist.
Self Portrait with Saskia
(Bartsch 19; New Hollstein 158)
Etching, 1636, New Hollstein's third state of four, with a small area of false biting next to his collar on the right, on laid with narrow margins, with a DG countermark, 104 x 95mm (4 1/8 x 3 3/4in
Self Portrait, etching at a window was Rembrandt's final etched self portrait and in contrast with earlier portraits, there is a sense of introspection, emphasized by the strong light cast across his face from the window. He still portrays himself as an artist with the tools of his trade before him, holding an etching needle, ready to work on the copper plate on the desk. However, this time there is no fine costume or self-assured posturing. He is in simple working clothes, intent on his work. The sombre mood undoubtedly came from his changed circumstances over the previous decade. Saskia and three of his children had died, his household arrangements were unsettled and his financial situation was uncertain. With these personal trials to contend with, this image was perhaps a confirmation that his artistic endeavors would continue, despite his difficult personal circumstances.
Finely etched lines were employed to model the face and drypoint and burin were then used to define the body, desk and books. This later reworking of the shaded areas served to recall the tonal contrast of the earlier impressions.
The Card player
(Bartsch 136; New Hollstein 193)
Etching, 1641, a good impression of New Hollstein's first state of five, with an irregular strip of unworked plate along the upper margin and with an accidental scratch across his left cheekbone and in his hair to the right, on laid, with thread margins, 88 x 82mm (3 7/8 x 3 1/4in)
A Man at a Desk wearing a Cross and Chain
(Bartsch 261; New Hollstein 194)
Etching, 1641, a fine impression of New Hollstein's fourth state of five, with the contours of the book which protruded over the image edge burnished away, details in the hair and face strengthened in drypoint and new shading in the background, with burr on the left sleeve, on thick laid, with narrow margins, 154 x 102mm (6 1/8 x 4in)
Cornelis Claesz Anslo was a successful cloth merchant and Mennonite preacher beloved for his charitable works. Mennonite beliefs centered on the ministry of Christ and Rembrandt was sympathetic to their liberal theology. Many of his acquaintances were in the congregation, including the art dealer Hendrick Van Uylenburgh, who secured portrait commissions for Rembrandt from amongst the patrons. It is a commanding pose and Rembrandt succeeds in portraying the man of God, as Anslo preaches surrounded by works of scripture, whilst also conveying his professional success through his rich attire.
The Great Jewish Bride
(Bartsch 340; New Hollstein 154)
Etching with drypoint, 1635, a fine impression of the final fifth state, with the horizontal lines to indicate the stonework in the right background and additional shading on the wall behind her head, on laid, with a partial watermark of a double-headed eagle, trimmed to the platemark, 220 x 168mm (8 3/4 x 6 3/4in)
Old man with a divided fur cap
(Bartsch 265; New Hollstein 182)
Etching and drypoint, 1640, a good impression of New Hollstein's first state of two, with the slipped stroke next to his left eye running from the cap edge to his left cheek, with burr on the cape at the right, on japan laid, with a partial Arms of Amsterdam watermark, trimmed to platemark, 150 x 139mm (5 7/8 x 5 1/2in)
Jean Lutma, Goldsmith
(Bartsch 276; New Hollstein 293)
Etching, engraving and drypoint, 1656, New Hollstein's third state of four, with the window and before the cross-hatching in the upper right side of the window border, the upper right area of the chair and around the hammer, on laid, trimmed along or just inside the platemark, 196 x 149mm (7 3/4 x 5 7/8in)