13 Drawings - RELIGIOUS ART - Drawings from the Bible by Rembrandt Harmensz van Rijn

Rembrandt Harmensz van Rijn (Dutch, 1606-1669)

Abraham and Isaac (Bartsch 34; New Hollstein 224) 

Etching, 1645, a fine impression of New Hollstein's first state of two, with the archway complete, with touches of burr on the hem of Isaac's coat, on laid, with a partial Strasbourg Lily watermark, with thread margins above and along part of the right edge, otherwise trimmed to the platemark, set into a large piece of laid, 157 x 130mm (6 1/8 x 5 1/8in)

This is the first of two scenes in which Rembrandt depicted different aspects of the biblical story of Abraham and Isaac. Here Abraham beckons his son with his hand raised heavenward indicating that his sacrifice is a result of obedience to God. Etching and burin work combined with selective wiping of the plate produce an atmospheric scene which conveys the emotional dilemma. The story would have had a personal meaning for Rembrandt who had suffered the loss of three children in infancy and would also have resonated with the local Protestant population who had absolute faith in God. More on this Etching

Rembrandt Harmensz van Rijn, (Dutch, 1606-1669)

Abraham's Sacrifice (Bartsch 35; New Hollstein 287) 

Etching, 1655, the only state, with touches of burr, on laid, trimmed just inside the platemark, 155 x 130mm (6 1/8 x 5 1/8in)

This is the second scene by Rembrandt depicting the story of Abraham and Isaac, where we see the moment when Abraham is about to carry out the sacrifice. It is a highly dramatic scene, with Abraham's left hand outstretched holding the knife in readiness, his right hand covering his son's eyes and the angel grasping both Abraham's arms to prevent the deed. It is a demonstration of complete faith in God which would have appealed to a contemporary viewer. The closely-hatched lines and touches of burr create intense light and shadow, which conveys a sense of movement and of emotional turmoil. More on this Etching

Rembrandt Harmensz van Rijn, (Dutch, 1606-1669)

Christ at Emmaus: The Larger Plate (Bartsch 87; New Hollstein 283) 

Etching, 1654, New Hollstein's fourth state of five, with fine hatching below the tablecloth on the right and on the wall lower right, visible on the dog's right ear, on laid, trimmed to the platemark, 211 x 160mm (8 1/4 x 6 1/4in)

Christ at Emmaus: The Larger Plate depicts the biblical episode when Christ appears to two of his disciples, having risen on the third day after his death and they finally recognize him once they sit down to a meal. The dark shading behind the disciples and highlights on their clothes accentuate their startled gestures. The fine lines create a sketch-like appearance which underlines the transitory nature of the scene. More on this Etching

Rembrandt Harmensz van Rijn, (Dutch, 1606-1669)

The Triumph of Mordecai (Bartsch 40; New Hollstein 185) 

Etching and drypoint, circa 1641, New Hollstein's third state of four, with additional shading on the horse's left hind leg, on laid, trimmed to or along the platemark on three sides and just inside the upper edge, 172 x 214mm (6 3/4 x 8 1/2in)

This depicts a scene from the Old Testament book of Esther. Mordecai foiled a plot to assassinate his son-in-law King Ahasuerus. Haman, a minister in the court, plots to kill Mordecai but Esther intercedes with the king and Haman is sentenced to death instead.

The scene is divided into two distinct halves with Mordecai on horseback and Haman standing before him on the left and the King with Esther and their subjects on the right. Rembrandt uses the architectural frame of the archway to link them and draw the viewer's eye from the crowd to the two figures of Mordecai and Haman, whose fortunes have been reversed. Rembrandt focusses attention on Mordecai by placing him in the archway and using drypoint in the shadows to throw his figure into relief. Rembrandt borrowed elements from a Lucas van Leyden engraving of the same subject and from a painting by his mentor, Pieter Lastman and the composition prefigures that of The Night Watch painted the following year. More on this Etching

Rembrandt Harmensz van Rijn, (Dutch, 1606-1669)

The Flight into Egypt: Small Plate (Bartsch 52; New Hollstein 117) 

Etching, 1633, Hollstein's first state of four, with the sulphur tinting visible in the upper part of the plate, trimmed just inside the platemark, 90 x 63mm (3 1/2 x 2 1/2in)

Rembrandt Harmensz van Rijn (Dutch, 1606-1669)

Christ Healing the Sick: 'The Hundred Guilder Print' (Bartsch 74; New Hollstein 239) 

Etching, engraving and drypoint, circa 1648, New Hollstein's third state of four, reworked by Captain Baillie with the details of the figures and faces redrawn, a good velvety impression, printing with strong burr and contrasts, on vellum, with margins, 275 x 388mm (10 7/8 x 15 1/4in)

Rembrandt used etching, engraving and drypoint to create an extraordinary level of detail and tone. Delicate lines were used to convey the expressions and emotions of the protagonists. The viewer's eye is thus drawn into the image, taking in each individual scene, before settling on the central unifying figure of Christ. The use of chiaroscuro to create depth and and drama is particularly evident in the appearance of this figure illuminated against a very dark background. More on this Etching

Rembrandt Harmensz van Rijn (Dutch, 1606-1669)

Peter and John healing the Cripple at the Gate of the Temple (Bartsch 94; New Hollstein 312) 

Etching, engraving and drypoint, 1659, a fine impression of New Hollstein's second state of six, with the right side of Peter's body straightened, his cloak deeply curved across his chest and shading next to his left hand and in the lower right corner, printing with burr and vertical wiping scratches in the sky, on laid with thread margins, with a Foolscap with seven-pointed collar watermark, 180 x 215mm (7 1/8 x 8 1/2in)

Rather than showing the miracle, Rembrandt depicts the moment before, when Peter tells the lame man that he can heal him in the name of God. The lame man is highlighted against the shadow of Peter's cloak, focussing the viewer's attention on this figure and on the point of the scene. The image is carefully constructed, with the two pillars and building on the left depicting the Temple in Jerusalem. The contemporary audience would have been familiar with the pillars as a representation of the guiding presence of God. More on this Etching

Rembrandt Harmensz van Rijn, 1606-1669)

Christ Preaching (La Petite Tombe) (Bartsch 67; New Hollstein 298) 

Etching and drypoint, circa 1657, a good 'white sleeve' impression of New Hollstein's first state of two, where the burr has worn away from the right sleeve of the man standing in the left foreground, on laid, with thread margins, possibly with an Arms of Amsterdam watermark, 155 x 207mm (6 1/8 x 8 1/8in)

Rembrandt used this plate for more experimentation. He has made emphatic use of drypoint to enhance the contrast and add gravitas to the scene. The faces are clearly defined and very expressive. In early impressions, the burr remains strong on the right sleeve of the man in the left foreground and these are known as 'black sleeve' impressions. When the burr has worn away, the impressions are referred to as 'white sleeve'.

The etching was called La Petite Tombe by the eighteenth century cataloguer, Edme-Francois Gersaint, on the basis that it appeared in the inventory of art dealer Clement de Jonghe listed as La Tombe's little plate, in reference to Nicholas La Tombe who probably commissioned the work. More on this Etching

Rembrandt Harmensz van Rijn, (Dutch, 1606-1669)

Christ disputing with the doctors: A Sketch (Bartsch 65; New Hollstein 267) 

Etching and drypoint, 1652, a good impression of the only state, with marks appearing along the upper and right edges of the plate, on laid, with narrow margins, with a Pro Patria watermark, 126 x 214mm (5 x 8 1/2in)

This etching, and the next, form part of a series depicting the early life of Christ. They have a delicate sketch-like quality and are good examples of etched plates without any reworking. More on this Etching

Rembrandt Harmensz van Rijn, (Dutch, 1606-1669)

Christ seated disputing with the doctors (Bartsch 64; New Hollstein 281) 

Etching, 1654, the only state, on laid, trimmed to or along the platemark, 95 x 146mm (3 3/4 x 5 3/4in)

Rembrandt Harmensz van Rijn, (Dutch, 1606-1669)

Joseph Telling his Dreams (Bartsch 37; New Hollstein 167) 

Etching, 1638, New Hollstein's third state of six, with the area in front of the seated girl's face burnished white and shading added in numerous places such as the upper part of the doorway and the face and turban of the central standing figure, on laid, trimmed to the platemark or with thread margins, 110 x 83mm (4 3/8 x 3 1/4in)

Illustrating the story from Genesis chapter thirty-seven, in which Joseph recounts his dreams that he will one day rule, Rembrandt gathers the audience around the figure of Joseph, concentrating the viewer's attention on him. The composition is unusual in that it includes women in what was traditionally described as an all-male event. Fine lines were used to delineate individual faces and additional shading to heighten the sense of tension. More on this Etching

Rembrandt Harmensz van Rijn, (Dutch, 1606-1669)

The Descent from the Cross by Torchlight (Bartsch 83; New Hollstein 286) 

Etching and drypoint, 1654, New Hollstein's third state of four, the shadows reworked with diagonal hatching in upper right corner and to left of rectangular space of the building on the right, on laid, with narrow margins, 210 x 161mm (8 1/4 x 6 3/8in)

Another dramatic presentation of a biblical event, when Joseph of Arimathea came to claim the body of Jesus after the crucifixion. Unusually, the main action takes place in the upper left corner and the diagonal composition evokes a sense of movement. The single light source in the image is the torch held by the man next to the cross. The contrast between this bright light and the very dark shadows on the right conveys the gravity and poignancy of this moment, further underlined by the illuminated hand reaching out of the darkness in the center. More on this Etching

Rembrandt Harmensz van Rijn, (Dutch, 1606-1669)

Descent from the Cross: The Second Plate (Bartsch 81; New Hollstein 119) 

Etching and engraving, 1633, the fifth state (New Hollstein's sixth state) with the address of Justus Danckerts coarsely burnished from the lower margin but still partially visible, on laid backed onto wove and set into a thick japan surround, trimmed to the platemark or with narrow margins, indistinct watermark, 528 x 405mm (20 3/4 x 16in)

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14 Portraits by Rembrandt Harmensz van Rijn

Rembrandt Harmensz van Rijn (Dutch, 1606-1669)

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)

In Studies of the head of Saskia, and others, Rembrandt has depicted his wife Saskia surrounded by six other figures of different ages. The etching is reminiscent of a sketchbook page, on which Rembrandt is practicing the portrayal of different expressions and the fall of drapery. Saskia receives the most detailed study with very fine lines used to render her curls and a thin headdress. Each figure looks out in a different direction ensuring that the viewer's eye darts from one to another, taking in the artistry of each individual face. Only the earliest impressions have the fine zig-zag lines on the woman's forehead at the lower centre of the image and fine wiping scratches.

Rembrandt Harmensz van Rijn (Dutch, 1606-1669)

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

Rembrandt Harmensz van Rijn (Dutch, 1606-1669)

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)

Rembrandt was an enthusiastic collector, amassing a collection of costumes and props which he would use in his compositions. His self portraits were used to experiment and to promote his work. Rather than depicting an exact likeness here, he has produced an idealized portrait. The exotic dress, modelled with dense hatching, creates a certain mystery, whilst the highlights on the collar, convincingly suggestive of the metal breastplate, display his expertise.
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.

Rembrandt Harmensz van Rijn (Dutch, 1606-1669)

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

Rembrandt Harmensz van Rijn (Dutch, 1606-1669)

Self Portrait in a cap and scarf with the face dark: Bust 

(Bartsch 17; New Hollstein 120) 

Etching, 1633, a fine impression of New Hollstein's second state of five, with the signature and date added, shading added to the sleeve and breast and the moustache extended over the contour of the right cheek, with plate tone and delicate wiping scratches, on laid, with narrow margins, 132 x 103mm (5 1/8 x 4in)

Rembrandt portrays himself in military dress with laces on his shoulder for attaching armour. With his face in deep shadow, it is the thoughtful, reserved pose of a young man. This experimentation with chiaroscuro shows the influence of the Italian masters, such as Caravaggio. Rembrandt collected Italian prints and was able to study the Italian paintings which were being imported into Amsterdam at this time by dealers like Hendrick van Uylenburgh, with whom Rembrandt had lodged on his arrival in the city. This impression is printed with considerable tone in the background and has the delicate wiping scratches and well-inked platemark that indicate an early impression.

Rembrandt Harmensz van Rijn (Dutch, 1606-1669)

Self Portrait Leaning on a Stone Sill 

(Bartsch 21; New Hollstein 171) 

Etching with touches of drypoint, 1639, a fine impression of the second final state, with the cap band extended towards the right and the right cap edge clearly defined, on laid, with narrow margins, with a countermark possibly 'PDB', 205 x 164mm (8 1/8 x 6 1/2in)

Rembrandt produced thirty-two self portraits and this is one of his most splendid. The nonchalant pose with eyes directed at the viewer, inviting judgement, displays his confidence in his ability. This is a masterclass in the depiction of texture. We can see the velvet of his cap, the silk of his sleeve and fine wisps of his hair.

Taking two sixteenth-century portraits as his sources, Titian's Portait of a Man with a Quilted Sleeve (known as Ariosto) and Raphael's Portrait of Baldassare Castiglione, Rembrandt portrayed himself as a gentleman and a master of his art, putting himself on a par with these two great Renaissance artists.

Rembrandt Harmensz van Rijn (Dutch, 1606-1669)

Self portrait, etching at a window 

(Bartsch 22; New Hollstein 240) 

Etching and drypoint, 1648, a very good impression of New Hollstein's seventh state of nine, with the right cheek redefined, the shadows reworked partly with a mezzotint rocker and additional lines in the upper left corner and on his right hand, on laid, with narrow margins, 160 x 130mm (6 1/4 x 5 1/8in)

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.

Rembrandt Harmensz van Rijn (Dutch, 1606-1669)

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)

The sitter was probably a student in Rembrandt's studio and also appears in Man at a desk wearing a cross and chain (Below). Rembrandt employs fine lines and cross hatching in the shadows to highlight the features of the young man concentrating on his hand of cards.

Rembrandt Harmensz van Rijn (Dutch, 1606-1669)

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)

This is not a commissioned portrait but the sitter is recognizable as the model for The Card Player (Above), so may have been a student in Rembrandt's studio. Rembrandt used drypoint to highlight the fine areas of the face and hair and to deepen the contrast by darkening the background.

Rembrandt Harmensz van Rijn (Dutch, 1606-1669)

Menasseh Ben Israel 

(Bartsch 269; New Hollstein 156) 

Etching, 1636, a good impression of New Hollstein's second state of five, with the indent in the left cheek straightened and shading added in several areas including the right earlobe, the outermost fold of his cloak on the left and inside the hat just to the right of his left cheek, on laid, with narrow margins, 149 x 103mm (5 7/8 x 4 1/8in

Menasseh Ben Israel was a rabbi, author and printer, who established the first Hebrew printing press in the Netherlands in 1626 and played an important role in the re-establishment of the Jewish community in England in 1656, having petitioned Oliver Cromwell to this effect. He was a highly regarded scholar and preacher and Rembrandt presents him in a bust length portrait with direct gaze, encouraging the viewer to engage with the character.

Rembrandt Harmensz van Rijn (Dutch, 1606-1669)

Cornelis Claesz. Anslo, Preacher 

(Bartsch 271; New Hollstein 197) 

Etching and drypoint, 1641, New Hollstein's third state of five, with reworking around the right eye and the fur lining of the cloak to the right of the book, fine lines added to his left sleeve and his chest below the pen, on thick laid, with thread margins, 188 x 158mm (7 3/8 x 6 1/4in)

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.

Rembrandt Harmensz van Rijn (Dutch, 1606-1669)

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)

The title is an eighteenth century one and was probably derived from the tradition that Jewish brides met their husbands with their hair down and holding the Ketubah, a document outlining the rights and responsibilities of the groom. Rembrandt lived in the Jewish quarter of Amsterdam and was known to use his neighbours as sitters, so it is possible he could have depicted a Jewish tradition. However, it is more likely that the subject is either Minerva, the subject of his painting of the same date, or the biblical heroine Esther. It is probable that the model was Rembrandt's wife Saskia, whom he had married in 1634. The technical skill involved in creatingThe Great Jewish Bride through five states and its visual splendour make this one of Rembrandt's most sought after etchings.

Rembrandt Harmensz van Rijn (Dutch, 1606-1669)

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)

The sitter is unknown, but Rembrandt infuses real character into this face with a wealth of finely etched lines and light drypoint touches to give a sense of presence. The fur cap is a Polish kutschma, which appears in several of Rembrandt's drawings.

Rembrandt Harmensz van Rijn (Dutch, 1606-1669)

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)

Jan Lutma was an eminent jeweller and silversmith in Amsterdam and was a major print collector who owned several of Rembrandt's works. Rembrandt presents him in a formal pose, surrounded by some of the tools and creations of his trade, in a suitable advertisement for his profession. However, his relaxed expression, with a hint of a smile, shows that he is at ease and this is perhaps a sign of mutual respect and friendship between the two artists.

Acknowledgment: Bonhams