B 45
The adoration of the shepherds: with the lamp. First state of two. Signed Rembrandt f. Amsterdam.
About 1654. Luke 2:15-16.
Biblical subjects New Testament SEE ALSO s 398
B 45
The adoration of the shepherds: with the lamp. First state of two. Signed Rembrandt f. Amsterdam.
About 1654. Luke 2:15-16.
B 46
The adoration of the shepherds: a night piece. With drypoint and burin. Fifth state of eight. Haarlem.
About 1652. Same text as B 45.
B 47
The circumcision in the stable. First state of two. Signed and dated twice Rembrandt f. 1654. Haarlem.
Luke 2:21.
B 48
The circumcision: the small plate. With touches of drypoint. Only state. Haarlem.
About 1630. Same text as B 47.
B 49
Simeon’s hymn of praise [The presentation in the Temple: oblong print]. With drypoint. Second state of three. Amsterdam.
About 1639. Luke 2:22-38. The action depicted precedes the actual presentation.
This illustration is reduced.
Original size 21.3 x 29 cm.
B 50
The presentation in the Temple in the dark manner. With drypoint. Only state. Printed with surface tone on Japanese paper. Haarlem.
About 1654. Luke 2:39.
B 51
Simeon’s hymn of praise [The presentation in the Temple with the angel: the small plate]. Second state of two. Signed and dated RHL 1630. Amsterdam.
Same text as B 49.
The first state has more blank space above.
B 52
The flight into Egypt: the small plate. First state of two. Signed and dated Rembrandt inventor et fecit. 1633. Amsterdam.
Matthew 2:13-15. Only in this plate and in B 90, of the same year, did Rembrandt identify himself by inscription as the draftsman and etcher of a plate.
B 53
The flight into Egypt: a night piece. With burin and drypoint. Sixth state of six. Signed and dated Rembrandt f. 1651 (invisible in the reproduction). Haarlem.
Same text as B 52.
B 54
The flight into Egypt: a sketch. First state of six. Amsterdam.
About 1627. Same text as B 52. After this state the plate was cut down, and part of the copper was used for the self portrait B 5. One of the two surviving impressions of the first state.
B 55
The flight into Egypt: crossing a brook. With drypoint. Only state. Signed and dated Rembrandt f. 1654. Haarlem.
Same text as B 52.
The flight into Egypt: altered from Seghers. With burin and drypoint. Fourth state of seven. Amsterdam.
About 1653. Same text as B 52. The first state, depicting Tobias and the angel, is entirely by Rembrandt’s contemporary Hercules Seghers (1590-1640). The right half of the plate was burnished out and redone by Rembrandt as a Flight into Egypt, with smaller figures.
B 57
The rest on the flight: a night piece. With drypoint. Fourth state of four. Haarlem.
About 1644. This and the following two etchings depict an apocryphal subject with a long iconographical tradition.
B 58
The rest on the flight: lightly etched. With touches of drypoint. Only state. Signed and dated Rembrandt f. 1645. Haarlem.
See comment under B 57.
B 59
The rest on the flight into Egypt. Only state. Amsterdam.
About 1626. See comment under B 57. One of three surviving impressions. Among the earliest etchings, with s 398. Both have the same rawness as the paintings of that period.
B 60
Christ returning from the Temple with his parents. With drypoint. Only state. Signed and dated Rembrandt f. 1654. Haarlem.
Luke 2:41-52.
B 61
Virgin and child in the clouds. With drypoint. Only state. Signed and dated Rembrandt f. 1641, in the dark clouds. Amsterdam.
This Catholic theme is unique in Dutch 17th-century art. The upside-down head near the Virgin’s left knee has been variously interpreted as a leftover from an earlier use of the plate, a reflection of the Virgin’s face in the clouds, and a false start on the Virgin’s face, after which the artist turned the plate around and began again.
B 62
The holy family. Only state. Signed RHL. Amsterdam.
About 1632. Neither this etching nor the following one depicts a specific passage in the Bible.
B 63
The Virgin and child with the cat and snake. Second state of two (with burin). Signed and dated Rembrandt f. 1654. Haarlem.
See comment under B 62.
B 64
Christ seated disputing with the doctors. Only state. Signed and dated Rembrandt f. 1654. Haarlem.
Luke 2:41-52.
B 65
Christ disputing with the doctors: a sketch. With drypoint. First state of three. Signed and dated Rembrandt f. 1652. Amsterdam.
Same text as B 64. The date is smudged by false biting–an area of the plate etched although the artist did not intend it to be.
B 66
Christ disputing with the doctors: small plate. Second state of three. Signed and dated RHL 1630. Amsterdam.
Same text as B 64. In the third state the plate was cut down on three sides, removing the monogram and dating.
B 67
Christ preaching [’La petite tombe’]. With burin and drypoint. Only state. Amsterdam.
About 1652. The traditional title (The small tomb) is based on an 18th-century misreading of the subject. The theme has no specific scriptural nor iconographic precedent. The same is true of B 74.
B 69
Christ driving the moneychangers from the Temple. First state of two. Signed and dated Rembrandt f. 1635. Haarlem.
John 2:13-17.
B 70
Christ and the woman of Samaria: an arched print. With drypoint. Third state of three. Signed and dated Rembrandt f. 1658. Haarlem.
John 4:5-42. Dated 1657 in the first, incomplete state.
B 71
Christ and the woman of Samaria: among ruins. First state of two. Signed and dated Rembrandt f. 1634. Haarlem.
Same text as B 70.
B 72
The raising of Lazarus: the small plate. First state of two. Signed and dated Rembrandt f. 1642. Haarlem.
John 11:1-44.
B 73
The raising of Lazarus: the larger plate. With burin. Eighth state of ten. Signed RHL van Ryn f. Amsterdam.
About 1630. The same text as B 72. The only occurrence of this form of signature, which would read fully: Rembrandus Hermanni Leidensis van Rijn fecit.
This illustration is reduced.
Original size 36.6 X 25.8 cm.
B 74
Christ preaching [’The hundred-guilder print’]. With drypoint and burin. Second state of two. Amsterdam.
About 1643-49. The main themes of Matthew 19 are telescoped by Rembrandt into a single scene, unprecedented in earlier iconography. Cf. B 67. The traditional title refers to the unusually high price the print was said to have fetched in the 17th century.
This illustration is reduced.
Original size 27.8 x 38.8 cm.
B 75
The agony in the garden. With drypoint. Only state. Signed and dated Rembrandt f. 165-(last digit missing). An early impression printed on Japanese paper. Amsterdam.
About 1657. Luke 22:39-46.
B 76
Christ presented to the people: the oblong plate. Drypoint only. Third state of eight. Printed on Japanese paper. Amsterdam.
Matthew 27:15-26. See following number.
This illustration is reduced.
Original size 38.3 x 45.5 cm.
The same plate, in the seventh state. Signed and dated Rembrandt f. 1655. Printed on Japanese paper. Amsterdam.
The signature was added in this state. The removal of the foreground figures had occurred in the sixth state, and the trimming of the upper margin in the fourth.
This illustration is reduced.
Original size 35.8 x 45.5 cm.
Christ before Pilate: larger plate. Second state of five. Signed and dated Rembrandt f. 1636 cum privile. Amsterdam.
Signed and dated 1635 in the first, unfinished state. John 19:1-16. Only in this plate and in B 81 (11) of 1633 – his two largest etchings–did Rembrandt claim the ’privilege’ of copyright
This illustration is reduced.
Original size 54.9 x 44.7 cm.
B 78
Christ crucified between the two thieves [’The three crosses’]. Drypoint and burin only. First state of five. Amsterdam.
The third state is signed and dated Rembrandt f. 1653. Matthew 27:33-56.
This illustration is reduced.
Original size 38.5 x 45 cm.
The same plate, in the fourth state. This is the state in which the total transformation of the plate took place. Amsterdam.
This illustration is reduced.
Original size 38.5 x 45 cm.
B 79
Christ crucified between the two thieves: an oval plate. With drypoint. First state of two. Haarlem.
About 1641. Same text as B 78.
B 80
The crucifixion: small plate. Only state. Signed Rembrandt f. Haarlem.
About 1635. Same text as B 78.
B 81 (11)
The descent from the cross: the second plate. With burin. Second state of five. Signed and dated Rembrandt f. cum pryvl° 1633. Amsterdam.
John 19:38-42. Based on Rembrandt’s painting for Stadholder Frederick Henry. An earlier version of this huge plate was a failure and had to be discarded. See comment under B 77.
This illustration is reduced.
Original size 53 x 41 cm.
B 82
The descent from the cross: a sketch. With drypoint. Only state. Signed and dated Rembrandt f. 1642. Haarlem.
Same text as B 81.
B 83
The descent from the cross by torchlight. With drypoint. Only state. Signed and dated Rembrandt f. 1654. Haarlem.
Same text as B 81.
B 84
Christ carried to the tomb. With touches of drypoint. Only state. Signed Rembrant. Haarlem.
About 1645. Matthew 27:59-61.
B 86
The entombment. With drypoint and burin. Third state of four. Haarlem.
About 1654. Same text as B 84.
B 85
The Virgin with the instruments of the passion. With drypoint. Only state. Amsterdam.
About 1652. Not a subject with a specific biblical reference.
B 87
Christ at Emmaus: the larger plate. With burin and drypoint. Third state of three. Signed and dated Rembrandt f. 1654. Haarlem.
Luke 24:13-31.
B 88
Christ at Emmaus: the smaller plate. With touches of drypoint. Only state. Signed and dated Rembrandt f. 1634. Haarlem.
Same text as B 87.
B 89
Christ appearing to the apostles. Only state. Signed and dated Rembrandt f. 1656. Amsterdam.
John 20:19-29.
The good Samaritan. With burin. Fourth state of four. Signed and dated Rembrandt inventor et Feecit. 1633. Amsterdam.
Luke 10:30-35. The signature appears for the first in this state. See comment under B 52.
B 91
The return of the prodigal son. Only state. Signed and dated Rembrandt f. 1636. Amsterdam.
Luke 15:11-32.
B 92
The beheading of John the Baptist. With drypoint. First state of two. Signed and dated Rembrandt f. 1640. Amsterdam.
Matthew 14:3-11.
B 94
Peter and John healing the cripple at the gate of the Temple. With drypoint and burin. Second state of four. Signed and dated Rembrandt f. 1659. Haarlem.
Acts 3:1-8.
B 95
Peter and John at the gate of the Temple: roughly etched. Only state. Amsterdam.
About 1629. Same text as B 94.
