B 257
Man in an arbor. Only state. Signed and dated Rembrandt f. 1642. Haarlem.
The date appears to have been changed from 1640.
Portraits of men SEE ALSO B 11
B 257
Man in an arbor. Only state. Signed and dated Rembrandt f. 1642. Haarlem.
The date appears to have been changed from 1640.
B 259
Old man shading his eyes with his hand. With drypoint. Only state. Haarlem.
About 1639. The plate was eventually finished–not by Rembrandt, who abandoned it for unknown reasons, but by the German etcher G. F. Schmidt in 1770.
B 260
Bust of an old bearded man, looking down, three-quarters right. Third state of three. Signed and dated RHL 1631. Haarlem.
B 261
Man at a desk wearing a cross and chain. With drypoint. Second state of four. Signed and dated Rembrandt f. 1641. Haarlem.
B 263
Bearded man, in a furred oriental cap and robe [The artist’s father?]. With burin. Third state of four. Signed and dated RHL 1631. Printed with surface tone. Haarlem.
The signature and date are lacking in the first state. The written inscriptions below were added in the 18th century. See comment under B 292.
B 264
Jan Antonides van der Linden [1609-64]. With drypoint and burin. Second state of five. Haarlem.
About 1665. Rembrandt’s last known etching. Made for the frontispiece of the sitter’s posthumous edition of the writings of Hippocrates. It was not used, however, since the publisher required an engraving rather than an etching.
B 265
Old man with a divided fur cap. With some drypoint. First state of two. Signed and dated Rembrandt f. 1640. Haarlem.
B 266
Jan Cornelis Sylvius, preacher [1564-1638]. With burin. Second state of two. Signed and dated Rembrandt f. 1633. Haarlem.
See also under B 280.
B 268
Young man in a velvet cap [Petrus Sylvius, preacher ?; 1610-53]. Second state of two. Signed and dated Rembrandt f. 1637. Haarlem.
B 269
Samuel Menasseh ben Israel [1604-57]. Third state of three. Signed and dated Rembrandt f. 1636. Haarlem.
The sitter was a famous Sephardic rabbi and scholar. See also B 36.
B 270
Faust. With drypoint and burin. Third state of four. Haarlem.
About 1652. The title is not older than the 18th century. The figure and his fascinating vision in the window have not yet been conclusively explained.
B 271
Cornelis Claesz. Anslo, preacher [1592-1646]. With drypoint. First state of two. Signed and dated Rembrandt f. 1641. Haarlem.
The penned inscription below was added later.
B 272
Clement de Jonghe, printseller [1624/25-77]. With drypoint and burin. First state of six. Signed and dated Rembrandt f. 1651. Haarlem.
De Jonghe’s estate included, upon his death, a good number of plates of Rembrandt etchings.
B 273
Abraham Francen, apothecary [born 1613]. With drypoint and burin. Second state of nine. Haarlem.
About 1657. The many states through which this plate went include several in which the motif of the drawing held by the sitter can be seen to be a half-length man.
B 274
Thomas Haaringh [’Old Haaringh’; died 1660]. Drypoint and burin only. Second state of two. Amsterdam.
About 1655. The sitter was in charge of the office that sold Rembrandt’s goods in 1657 and 1658 after the painter’s insolvency. See also B 275.
B 275
Pieter Haaringh [’ Young Haaringh’; 1609-85]. With drypoint and burin. First state of five. Signed and dated Rembrandt f. 1655, barely legibly. Printed on Japanese paper. Haarlem.
A distant relative of Thomas Haaringh, portrayed in B 274, Pieter was the auctioneer of the Amsterdam insolvency chamber. The sitter was formerly thought to be Thomas’s son Jacob Haaringh.
B 276
Jan Lutma, goldsmith [1584-1669]. With drypoint. First state of three. Haarlem.
In the second state signed and dated Rembrandt f. 1656.
B 277
Jan Asselyn, painter [’Crabbetje’ 1610-52]. With drypoint and burin. Third state of three. Signed and dated Rembr f. 16--(the last two digits are illegible). Haarlem.
About 1647. In the first state there is an easel with a painting behind the figure.
Ephraim Bonus, Jewish physician [1599-1655]. With drypoint and burin. Second state of two. Signed and dated Rembrandt f. 1647. Haarlem.
B 279
Jan Uytenbogaert, preacher of the Remonstrants [1557-1644]. Fourth state of six (with burin). Signed and dated Rembrandt f. 1635. Haarlem.
The plate started off rectangular. It was cut to this form, and the inscriptions were added, in the fourth state.
B 280
Jan Cornelis Sylvius, preacher [1564-1638]. With drypoint and burin. Second state of two. Signed and dated Rembrandt 1646. Haarlem.
Posthumous portrait of a man whom Rembrandt had portrayed in his lifetime in 1633 (B 266). Sylvius was Saskia’s cousin by marriage and her guardian as a child.
B 281
Jan Uytenbogaert [1606-84; ’The goldweigher’]. With drypoint. Second state of two. Signed and dated Rembrandt f. 1639. Amsterdam.
The sitter was receiver-general of the states-general for the province of Holland.
B 282
Lieven Willemsz. van Coppenol, writing-master [1599-after 1677]: smaller plate. With drypoint and burin. Third state of six. Amsterdam.
About 1658. The boy behind the sitter is apparently his grandson Antonius. The circle was replaced in the fourth state by a triptych of the Crucifixion, which was burnished out in its turn in the fifth state. See also B 283.
The same plate, in the fourth state. Haarlem.
B 282 IV
B 283
Lieven Willemsz. van Coppenol, writing-master: the larger plate. With drypoint and burin. Third state of six. Amsterdam.
About 1658. Coppenol was in the habit of ordering portraits of himself from graphic artists to be used as a form of advertisement. This plate is more typical of that genre than the informal B 282.
This illustration is reduced.
Original size 34 X 29 cm.
B 284
Arnold Tholinx, inspector [died 1679]. With drypoint and burin. Second state of two. Amsterdam.
About 1656. The penned inscription was added later. The sitter was inspector of medical colleges in Amsterdam.
B 285
Jan Six [1618-1700]. With drypoint and burin. Fourth state of four. Signed and dated Rembrandt f. 1647. Haarlem.
The signature appeared in the second state, and in the fourth the inscription with the sitter’s name and age: JAN SIX AE. 29. The patrician poet Six was in close contact with Rembrandt over a long period of years (see B 112).
