The Project Gutenberg EBook of Rembrandt and His Etchings by Louis Arthur

The Project Gutenberg EBook of Rembrandt and His Etchings by Louis Arthur
Holman

This eBook is for the use of anyone anywhere at no cost and with almost no
restrictions whatsoever. You may copy it, give it away or re-use it under
the terms of the Project Gutenberg License included with this eBook or
online at http://www.gutenberg.org/license

Title: Rembrandt and His Etchings

Author: Louis Arthur Holman

Release Date: January 8, 2010 [Ebook #30895]

Language: English

Character set encoding: UTF‐8

***START OF THE PROJECT GUTENBERG EBOOK REMBRANDT AND HIS ETCHINGS
***

[No. 168. Rembrandt Leaning on a Stone Sill]

_No. 168. Rembrandt Leaning on a Stone Sill_

Rembrandt and His Etchings

A Compact Record of the Artist’s Life, his Work and his Time. With the
Complete Chronological List of his Etchings Compiled by A. M. Hind, of the
British Museum

Louis A. Holman

Charles E. Goodspeed & Co., Boston
1921

CONTENTS

REMBRANDT AND HIS ETCHINGS
COMPLETE CHRONOLOGICAL LIST OF THE ETCHINGS OF REMBRANDT
LIST OF THE REJECTED ETCHINGS

ILLUSTRATIONS

_No. 168. Rembrandt Leaning on a Stone Sill_
_No. 116. Two Tramps._
_No. 1. Rembrandt’s Mother._
_No. 210. Omval._
_No. 290. Jan Lutma, Goldsmith and Sculptor._
_No. 183. Jacob and Laban (?)._
_No. 228. Jan Six._
_Tobias and the Angel. By Hercules Seghers_
_(No. 266). The Flight into Egypt._
_No. 129. Old Woman Sleeping._

REMBRANDT AND HIS ETCHINGS

[No. 116. Two Tramps.]

_No. 116. Two Tramps._

“A fair & bewtiful citie, and of sweete situation” and famous for “ye
universitie wherwith it is adorned;” such was Leyden as the fresh eyes of
the youthful William Bradford saw it when the little company of English
exiles, later revered as the Pilgrim Fathers, sought asylum in Holland.
The fame of Leyden was to be further perpetuated, although Bradford knew
it not, by one who had but just been born there when the English pilgrims
came to the friendly university town; one who has added to the fame of his
native place chiefly because he did not attend that university, which
seemed so attractive to young Bradford. The father of this boy determined
that he should have a collegiate education that he might sometime hold a
town office, and fondly hoped that he was preparing him for it (in,
perhaps, the very schools attended by the English children), when the lad
made it clear to all men that he had no head for Latin and a very decided
talent for drawing. So it came to pass that at the time Bradford and his
friends set their faces toward America, and per-force turned their backs
upon that “goodly & pleasante citie which had been ther resting place near
twelve years,” Rembrandt Harmens van Rijn, the youngest son of a miller of
Leyden, turned his face, too, from the old toward the new. They sought
liberty to live and to worship according to the bright light in their
hearts: he, too, sought liberty to follow in a no less divinely appointed
path, impelled thereto by an irresistible force which, after half a
century, retained all its early vigor. They broke from the ways of their
fathers and bore an important part in the development of the great
American nation; he emancipated himself and his art from the thraldom of
tradition and conventionality and became the first of the great modern
masters of art.

The twelve-years’ truce between the humiliated Dons and the stocky
Dutchmen was now nearing its end, and Bradford says, “There was nothing
but beating of drumes, and preparing for warr.” This was one of the
reasons why the peaceable Pilgrims sought a new home beyond the sea. But
Rembrandt, already absorbed in his art-studies, saw nothing, heard nothing
of these preparations; his ears were deaf to the drum-beats, his eyes were
seeing better things than the “pride, pomp and circumstances of glorious
war”. There can be no question about his utter lack of interest in things
military. When, at long intervals, he tried war-subjects (as most men
sooner or later try their hand at the thing they are least fitted for) he
failed pitifully. He could create a masterpiece of a “Man in Armor,” or a
“Night Watch,” where the problems were purely artistic, and swords and
flags were simply bits of fine color, but the painting or etching that
breathed the actual spirit of war he could not produce. There is matter
here for rejoicing. War and her heroes have had their full quota of the
great artists to exalt their work. And now comes one who loved the paths
of peace. With brush and etching-needle he made record for all time of
the dignity and rare beauty which he found in ordinary hum-drum walks of
life. We may even say that he exalted doctors and artists, housemaids and
shopkeepers, yea even the very street-beggars, into such important
personages that their portraits are still eagerly sought after by the
great ones of the earth. It was during the lifetime of Rembrandt
(1606-1669) that much of the wonderful development of Holland took place.
She had come to her greatness gradually, but by the middle of the
seventeenth century she occupied a leading place among the independent
nations of Europe. Great discoverers, like Henry Hudson, had given her
new dominions east and west, and colonization had begun. On the sea her
flag was supreme; her merchant marine, going to and from her own
possessions was seen in every port of the world; her admirals, Ruyter and
Tromp, had won her an illustrious place forever in the annals of naval
warfare. These were the days of Milton and Ben Jonson; of Cromwell,
Gustavus Adolphus and Richelieu; of Murillo, Rubens and Van Dyck—days when
Holland had within her own borders such men as Barneveld, the great
statesman; Grotius, the father of international law; Spinoza, the
philosopher and John de Witt, the Grand Pensioner—besides that noble group
of artists: Hals, Cuyp, Ruysdael, Potter, Steen and Ostade. These days,
too, saw the settling of many states in America, the founding of Quebec,
New York and Boston.

Strangely apart from all these history-making movements, and from his
peers among men, dwelt Rembrandt, the great master, in Amsterdam, serenely
happy to-day in painting a portrait of his loved Saskia, to-morrow in
etching the features of a wandering Jew. He had given himself, body and
soul, to his art, and no man or movement of men could distract him from
his work. Year by year his busy brain and dexterous hand produced
paintings, etchings, drawings, in slightly varying proportion, but always
in amazing quantity. For his forty-one productive years we find to his
credit the average annual output of thirteen paintings, nine etchings, and
thirty-nine drawings. And these numbers would be materially greater,
doubtless, had we a full record of his work.

A few decades ago the ordinary person thought of Rembrandt only as a great
painter; that time has fortunately passed. Modern engraving methods have
made it possible to spread broadcast reproductions of his etched work.
Thanks to these mechanical engraving-processes some of Rembrandt’s
etchings are now familiarly known and, to a degree at least, they are
appreciated. No reproduction, however, can ever give the subtle quality
of the original, and a revelation comes to one who looks for the first
time on some brilliant, early impressions of his famous plates. The ink
is still alive; the Chinese or Japanese paper which Rembrandt generally
used, has sometimes gone very yellow and spotted, but oftener it has the
fine mellowness of age. We treat it with respect, almost with reverence,
for we recall that these very sheets of paper were dampened and laid upon
the etched plate, already prepared by the hands of the great etcher
himself. Each impression he pulled was as carefully considered as the
biting of the copper plate. He varied the strength of the ink, the method
of wiping, the pressure used; knowing the possibilities of his plate, he
so manipulated it that it responded to his touch as a piano responds to
the touch of a musician. The poor impressions and very late states, of
which, unfortunately, many exist, are generally the work of those
mercenary ones into whose hands the plates fell after his death—sometimes
even before. Like a man with no music in his soul attempting to improve
upon a sonata by Beethoven, these people not only printed, haphazard, poor
impressions having the master’s name, but sometimes even undertook to
rearrange the composition and often to rework the plate.

[No. 1. Rembrandt’s Mother.]

_No. 1. Rembrandt’s Mother._

A hundred years before Rembrandt’s time acid had been used to help out the
graver. Durer, among others, used it, and he employed also, but in
hesitating manner, the dry-point with its accompanying burr. Rembrandt’s
method of utilizing the roughness thrown up on the copper by the dry-point
needle was a development of its possibilities that no one else, even among
his own pupils, has ever equaled. It was much the same with everything
else: the burin of the professional engraver he handled so skilfully that
it is impossible to tell where the acid or the dry-point work stopped and
the reinforcing work of the graver began. When others tried to combine
these methods they failed. The hand of Rembrandt was the obedient servant
of his mastermind: so well trained was it that with a preliminary sketch
or without it, the needle produced on the smoked wax surface of the copper
the picture which floated before him, so correctly that the brain was not
diverted from the ideal picture by any crudity in the lines. If the
tools, methods, and effects which the great engravers had used suggested
anything to him, he freely took them up and bent them to his will. Making
free use of all, binding himself to none, he always remained the
versatile, independent student. And the strangest thing about it all is
that he appears to have recognized, grappled with, and forever solved the
problems of the art while nothing but a youth. One of the two etchings
which bear the earliest date (1628) and signature is known as “Rembrandt’s
Mother: Head and Bust” (No. 1.) It is a delightful little plate, drawn
with all the skill and freedom of a practiced hand. Frederick Wedmore, an
English authority on etching says that “nothing in Rembrandt’s work is
more exhaustive or more subtle,” and S. R. Koehler, an American authority,
called it “a magnificent little portrait, complete artistically and
technically,” and very truly refers to it as “a prefiguration of what was
to come.” A man of twenty-two years already a master-etcher!

[No. 210. Omval.]

_No. 210. Omval._

This etching measures just about two and a half inches square. There are
others about the size of a postage-stamp, while the largest one, “The
Descent from the Cross” (No. 103), is twenty-two by sixteen and a half
inches. The amount of labor on these large plates is overpowering, while
the workmanship in the smaller ones is almost unbelievably fine—think of a
child’s face not over one-eighth of an inch wide, and hands less than a
sixteenth of an inch across, yet really eloquent with expression!

Rembrandt accepted the assistance of his pupils, as who among the old
masters did not? He was, however, not practical enough to profit much by
them: he could work to much better advantage alone. Among his thirty or
forty pupils Ferdinand Bol, who came to his studio when only sixteen and
stayed for eight years, gave his master most assistance. Bol’s rendering
is at times very much like Rembrandt’s. Some critics think, for instance,
that he etched most of the “Goldweigher” (No. 167) and “Abraham Caressing
Isaac” (No. 148); both, however, are signed by Rembrandt. When these
pupils established studios of their own, they made free use of their old
master’s compositions, subjects and figures.

With Jan Lievens, his fellow student at Lastman’s studio, with van Vliet,
Roddermondt and other engravers and etchers of the time, Rembrandt was
on terms of great intimacy. They appear often to have worked on the same
plate, and to have borrowed each other’s ideas “without let or hindrance.”
Indeed, it is hard to comprehend the extent to which exchange of ideas was
carried at that time. Here is a good illustration of the way things went
without protest of any sort being raised. Hercules Seghers etched a large
landscape with small figures, after a painting by Adam Elzheimer and an
engraving by Count de Goudt, entitled “Tobias and the Angel.” This copper
plate came into Rembrandt’s possession; he burnished out Tobias and his
companion, and replaced them by Joseph, Mary and the Holy Child (No. 266).
To cover the erasure he added foliage, but the wing of the angel, the
outlines of a leg and various other unused portions of Tobias can still
be seen. Rembrandt’s reason for bothering with this plate is
incomprehensible. He improved it, undoubtedly, but the composite result
is exceedingly commonplace and reflects no credit upon any one. John
Burnet, the etcher-author, has drawn attention to the fact that the figure
of Christ in “Christ at Emmaus” (No. 282) is taken from one by Raphael,
who is known to have borrowed it from da Vinci, and it is thought da
Vinci, in his turn, got it from a former master. Rembrandt borrowed also
from Rubens, Titian, Mantegna, his pupil Gerard Dou, Van de Velde and
others. Many of his contemporaries and successors extended toward him
the same sort of flattery.

More than half the subjects of Rembrandt’s etchings are portraits and
studies of the human figure; about one-quarter are scriptural or
religious. There are two dozen landscapes, and the remainder are
allegorical and fancy compositions. We find then the two most productive
sources of his inspiration were the men of his day and the men of the
Bible. This book appears to have been the only one he knew at all well,
but of it he made excellent use. Despite the incongruities of his
Biblical compositions, despite the broad Dutch features, the modern,
gorgeous apparel and side-whiskers of the patriarchs, the pugilistic
proportions of his angels, his etchings have a truth and vital force that
there is no withstanding. Perhaps the very fact that he clothed his
people in a fashion that he knew well made his pictures the more
successful in reaching the hearts of men. In the all too realistic
“Abraham’s Sacrifice” (No. 283), in “Joseph’s Coat Brought to Jacob” (No.
104), in the naive “Rest on the Flight” (No. 216), and many, many others,
the story-telling quality is exceeding strong and the artistic work above
criticism. When we look at “David in Prayer” (No. 258), beside his
incongruous four-post bedstead, we cannot but feel that here penitence and
sincerity is forcefully depicted. The acme of Rembrandt’s religious work
was reached, however in “Christ, with the Sick Around Him” (No. 236)
(etched about 1650), which is often called the finest piece of etched work
that has ever been produced. It is a combination of pure etching and
dry-point, and in the second state, there is an India-ink wash in the
background. There are, I think, nine copies of the first state extant;
the last one sold at public auction (Christie’s, 1893) brought over
$8,500. While the Christ here is not so satisfying as the one in “Christ
Preaching” (No. 256) which is remarkably strong and noble, it is
Rembrandt’s typical conception of our Lord—always ministering to real
flesh and blood, the poor, suffering, common people. What a striking
contrast with the resplendent artificiality which surrounds the Christ of
the Italian masters.

[No. 290. Jan Lutma, Goldsmith and Sculptor.]

_No. 290. Jan Lutma, Goldsmith and Sculptor._

Rembrandt was his own most frequent model. He painted about sixty
portraits of himself, and among his etchings we find about two score more.
Some of them are large and finished, as the deservedly popular “Rembrandt
Leaning on a Stone Sill” (No. 168), which is a perfect example of the
possibilities of the etching-needle; others are mere thumb-nail sketches
of various expressions of face. He used his mother many times, and also
his wife and son. In all these is apparent a delightful sense of joy in
his work. Nor is this desirable quality lacking in the wonderful series
of large portraits of his friends: the doctors, the ministers, the
tradesmen of Amsterdam. Perhaps these were pot-boilers, as some students
of his work say, but surely never artist before or since produced to
order a group of etchings that, taken entirely apart from his other plates
would assure their author a high place among the greatest etchers. In the
whole lot there are few that some authority on etching or some great
artist has not held up as an example of work that even the master himself
never surpassed. But an artist cannot always keep himself at concert
pitch and when Rembrandt etched the portrait of his friend “Abraham
Francen” (No. 291) I feel that he struck an uncertain, almost false note,
unworthy of himself. We might, perhaps, account for this by saying, that
it was done in 1656, the year of his bankruptcy were it not that the
noble “Jan Lutma” (No. 290) which competes with the “Jan Six” (No. 228)
for the place of masterpiece of the entire series, was made the same year.
But he was an unaccountable sort of man who could produce in a poor, naked
studio, with untold trouble stalking him on all sides, such an etching as
the “Lutma,” such a painting as the “Syndics of the Draper’s Guild,” both
of which rank with the best products of his happy, care-free years of
luxury.

It is noticeable that Rembrandt had no sittings from persons of high
rank. So far as I can find “Burgomaster” is the most exalted title that
can with certainty be given to any of his patrons. The reason is not far
to seek. Rembrandt was not a courtier like Van Dyck and Rubens; he was
too independent and too busy to spend time kow-towing to society. A
contemporary says of him, “When he painted he would not have given
audience to the greatest monarch on earth.” He calmly set at nought
established principles and conventional rules, in etiquette as well as in
art, and followed the bent of his genius with absolute disregard for the
opinions of his fellows. The story of “Night Watch” is characteristic of
Rembrandt and shows the whole situation in minature. The members of
Captain Banning Cocq’s Company of the Civic Guards were flattered by the
offer of Rembrandt, then at the height of his fame, to paint their
portraits. The sixteen members destined to figure in the picture gladly
subscribed one hundred florins each, and great were their expectations;
but even greater their disappointment when the picture was placed on view.
All but a half-dozen felt that they had a distinct grievance against the
painter. Had they not paid for portraits of themselves? And they
got—what? Here a face in deep shadow, here one half-hid by the one in
front, here one so freely drawn as to be unrecognizable. The artist had
made a picture, to be sure—but their portraits! Where were their
portraits—the portraits they had paid for? Rembrandt had thought out
every inch of his picture: he was sure it could not be better, and change
it he would not. The resentment was bitter and deep, and the Civic Guards
in future bestowed their favors elsewhere.

There were, however, some fellow citizens who recognized his genius and
sincerity. These stood by him. Samuel Manasseh ben Israel, whom Cromwell
honored, was his neighbor on the Breedstraat, and an intimate friend.
Then there were Jan Sylvius and Cornells Anslo, the Protestant ministers;
Fan Asselyn and Clement de Jonghe, who were artists; Bonus and Linden, the
physicians; Lutma, the goldsmith, and young Jan Six, “Lover of science,
art and virtue.” These and a few others are known and honored to-day
chiefly because they were Rembrandt’s friends. His recognition of their
faithulness to him was shown in a much more permanent form than they knew.
Good impressions of his etched portraits of these men are still to be
seen. They are, like all his etchings, rapidly increasing in value. A
“Jan Six” sold recently for over $14,000; an “Ephraim Bonus” (No. 226) for
$9,000. To possess such a portrait of an ancestor is little short of a
patent of nobility. The Six family of Amsterdam happily have not only
Rembrandt’s oil-portraits of the Sixes of his day, but also good
impressions of the etching of the burgomaster, and even the plate
itself—that famous dry-point plate, which the artist worked on for weeks,
and which his critics have worked over ever since. Some of these critics
hold that even Rembrandt should not have attempted such complete tonality
in an etching, that Jan Six urged him to it, and that, in short, as an
etching, it comes near to the failure line. Other critics believe that
the artist’s idea was to show the utmost extent to which the art could be
carried, and that in so doing he produced a masterpiece. Middleton, for
instance, thinks that “it is not possible to conceive a move beautiful and
more perfect triumph of the etcher’s art.” Few, it is safe to say, can
see a good impression of an early state of this portrait without being
struck by its great originality and beauty, and upon closer study, I feel
a fair-minded person will inevitably fall under the spell of the
wonderfully drawn face and hands, the deep, transparent shadows, and the
soft, tender light which envelopes the whole.

[No. 183. Jacob and Laban (?)]

_No. 183. Jacob and Laban (?)._

[No. 228. Jan Six.]

_No. 228. Jan Six._

[Tobias and the Angel. By Hercules Seghers]

_Tobias and the Angel. By Hercules Seghers_

[(No. 266). The Flight into Egypt.]

_(No. 266). The Flight into Egypt._

Although Rembrandt had a few such cultivated friends as those mentioned
above, it was said of him by a contemporary German painter that “his art
suffered by his predilection for the society of the vulgar.” It certainly
would have been more profitable for Rembrandt if he had always portrayed
people of position and wealth, but that his art suffered because he many
times used beggers for models it would be impossible to show. An
interesting series of tramps, peddlers and outcasts began with the
beginning of his career as an etcher, and ended twenty years later with
the production of one of his most popular plates, “Beggars Receiving Alms
at the Door of a House,” (No. 233) a very freely handled, splendidly
composed etching, in which surprisingly few lines judiciously placed do
the work usually allotted to double their number. A little plate of less
than four square inches, entitled “The Quacksalver,” (No. 139), strikes me
as the masterpiece of this series. Although Van de Velde is supposed to
have given Rembrandt the idea for his drawing, his genius made it his own
in realism and movement, and in its beauties of line, color and texture.
“An Old Woman Sleeping” (No. 129)), although scarcely to be included in
this series, is another that has wonderful spontaneity. This is no posed
model, but one who has actually fallen asleep over her book; Rembrandt
sees her, and before her “forty winks” are over, she is immortalized, and
probably she never knew it. About 1640 Rembrandt began etching
landscapes. They are free and simple in composition and treatment and
show even greater force and more suggestive power than those that he
painted. Practically all of his two dozen landscape plates hold
undisputed first rank. They always have and probably always will. In
“Landscape with Trees, Farm-buildings and a Tower” (No. 244), the tower is
“ruined” in the third state. A first state print at the Boston Museum of
Fine Arts shows the tower in good preservation. One of these prints sold
at auction not long ago for over $9,000. Another of the exceedingly
satisfactory etchings in the series, one that has exercised a great
influence on landscape etching all the world over, is “Omval” (No. 210).
Its creator seemed fond of the fine old tree in this plate. He used it
several times elsewhere. “Six’s Bridge” (No. 209) which is almost pure
outline, and the “Three Trees” (No. 205), with its great sweep of flat
country, have a right to all the praise showered upon them. They, too,
are masterpieces.

While Rembrandt’s genius made itself manifest in his landscapes, it surely
is absent from most of his animal drawings. We must remember that if he
ever went outside of Holland it was for a few months to the east coast of
England, and that the opportunity for studying any great variety of
animals in either place was not great. His horses, asses, hogs, etc.,
improve as the years advance. The little dog with the collar of bells is
well drawn. He, undoubtedly, was a member of the family.

It is an interesting fact, at a time when the illustrating of books and
magazines is such an important art, to know that Rembrandt was offered and
accepted some commissions to make illustrations for books. These attempts
to give form to another’s ideas were not successful—in one case it was
such a failure as to leave it still uncertain what he intended to
illustrate. Vosmaer, his great biographer, says that this print “The Ship
of Fortune” (No. 106), pictures incidents in the life of St. Paul, while
Michel, another biographer, thinks that it illustrates events which gather
about Mark Anthony and the battle of Actium!

A score of men—Bartsch, Wilson, Blanc, Middleton, Rovinski, to mention a
few—have at sundry times and in divers places compiled annotated
catalogues of Rembrandt’s etchings. They, and other students like
Vosmaer, Haden, Hamerton and Michel, have given years to study and travel
in connection with their books on Rembrandt. All lovers of etching
appreciate this and are grateful. Nevertheless, it is amusing sometimes
to compare their expert testimony. About 1633 somebody etched a “Good
Samaritan.” Several of these experts regretfully, but frankly, admit that
Rembrandt is the guilty one. Others are sure that a pupil did the worst
of the work; Haden says it is entirely the work of another hand; while yet
another declares that of all Rembrandt’s etchings this particular “Good
Samaritan” (No. 101) is his favorite. Middleton, to give another
instance, thinks that the thick lines from top to bottom, in the fourth
state of the “Christ Crucified between Two Thieves,” (“The Three Crosses”)
(No. 270) are not Rembrandt’s work, for they serve “to obliterate, conceal
and mar every excellence it had possessed.” Haden, however, considers
that the time of darkness is represented, and that this particular state
is far the finest in effect. Much confusion arises from the fact that
sometimes all the states of a plate under discussion are not known to each
critic. The whole matter of states is a confusing one. The old idea was
that Rembrandt produced various states in order to make more money. But
it seems plain now that when Rembrandt changed a plate it was for much
better reasons than the making of a few guilders. We know, for instance,
that the “Jan Six” plate was changed twice to make needed corrections, and
that the second state of the first portrait of his mother simply carries
out the original design. On the other hand, it obviously could not have
been Rembrandt who made the third state of the “Jan Lutma,” with its hard,
ruled lines and great unnecessary window.

If in the days of hardship, when his son, Titus, peddled his etchings from
door to door, he could have foreseen the great army of admirers who three
centuries later should outbid each other at auctions, and make war in
print over his experimental plates, his failures and his trial-proofs—now
often exalted into “states”—the very irony of the thing would surely have
brought him genuine satisfaction and relaxation.

Rembrandt has said of himself that he would submit to the laws of Nature
alone, and as he interpreted these to suit himself, he cannot be said to
have painted, or etched, or done anything in accord with our
interpretation of recognized or well-grounded laws. With him it was
instinct, pure and simple, from youth to old age. He had no secret process
of painting or etching; but he had an amazing genius for both.

One October day in 1669 an old man, lonely and forgotten, died in
Amsterdam. They buried him in the Wester Kerk and, that he might not be
confounded with some other old man, they wrote in the “Livre Mortuaire” of
the Kerk, “Tuesday, 8th oct., 1669, rembrant van rijn, painter on the
rozengraft, opposite the doolhof. leaves two children.”

Of material things he left little; but the two children: Cornelia, his
fifteen year old daughter, and Titia, the posthumous, infant child of
Titus, would keep his name alive! Less than a score of years and the
family record comes to an abrupt end. No one to-day may claim descent
from Rembrandt, but his name has not perished from the earth, nor his
influence abated among the sons of men. His name took on new life when he
laid it aside; his influence strengthened when he ceased personally to
exercise it. Who of us is not his grateful heir? Who does not now do
loving reverence to this poor “painter on the rozengraft, opposite the
doolhof?” He surely stands among the immortals, one of the foremost
painters of all time, the greatest etcher that has yet appeared.

NOTE—The foregoing article was published a few years ago in _The
Craftsman_. Of the many commendations received at that time we print but
one:

“New York, Dec’r. 5, 1906. Dear Mr. Holman; *** I send you my special
thanks for your article on the etchings of Rembrandt. I have read it
carefully, and let me say plainly that I think is the best short treatise
on this great subject which ever I have read. The knowledge of the
subject as treated by many writers is so superficial—but yours is
profound. You have evidently made a serious study of your subject. Yours
very truly,”

(Signed) Frederick Keppel.

[No. 129. Old Woman Sleeping.]

_No. 129. Old Woman Sleeping._

COMPLETE CHRONOLOGICAL LIST OF THE ETCHINGS OF REMBRANDT

Here re-printed from Hind’s _Rembrandt’s Etchings_ (London, 1912) by
special arrangement with the publishers, Methuen & Co.(1)

ABBREVIATIONS, ETC.

h.—head
b.—bust
r.—right
l.—left
S.—signed
D.—dated
ab.—about
R.—Rembrandt
Imp.—impression
I S., V S., etc.—first state, fifth state, etc.
2 S., 7 S., etc.—two states, seven states, etc.
When no number of states is given there is but one.
Mod.—Modern impression. (This does not count as a state.)
†—of doubtful authenticity. [only.]

The sizes are of the plates,—not of the etched surface.

When the states vary in size that of the first state alone is given.

The sizes are given in millimeters. 25 millimeters equal about 1 inch.

1 * R’s Mother: *h. & b. three-quarters r. (After I S. S. & D.),
1628. 2 S. 66×63
2 * R’s Mother:* h. only, full face. (After I S. S. & D.). 1628.
2 S. 85×72
2* * R. With a Broad Nose.* Ab. 1628. 70×58
3 * R. Bareheaded, with high curly hair:* h. & b. Ab. 1628.
90×72
4* R. Bareheaded:* large plate roughly etched: h. & b. S. & D. (in
reverse) 1629. 178×154
4* * Aged Man of Letters.* Ab. 1629. 238×200
5* Peter and John at Gate of Temple:* roughly etched. Ab. 1629-30,
221×170
6 * Small Lion Hunt (with one lion).* Ab. 1629-30.
158×118
7 * Beggar Man and Beggar Woman Conversing.* S. & D., 1630. 2 S.
Mod. 78×66
8 * Beggar Seated Warming Hands at Chafing Dish.* Ab. 1630. 2 S.
78×46
9 * Beggar Leaning on Stick, facing l.* Ab. 1630. 85×46
10 * Beggar in Long Cloak, sitting in arm-chair.* Ab.
1630.115×78
11 * Beggar Seated on Bank.* S. & D., 1630. 2 S. 116×69
12 * Beggar with Wooden Leg.* Ab. 1630. 3 S. Mod. 114×66
13 * Beggar Man and Beggar Woman, behind bank.* (I, II, III S. S.)
Ab. 1630. 7 S. 116×84
14 * Man in Cloak and Fur Cap, leaning against bank.* S. (in
reverse). Ab. 1630. Mod. 112×78
15 * Beggar in High Cap, standing and leaning on stick.* Ab.
1630, or later? 2 S. 156×120
16 * Ragged Peasant with Hands Behind Him,* holding stick. Ab. 1630.
5 S. 92×77
17 * Flight into Egypt:* sketch. Ab. 1630. 6 S. 135×84
18 * Presentation in Temple* (with the angel): small plate. S. & D.,
1630. 2 S. 120×78
19 * Circumcision:* small plate. Ab. 1630. 88×64
20 * Christ Disputing with Doctors:* small plate. (I & II S. S. &
D.), 1630. 3 S. Mod. 109×78
21 * B. of Man (R’s Father?),* Full face, wearing close cap. (After
I S. S. & D.), 1630. 6S. 97×73
22 * B. of Man (R’s Father?),* Wearing high cap, three-quarters r.
S. & D., 1630. 3 S. Mod. 105×78
23 * Bald-Headed Man (R’s Father?)* Profile r. h. only, b. added
afterwards. S. & D. 1630. 3 S. 118×97
24 * Bald-Headed Man (R’s Father?),* Profile r.; small b. S. & D.,
1630. 2 S, 57×43
25 * Three Studies of Old Men’s Heads.* Ab. 1630. 79×81
26 * B. of Old Man with Flowing Beard and White Sleeve.* Ab. 1630.
71×64
27 * B. of Old Man.with Flowing Beard:* h. bowed forward: l.
shoulder unshaded. S. & D., 1630. 89×75
28 * B. of Old Man with Flowing Beard:* h. inclined three-quarters
r. S. & D., 1630. 98×81
29 * R. in Fur Cap:* dress light, b. S. & D., 1630. 5 S. 92×70
30 * R. Bareheaded,* in sharp light from r.; looking over his
shoulder: b. S. & D., 1630. 3 S. 75×75
31 * R. Bareheaded and Open-Mouthed,* as if shouting: b. S. & D.
1630. 3 S. 83×72
32 * R. in Cap, Open-Mouthed and Staring:* b. in outline. S. & D.,
1630. 51×46
33 * R. Bareheaded, with Thick Curling Hair* and small white collar:
b. S. Ab. 1630. 2 S. 57×49
34 * R. in Cap,* laughing: b. S.
& D., 1630. 6 S. 50×44
35 * R. Bareheaded,* leaning forward as if listening: b. Ab. 1630.
67×53
36 * R. Bareheaded,* leaning forward: b. lightly indicated. Ab.
1630-31. 4 S. 61-64×48-49
37 * H. of Man in Fur Cap,* crying out. Ab. 1631. 4 S. 34×28
38 * Blind Fiddler.* S. & D., 1631. 4 S. 78×53
39 * H. of Man in High Cap:* three-quarters r. Ab. 1631. 2 S. 36×22
40 * Polander Standing with Stick:* profile to r. S. & D., 1631.
58×21
41 * Sheet of Studies of Men’s Heads.* S. (in reverse). Ab. 1631.
2 S. 98×124
41a * Old Bearded Man Nearly in Profile to r.:* mouth half open. 5
S. (After II S. 36×28)
41b * Old Man in Fur Coat and High Cap:* b. 9 S. (After III S.
36×28)
41c * Old Man Seen from Behind:* Profile to r.: half figure. 6 S.
(After II S. 72×42)
41d * Man in Square Cap,* in profile r. 4S. (After II S. 45×23)
41e * Man Crying Out,* three-quarters l.: b. 7S. (After II S.
39×34)
42 * Diana at the Bath.* S. Ab. 1631. 177×158
43 * Naked Woman Seated on Mound.* S. Ab. 1631. 3 S. 177×160
44 * Jupiter and Antiope:* smaller plate. S. Ab. 1631. 3 S.
84×112
45 * Man Making Water.* S. & D.. 1631. 2 S. 84×49
46 *Woman Making Water.* S. & D., 1631. 84×63
47 *B. of Old Bearded Man Looking Down,* three quarters r. S. & D.,
1631. 2 S. 119×117
48 * B. of Old Man with Flowing Beard:* h. nearly erect: eyes
cast down: looking slightly l. S. & D., 1631. 2 S. 67×64
49 * B. of Old Man with Fur Cap and Flowing Beard:* nearly full
face: eyes direct. Ab. 1631. 2 S. 62×53
50 * R’s Mother with Hand on Chest:* small b. S. & D., 1631. 4S.
Mod. 94×66
51 * R.’s Mother Seated Facing R.,* in Oriental head-dress: half
length, showing hands. S. & D., 1631. 3 S. 145×129
52 * R.’s Mother Seated at Table Looking R.:* three-quarter
length. S. Ab. 1631. 4 S. 147×130
53 * Bearded Man (R.’s Father?)* in Furred oriental cap and robe:
half length. (After IS. S. & D.), 1631. 4 S. 146×130
54 * R. Wearing Soft Hat, Cocked:* h. only: body added afterwards
(On IV-VII S. S. & D.), 1631. 9 S. 146×130
55 * R. with Long Bushy Hair,* h. only. Ab. 1631. 6 S.
90×76
56 * R. in Heavy Fur Cap:* full face: b. S. & D. 1631.
63×58
57 * R. Wearing Soft Cap:* full face: h. only Ab. 1631. 50×44
58 * R. with Cap Pulled Forward:* b, Ab. 1631. 5 S. Mod.
56×45
59 * R. with Fur Cap,* in oval border: b. Ab. 1631 (or
earlier). 90×53
60† * R. with Bushy Hair and Contracted Eyebrows:* b. S. & D., 1631.
3 S. 59×55
61 *R. Bareheaded,* light from r.: b. (II S. only. S.) Ab. 1631. 2
S. 65×63
62† * R. in Slant Fur Cap:* b. S. & D., 1631. 2 S. 63×56
63 * R. in Cloak with Falling Collar:* b. S. & D., 1631. 5 S. 64×54
64† * R. with Jewel in Cap.* Ab. 1631. 2 S. 84×79
65† * B. of Young Man in Cap.* (I S. only. S. & D.), 1631. 2 S.
61×57
66 * R. in Dark Cloak and Cap:* b. Ab. 1631. 3 S. 84×82
67 * R. (?) Scowling,* in octagon: h. only. Ab. 1631. 38×35
68 * Grotesque Profile:* man in high cap. Ab. 1631. 4 S.
38×25
69 * Peasant with Hands Behind Back.* S. & D., 1631. 4 S. 59×49
70† * B. of Snub-Nosed Man in Cap:* profile r. S. & D., 1631. 43×38
71† * B. of Man in Cap,* bound round the ears and chin. Ab. 1631.
54×38
72 * Beggar with Stick,* walking, l. S. & D.. 1631. 3 S.
82×39
73 * Beggar with L. Hand Extended.* (After I S. S. & D.). 1631.
5 S. 77×50
74 * Blindness of Tobit:* sketch. Ab. 1631. 5 S. 81×70
75 * Seated Beggar and Dog.* (II S. only. S. & D.), 1631. 2 S.
109×81
75* * Stout Man in Large Cloak.* Ab. 1631. 113×74
76† * Old Woman Seated In Cottage,* with string of onions on wall.
(II S. only. S. & D.). 1631, 3 S. 128×89
77 * Leper **“**Lazarus Klap.**”* (After I S. S. & D, 1631). 6 S.
102×76
77* * Beggar Man and Beggar Woman.* Ab. 1631. 101×76
78 * Two Beggars Tramping Towards R.* (On II S. S.) Ab. 1631.
2 S. 95×59
78* * Two Studies of Beggars.* Ab. 1631. 93×74
79 * Beggar with Crippled Hand Leaning on Stick R.* Ab. 1631. 5
S. 97×42
80 * Old Beggar Woman with Gourd.* Ab. 1631. 2 S. Mod. 102×45
81† * Beggar Standing Leaning on Stick L.:* small plate. (S. Ab.
1631. 42×20
82† * B. of Old Woman in Furred Cloak* and heavy head-dress. S. &
D., 1631. 5 S. 58×53
83† *B. of Old Woman in High Head-Dress* bound round chin. Ab. 1631.
2 S. 71×72
84† * B. of Beardless Man (R.’s Father?)* in fur cloak and cap:
looking down: three-quarters l. S. & D. (twice), 1631. 3
S. 74×58
85† * B. of Bald Man (R.’s Father?)* in fur cloak looking r. S. &
D., 1631. 3 S. 66×58
85† * B. of Bald Man Looking Down, Grinning.* S. & D., 1631. 3 S.
69×57
87† * B. of Old Bearded Man with High Forehead* and close cap. S. &
D., 1631. 2 S. 88×74
88† * B. of Old Man Looking Down,* with wavy hair and beard:
cap added afterwards. (II S. only. S.) Ab. 1631. 3 S.
57×49
89† * Small B. of Bearded Man Looking Down,* with eyes nearly
closed. Ab. 1631? 2 S. 44×44
90 * Sheet of Studies:* h. of R., beggar couple, h.’s of old man
and old woman, etc. Ab. 1632. 2 S. 101×113
91† * R.’s Mother in Widow’s Dress and Black Gloves.* S. Ab.
1632? Mod. 150×114
92 *Old Man Seated, with Flowing Beard,* fur cap and velvet cloak.
S. & D. Ab. 1632. 3 S. Mod. 150×129
93 * Man Standing in Oriental Costume* and plumed fur cap S. & D.,
1632. Mod. 107×78
94 * St. Jerome Praying:* arched print. S. & D., 1632. 3 S.
108×80
95 * Holy Family.* S. Ab. 1632. 95×71
96 * Raising of Lazarus:* larger plate. S. Ab. 1632. 12 S. Mod.
366×258
97 * Rat-Killer.* S. & D., 1632. 2 S. 140×124
98 * Polander Leaning on Stick:* profile l. Ab. 1632. 6 S. 82×43
99 * Turbaned Soldier on Horseback.* S. (in reverse). Ab. 1632.
2 S. 81×58
100 * Cavalry Fight.* Ab. 1632-3. 2 S. 108×83
101 * Good Samaritan.* (I V S. only. S. & D.), 1633. 4 S. 258×218
102 * Descent from Cross:* first plate. S. & D., 1633. 516×402
103 * Descent from Cross:* second plate. S. & D., 1633. 5 S. Mod.
530×410
104 * Joseph’s Coat Brought to Jacob.* S. Ab. 1633. Mod. 107×80
105 * Flight into Egypt:* small plate. S. & D., 1633. 2 S. 89×62
106 * Ship of Fortune.* S. & D., 1633. 3 S. 111×177
107 * R.’s Mother in Cloth Head-Dress,* looking down: h. only.
(After I S. S. & D.), 1633. 3 S. 62×58
108 * R. in Cap and Scarf:* face dark: b. (II S. only. S. & D.),
1633. 2 S. Mod. 146×ab. 119
109 * R. with Raised Sabre:* half length. S. & D., 1634. 3 S.
124×108
110 * R. with Plumed Cap and Lowered Sabre:* three-quarter length:
afterwards b. in oval. S. & D., 1634. 3 S. Mod. 197×162
111 * Jan Cornelis Sylvius, Preacher. (?)* S. & D.. 1634. 2 S.
Mod. 167×140
112 * R.’s Wife Saskia,* with pearls in her hair, b. S. & D., 1634.
86×66
113 * Woman Reading.* S. & D., 1634. 3 S. 123×100
114 * Peasant, One of Pair, Calling Out.* S. & D., 1634. 112×43
115 * Peasant: Other of Pair, Replying.* S. & D., 1634). 111×93
116 * Two Tramps,* Man and woman. Ab. 1634. 62×47
117 * Sheet of Two Slight Studies:* one of two peasants Ab. 1634.
45×75
118 *Joseph and Potiphar’s Wife.* S. & D., 1634. 2S. Mod. 90×114
119 *St. Jerome Reading.* S. & D., 1634. 2 S. 108×89
120 *Angel Appearing to Shepherds.* (After I S. S. & D.), 1634.
3 S. Mod. 262×21
121 *Christ at Emmaus:* smaller plate. S. & D., 1634. 101×71
122 *Christ and Woman of Samaria:* among ruins. S. & D., 1634. 2
S. Mod. 121×106
123 *Crucifixion;* small plate. S. Ab. 1634. Mod. 95×67
124 *Tribute-Money.* Ab. 1634. 2 S. Mod. 73×103
125 *Stoning of St. Stephen.* S. & D., 1635. Mod. 95×85
126 *Christ Driving Money-changers from Temple.* S. & D., 1635. 2
S. Mod. 135×167
127 *Girl with Hair Falling on Shoulders* (The “Great Jewish
Bride.”) (After I. S. S. & D., in reverse). 1635. 4 S.
220×168
128 *Jan Uytenbogaert,* Preacher of sect of Arminian Remonstrants.
(After II S. S. & D.), 1635. 6 S. Mod. 250×187
129 *Old Woman Sleeping.* Ab. 1635-7. 69×52
130 *Old Bearded Man in High Fur Cap,* with closed eyes. S. (also S.
with initial R. in reverse). Ab. 1635. Mod. 112×100
131 *First Oriental H.* (R.’s father?) S. & D., 1635. 2 S. Mod.
150×124
132 *Second Oriental H.* (R.’s father?) S. Ab. 1635. 150×125
133 *Third Oriental H.* S. & D., 1635. 155×134
134 *Fourth Oriental H.* S. (with initial R.) Ab. 1635. 3 S.
158×135
135†* H. of Old Man in High Fur Cap.* Ab. 1635. 44×32
136 * Bald Old Man with Short Beard,* in profile r. Ab. 1635. 2 S.
66×56
137†* Curly-Headed Man with Wry Mouth.* Ab. 1635. 2 S. 64×60
138 *Polander Standing with Arms Folded.* Ab. 1635. 2 S.
51×47
139 *Quacksalver.* S. & D., 1635. 77×36
140 *St. Jerome Kneeling in Prayer,* Looking down. S. & D., 1635.
Mod. 114×80
141 *Pancake Woman.* S. & D., 1635. 6 S. Mod. 109×79
142† *Strolling Musicians.* Ab. 1635. 2 S. Mod. 139×116
143 *Christ Before Pilate:* large plate. S. & D., 1635-6. 5 S.
550×446
144 *R. and His Wife Saskia:* busts. S. & D., 1636. 2 S. Mod.
104×95
145 *Studies of H. of Saskia and Others.* S. & D., 1636. Mod.
151×127
146 *Samuel Manasseh Ben Israel,* Jewish author. S. & D., 1636. 3
S. 149×107
147 *Return of the Prodigal Son.* S. & D., 1636. Mod.
156×136
148 *Abraham Caressing Isaac.* S. Ab. 1637. 2 S. Mod.
116×89
149 *Abraham Casting Out Hagar and Ishmael.* S. & D., 1637. 125×95
150 *Bearded Man Wearing Velvet Cap with Jewel Clasp.* S. & D.,
1637. 95×83
151 *Young Man in Velvet Cap* with books beside him. S. & D., 1637.
2 S. 96×83
152 *Three Heads of Women,* one asleep. S. & D.. 1637. 2 S. Mod.
142×97
153 *Three Heads of Women,* one lightly etched. Ab. 1637. 2 S.
127×102
154 *Study of Saskia as St. Catherine* (The “Little Jewish Bride.”)
S. & D. (in reverse), 1638. 110×78
155 * Sheet with Two Studies: *A tree and upper part of h. wearing
velvet cap. H. Ab. 1638: tree possibly later. 78×67
156 * R. in Velvet Cap and Plume,* with an embroidered dress: b. S.
& D., 1638. Mod. 134×103
157 * R. in Flat Cap,* with shawl about shoulders. Ab. 1638. 2 S.
Mod. 93×62
158 * Man in Broad-Brimmed Hat and Ruff.* S. & D., 1630 (or 1638).
Mod. 78×64
159 * Adam and Eve.* S. & D., 1638. 2 S. 161×116
160 * Joseph Telling His Dreams.* S. & D., 1638. 3 S. Mod.
110×83
161 * Death of Virgin.* S. & D., 1639. 4 S. Mod.
409×315
162 * Presentation in Temple:* oblong print. Ab. 1639, 3 S.
Mod. 213×290
163 * Sheet of Studies,* with woman lying ill in bed. etc. Ab.
1639. 135×151
164 * Peasant in High Cap,* standing leaning on stick. S. & D.,
1639. Mod. 83×44
165 * Death Appearing to a Wedded Couple from Open Grave.* S. & D.,
1639. 109×78
166 * Skater.* Ab. 1639. 61×58
167 * Jan Uytenbogaert,* Receiver-general (The “Gold-Weigher”). S.
& D., 1639. 3 S. Mod. 250×204
168 * R. Leaning on Stone-Sill:* half-length. S. & D., 1630. 3(?)
S. 205×164
169 * Old Man Shading Eyes with Hand.* Ab. 1639. 2 S. 134×114
170 * Old Man with Divided Fur Cap.* S. & D., 1640. 3 S.
149×137
171 * Beheading of John the Baptist.* S. & D., 1640 2S. Mod.
128×103
172 * Triumph of Mordecai.* Ab. 1640, or later. 174×215
173 * Christ Crucified Between Two Thieves:* oval plate. Ab. 1640,
or later. 2 S. Mod. 135×100
174 * Sleeping Puppy.* Ab. 1640? 3 S. 64×105
175 * Small Gray Landscape:* House and trees beside pool. Ab. 1640.
38×82
176 * View of Amsterdam.* Ab. 1640 (or earlier) 2 S.
112×153
177 * Landscape with Cottage and Hay Barn:* oblong. S. & D., 1641.
129×321
178 * Landscape with Cottage and Large Tree.* S. & D., 1641
125×320
179 *Windmill.* S. & D., 1641. 144×207
180 *Small Lion Hunt,* with two lions. Ab. 1641. 2S. 154×121
181 *Large Lion Hunt.* S. & D., 1641. 2 S. 224×300
132 *Baptism of Eunuch.* S. & D., 1641. 2 S. Mod. 180×213
183 * Jacob and Laban(?)* S. & D. (in reverse), 1641. 2 S. Mod.
144×113
184 * Spanish Gipsy* (Preciosa). Ab. 1641. 133×113
185 * Angel Departing from Family of Tobias.* S. & D., 1641. 3 S.
Mod. 103×154
186 * Virgin and Child in Clouds.* S. & D., 1641. 166×104
187 * Cornelis Claesz Anslo,* Mennonite preacher. S. & D., 1641.
5 S. 186×157
188 * Portrait of Boy,* in profile. S. & D., 1641. 93×66
189 * Man at Desk,* wearing cross and chain. S. & D., 1641. 4
S. 154×102
190 * Card Player.* S. & D.. 1641. 3 S. Mod. 90×81
191 * Man Drawing from Cast.* Ab. 1641. 2 S. Mod. 93×64
192 * Woman at Door-Hatch Talking to Man and Children* (The
“Schoolmaster.”) S. & D., 1641. Mod. 94×63
193 * Virgin with Instruments of Passion.* Ab. 1641. 2 S.
110×88
194 * Man in Arbour.* S. & D., 1642. 72×56
195 * Girl with Basket.* Ab. 1642. 2 S. 86×63-60
196 * Sick Woman with Large White Head-Dress* (Saskia). Ab. 1642.
61×51
197 * Woman in Spectacles, Reading.* Ab. 1642. 77×67
198 * Raising of Lazarus;* smaller plate. S. & D, 1642. 2 S.
Mod. 150×115
199 * The Descent from Cross:* sketch. S. & D., 1642. 148×115
200 * Flute-Player* (L’Espiegle). (After I S S. & D.), 1642. 4
S. 177×144
201 * St. Jerome in Dark Chamber.* S. & D., 1642. 2 S. Mod.
150×173
202 * Student at Table by Candle Light.* Ab. 1642. 33.
146×132
203 * Cottage with White Paling.* S. & D., 1642. (Date only in II
S.) 2 S. 130×158
204 * Hog.* S. & D., 1643. 2 S. 143×154
205 * Three Trees.* S. & D., 1643. 211×280
206 * Shepherd and Family.* S. & D., 1644. 95×67
207 * Sleeping Herdsman.* Ab. 1644. 78×57
208 * Rest on Flight:* night piece. Ab. 1644. 4S. Mod.
92×59
209 * Six’s Bridge.* S. & D., 1645. 3 S. 129×223
210 * Omval.* S. & D., 1645. 2 S. Mod. 185×225
211 * Boat-House.* S. & D., 1645. 4 S. 127×133
212 * Cottages Beside Canal:* with church and sailing boat. Ab.
1645. 2 S. 140×207
213 * Cottage and Farm Buildings,* with man sketching. Ab. 1645.
129×208
214 * Abraham and Isaac.* S. & D., 1645. Mod. 157×130
215 * Christ Carried to Tomb.* S. Ab. 1645. 130×107
216 * Rest on Flight:* lightly etched. S. & D., 1645. 129×114
217 * St. Peter in Penitence.* S. & D., 1645. 181×116
218 * Old Man in Meditation,* leaning on book. Ab. 1645. 132×106
219 * Beggar Woman Leaning on Stick.* S. & D.. 1646. 2 S. Mod.
81×63
220 * Study From Nude:* Man seated before curtain. S. & D., 1646.
2 S. 164×96
221 * Study From Nude:* Man seated on ground with one leg extended.
S. & D., 1646. Mod. 97×166
222 * Studies From Nude:* one man seated, another standing:
with woman and baby lightly etched in background. Ab. 1646. 3 S.
Mod. 194×228
223 * Le Lit a La Francaise* (Ledekant). S. & D., 1646. 3 S.
152×224
224 * Monk in Cornfield.* Ab. 1646. 48×65
225 * Jan Cornelis Sylvius, Preacher:* posthumous portrait. S. &
D., 1646. 2S. 278×188
226 * Ephraim Bonus, Jewish Physician.* S. & D., 1647. 2S.
240×177
227 * Jan Asselyn. Painter.* S. & D., 16..? 3 S. Mod.
215×170
228 * Jan Six.* (After I S. S. & D.), 1647?. 3 S.
Mod. 245×191
229 * Rembrandt Drawing at Window.* (After I S.) S. & D., 1648.
5 S. Mod. 157×128
230 * Sheet of Studies with H. of R.,* Beggar man, woman and child.
S. 1631 or 1651. 111×92
231 * Artist Drawing from Model:* unfinished plate. Ab. 1648, or
later? 2 S. Mod. 231×184
232 * St. Jerome Beside Pollard Willow.* (After I S.) S. & D.,
1648. 2 S. 179×122
233 *Beggars Receiving Alms at Door of House.* S. & D., 1648. 2 S.
Mod. 164×128
234 *Jews in Synagogue.* S. & D., 1648. 3 S. Mod. 71×129
235 *Medea: or Marriage of Jason and Creusa.* (After III S.) S. &
D., 1648. 5 S. 240×177
236 *Christ, with Sick Around Him, Receiving Little Children*
(“Hundred Guilder Print.”) Ab. 1649. 2 S. Mod. 278×389
237 *Incredulity of Thomas.* S. & D., 1650. 162×210
238 *Canal with Angler and Two Swans.* S. & D., 1650. 2 S. 82×107
239 *Canal with Large Boat and Bridge.* S. & D., 1650. 2 S. 82×107
240 *Landscape with Cow Drinking.* Ab. 1650. 2 S. Mod. 102×129
241 *Landscape with Hay Barn and Flock of Sheep.* S. & D., 1650. 2
S. 83×174
242 * Landscape with Milk-Man.* Ab. 1650. 2 S. 65×174
243 * Landscape with Obelisk,* Ab. 1650. 2 S. 83×160
244 * Landscape with Trees,* farm buildings and tower. Ab. 1650.
4 S. 123×318
245 * Landscape with Square Tower.* S. & D., 1650. 4 S.
88×155
246 * Landscape with Three Gabled Cottages Beside Road.* S. & D.,
1650. 3 S. 161×202
247 * The Bull.* S. & D., 165.? 76×104
248 * The Shell.* S. & D., 1650. 2 S. 97×132
249 * Goldweigher’s Field.* S. & D., 1651. 120×319
250 * The Bathers.* S. & D., 1651. 2 S. Mod. 109×137
251 * Clement de Jonghe, Printseller.* S. & D., 1651. 6 S. Mod.
206×161
252 * Blindness of Tobit:* larger plate. S. & D., 1651.
161×129
253 * Flight into Egypt:* night piece. S. & D., 1651. 5 S.
Mod. 127×110
254 * Star of the Kings:* night piece. Ab. 1652. Mod. 94×143
255 * Adoration of Shepherds:* night piece. Ab. 1652. 8 S. Mod.
149×198
256 * Christ Preaching* (“La Petite Tombe.”) Ab. 1652. Mod.
155×207
257 * Christ Disputing with Doctors:* sketch. S. & D., 1652. 3 S.
126×213
258 * David in Prayer,* S. & D., 1652. 3 S. Mod. 143×93
259 * Peasant Family on Tramp.* Ab. 1652. Mod. 112×92
260 * Faust In Study, Watching Magic Disk* (“Dr. Faustus”). Ab.
1652. 3 S. Mod. 209×161
261 * Titus Van Ryn, R.’s Son.* Ab. 1656. 101×72
262 * Sheet of Studies,* with wood and paling. Parts of two
heads, horse and cart. Ab. 1652. 108×136
263 * Clump of Trees with Vista.* (After I S.) S. & D., 1652. 2
S. 155×210
264 * Landscape with Road Beside Canal.* Ab. 1652.
(74-79)×209
265 * Landscape with Sportsman and Dogs.* Ab. 1653. 2 S.
129×157
266 * The Flight Into Egypt:* Altered from “Tobias and the Angel”
by Hercules Seghers. Ab. 1653. 7 S. 213×284
267 *St. Jerome Reading,* in Italian landscape. Ab. 1653. 2 S.
260×207
268 *Jan Antonides Van Der Linden,* Professor of Medicine. 1665.
6 S. Mod. (124+49)×105
269 *Lieven Willemsz Van Coppenol,* Writing-Master: smaller plate.
Ab. 1653. 6 S. 257×189
270 *Christ Crucified Between Two Thieves:* large oblong plate
(The “Three Crosses”) (After the II S.) S. & D.. 1653. 5 S.
385×450
271 * Christ Presented to People:* large oblong plate. (After the V
S.) S. & D., 1655. 7 S. 383×45
272 * Golf-Player.* S. & D., 1654. 2 S. Mod. 96×144
273 * Adoration of Shepherds* (with lamp). S. Ab. 1654. 2 S.
Mod. 105×129
274 * Circumcision* (in Stable). S. & D., 1654. 3 S. 94×144
275 * Virgin and Child with Cat:* Joseph at window. Mod. S. & D.,
1654. 2 S. 94×143
276 * Flight Into Egypt:* Holy Family crossing brook. S. & D.,
1654. Mod. 94×144
277 * Christ Seated Disputing with Doctors.* S. & D., 1654. 2 S.
95×144
278 * Christ Between His Parents, Returning from Temple.* S. & D.,
1654. 94×144
279 * Presentation in Temple:* Dark manner. Ab. 1654. 210×162
280 * Descent from Cross:* by torchlight. S. & D., 1644. Mod.
210×161
281 * The Entombment.* Ab. 1654. 4S, 211×161
282 * Christ at Emmaus:* larger plate. S. & D., 1654. 3 S. Mod.
209×159
283 * Abraham’s Sacrifice.* S. & D., 1655. 156×131
284 * Four Illustrations to Spanish Book.* (On each part after I
S.) S. & D., 1655. 5 S. The undivided plate 279×160
285 * The Goldsmith.* S. & D., 1655. 2 S. Mod. 77×57
286 * Abraham Entertaining the Angels.* S. & D., 1656.
159×131
287 * Jacob Haaring* (The “Old Haaring”). Ab. 1655. 2 S.
195×149
288 * Thomas Jacobsz Haaring* (The “Young Haaring”). S. & D., 1655.
5 S. Mod. 197×148
289 * Arnold Tholinx,* Inspector Medical Colleges at Amsterdam. Ab.
1656. 2 S. 198×149
290 * Jan Lutma, the Elder,* Goldsmith and Sculptor. (After I S.)
S. & D., 1656. 3 S. Mod. 197×148
291 * Abraham Francen, Art Dealer.* Ab. 1656, or later? 9 S.
Mod. 152×208
292 * St. Francis Beneath Tree, Praying.* S. & D., 1657. 2 S.
180×244
293 * Agony in the Garden.* S. & D., 165.. (Ab. 1657?) Mod.
118×83
294 * Christ and Woman of Samaria:* arched print. (On III S.) S.
& D., 1658. 3 S. Mod. 205×160
295 * Phoenix; or Statue Overthrown:* Allegory of doubtful meaning.
S. & D., 1658. 180×183
296 * Woman Sitting Half Dressed Beside Stove.* S. & D., 1658. 7
S. 228×186
297 * Woman at Bath, with hat beside her.* S. & D., 1658. 2 S.
157×128
298 * Woman Bathing Her Feet at Brook.* S. & D., 1658. Mod. 159×80
299 * Negress Lying Down.* S. & D., 1658. 3 S. Mod. 80×157
300 * Lieven Willemsz Van Coppenol,* Writing-Master: larger plate.
Ab. 1658. 6 S. Mod. 341×290
300* * R. Etching.* S. & D., 1658. 118×64
301 * Peter and John Healing Cripple at Gate of Temple.* S. & D.,
1659. 4S. Mod. 179×216
302 * Jupiter and Antiope:* larger plate. S. & D., 1659. 2
S. 139×205
303 * Woman with Arrow.* S. & D., 1661. 3 S. 203×123

LIST OF THE REJECTED ETCHINGS

(In the order of Bartsch and Seidlitz, but with the Hind numbers.)

304 * Rembrandt with Falcon.* 126×98
305 * Abraham Casting Out Hagar and Ishmael:* coarsely etched.
81×57
306 * Abraham Casting Out Haagar and Ishmael:* delicately etched.
73×53
307 * Rest on the Flight.* 217×165
308 * Beheading of John the Baptist.* S. with R.’s monogram.
158×124
309 * St. Jerome Kneeling:* large plate. 389×332
310 * Hour of Death.* 1644. 138×89
311 * The Rat-Killer.* 124×81
312 * Woman Cutting Her Mistress’s Nails*
(Bathsheba?). 124×95
313 * Cupid Resting.* 89×119
314 * Old Man in Turban, Standing with Stick.* 138×108
315 *The Astrologer. * S. f. bol. 140×117
316 *Philosopher in His Chamber.* 70×51
317 *Physician Feeling Pulse of Patient.* 70×54
318 *A Tramp, with Wife and Child.* 66×70
319 *Peasant, Standing.* 58×35
320 *Peasant Woman, Standing.* 59×36
321 *Beggar in Tall Hat and Long Cloak,* with cottage and two
figures in background. 118×86
322 *Sick Beggar and Old Beggar Woman.* 76×56
323 *Landscape with Cow;* square tower in distance. 72×120
324 *Village with Two Gabled Cottages on Canal.* 56×174
325 * Landscape with Coach.* 64×177
326 * The Terrace.* 163×188
327 * Clump of Trees Beside Dyke-Road.* 75×204
323 * Orchard with Barn* (“Paysage aux deux allées”). 2 S. 91×205
329 * Village with Ruined Tower.* S. & D., J. Koninck. 1663.
100×153
330 * Landscape with Little Figure of Man.*
331 * Canal with Cottages and a Boat.* 3 S. 166×182
332 * The Large Tree.* 162×128
333 * Landscape with a White Fence.* 90×161
334 * The Angler in a Boat.* 112×139
335 * Landscape with a Canal and Church Tower.* 80×180
336 * Low House on the Banks of a Canal.* Signed P. D. W. 77×207
337 * The Wooden Bridge.* 76×207
338 * Landscape with Canal and Palisade.* D. 1659. 75×204
339 * The Full Hay-Barn.* 99×153
340 * Cottage with a Square Chimney.* 74×177
34l * House with Three Chimneys.*90×160
342 * The Hay-Wain.* 68×132
343 * The Castle.* 79×102
344 *The Village Street.* Signed P. D. W. 81×153
345 *Unfinished Landscape.* Signed P. D. W. 1605 (or 1659). 90×162
346 *Landscape with Canal,* Angler and milk-man. Signed P. D. W.
79×206
347 * Young Man Seated,* with game-bag. D. 1650. 78×67
[348] *Bare-Headed Old Man with Hands upon Book.*
349 * Bald Old Man in Profile L.* 75×69
350 * Old Man with Beard, in Cap:* profile r.: in oval. Mod. 71×54
351 * Man with Square Beard and Curly Hair.* S. with R.’s monogram
and D. 1631. 56×48
[352] *Man Crying Out,* three-quarters l.: bust.
353 * Bust of Man with Thick Lips.* 75×60
354 * Philosopher with Hour-Glass.* Wood cut. 55×50
355 * The Painter.* 70×63
356 * Head of Young Man in Broad-Brimmed Hat:* in octagon. 108×90
357 * Young Man In Broad-Brimmed Hat:* lightly etched. 92×67
358 * Bust of Young Man with Feathers in Hat.* 72×52
359 * Small Head of Man in Ruff,* with Feathers in Cap. 31×27
360 * White Negro.* Signed A. de Hae. 120×102
361 * So-Called Study for Great Jewish Bride.* 135×97
362 * Old Woman Meditating Over Book.*
363 * Rembrandt’s Mother:* bust. 79×63
364 * White Negress.* S. with R.’s monogram, in reverse. 112×83
365 * Head of Old Woman:* Cut as far as band round brow. S. with
R.’s monogram. 36×43
366 * Young Woman Reading.* 106×102
367 * Head and Shoulders of Dog:* sketched in corner of plate.
118×150
368 * Slight Study of Woman’s Head.* 64×55
369 * Head and Bust of Man with Beard:* looking down towards l.
79×63
370 * View of Amsterdam.* 58×175
371 * Two Cottages with Pointed Gables.* 66×173
372 * Village Divided by Dyke.* Signed P. D. W. 76×183
373 * Angler in Boat.* 83×182
374 * Landscape with Two Anglers.* 81×180
375 * Two Ruined Cottages.* 113×181
376 * Old Barn.* 73×114
377 * Supposed Portrait of Jan Six.* 46×45
378 * Profile of Old Bearded Man in Turban.* 45×31
379 * Profile of Jewish-Looking Old Man in Fur Cap.* 47×29
380 * Old Man with Pointed Beard.* 63×53
381 * Head of Man with Curly Hair and Thin Moustache.* 63×51
382 * Jew Standing.* 51×40
383 * Head of Rembrandt’s Mother.* 50×41
384 * Portrait of Rembrandt.* 54×52
385 * Child Asleep.* 38×40
386 * Bathsheba.* 146×112
387 * Old Man in Broad-Brimmed Hat:* bust in profile. 51×31
388 * The Circumcision.* (II S. only. S.) Rembrandt fecit. 2 S.
214×(165—160)
389 * Head of Old M an with Snub Nose:* in cap: profile to l. 27×21

***END OF THE PROJECT GUTENBERG EBOOK REMBRANDT AND HIS ETCHINGS
***

CREDITS

January 8, 2010

Project Gutenberg Edition
Martin Schub

A WORD FROM PROJECT GUTENBERG

This file should be named 30895‐0.txt or 30895‐0.zip.

This and all associated files of various formats will be found in:

http://www.gutenberg.org/dirs/3/0/8/9/30895/

Updated editions will replace the previous one — the old editions will be
renamed.

Creating the works from public domain print editions means that no one
owns a United States copyright in these works, so the Foundation (and
you!) can copy and distribute it in the United States without permission
and without paying copyright royalties. Special rules, set forth in the
General Terms of Use part of this license, apply to copying and
distributing Project Gutenberg™ electronic works to protect the Project
Gutenberg™ concept and trademark. Project Gutenberg is a registered
trademark, and may not be used if you charge for the eBooks, unless you
receive specific permission. If you do not charge anything for copies of
this eBook, complying with the rules is very easy. You may use this eBook
for nearly any purpose such as creation of derivative works, reports,
performances and research. They may be modified and printed and given away
— you may do practically _anything_ with public domain eBooks.
Redistribution is subject to the trademark license, especially commercial
redistribution.

THE FULL PROJECT GUTENBERG LICENSE

_Please read this before you distribute or use this work._

To protect the Project Gutenberg™ mission of promoting the free
distribution of electronic works, by using or distributing this work (or
any other work associated in any way with the phrase “Project Gutenberg”),
you agree to comply with all the terms of the Full Project Gutenberg™
License (available with this file or online at
http://www.gutenberg.org/license).

Section 1.

General Terms of Use & Redistributing Project Gutenberg™ electronic works

1.A.

By reading or using any part of this Project Gutenberg™ electronic work,
you indicate that you have read, understand, agree to and accept all the
terms of this license and intellectual property (trademark/copyright)
agreement. If you do not agree to abide by all the terms of this
agreement, you must cease using and return or destroy all copies of
Project Gutenberg™ electronic works in your possession. If you paid a fee
for obtaining a copy of or access to a Project Gutenberg™ electronic work
and you do not agree to be bound by the terms of this agreement, you may
obtain a refund from the person or entity to whom you paid the fee as set
forth in paragraph 1.E.8.

1.B.

“Project Gutenberg” is a registered trademark. It may only be used on or
associated in any way with an electronic work by people who agree to be
bound by the terms of this agreement. There are a few things that you can
do with most Project Gutenberg™ electronic works even without complying
with the full terms of this agreement. See paragraph 1.C below. There are
a lot of things you can do with Project Gutenberg™ electronic works if you
follow the terms of this agreement and help preserve free future access to
Project Gutenberg™ electronic works. See paragraph 1.E below.

1.C.

The Project Gutenberg Literary Archive Foundation (“the Foundation” or
PGLAF), owns a compilation copyright in the collection of Project
Gutenberg™ electronic works. Nearly all the individual works in the
collection are in the public domain in the United States. If an individual
work is in the public domain in the United States and you are located in
the United States, we do not claim a right to prevent you from copying,
distributing, performing, displaying or creating derivative works based on
the work as long as all references to Project Gutenberg are removed. Of
course, we hope that you will support the Project Gutenberg™ mission of
promoting free access to electronic works by freely sharing Project
Gutenberg™ works in compliance with the terms of this agreement for
keeping the Project Gutenberg™ name associated with the work. You can
easily comply with the terms of this agreement by keeping this work in the
same format with its attached full Project Gutenberg™ License when you
share it without charge with others.

1.D.

The copyright laws of the place where you are located also govern what you
can do with this work. Copyright laws in most countries are in a constant
state of change. If you are outside the United States, check the laws of
your country in addition to the terms of this agreement before
downloading, copying, displaying, performing, distributing or creating
derivative works based on this work or any other Project Gutenberg™ work.
The Foundation makes no representations concerning the copyright status of
any work in any country outside the United States.

1.E.

Unless you have removed all references to Project Gutenberg:

1.E.1.

The following sentence, with active links to, or other immediate access
to, the full Project Gutenberg™ License must appear prominently whenever
any copy of a Project Gutenberg™ work (any work on which the phrase
“Project Gutenberg” appears, or with which the phrase “Project Gutenberg”
is associated) is accessed, displayed, performed, viewed, copied or
distributed:

This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever. You may copy it, give it away
or re-use it under the terms of the Project Gutenberg License
included with this eBook or online at http://www.gutenberg.org

1.E.2.

If an individual Project Gutenberg™ electronic work is derived from the
public domain (does not contain a notice indicating that it is posted with
permission of the copyright holder), the work can be copied and
distributed to anyone in the United States without paying any fees or
charges. If you are redistributing or providing access to a work with the
phrase “Project Gutenberg” associated with or appearing on the work, you
must comply either with the requirements of paragraphs 1.E.1 through 1.E.7
or obtain permission for the use of the work and the Project Gutenberg™
trademark as set forth in paragraphs 1.E.8 or 1.E.9.

1.E.3.

If an individual Project Gutenberg™ electronic work is posted with the
permission of the copyright holder, your use and distribution must comply
with both paragraphs 1.E.1 through 1.E.7 and any additional terms imposed
by the copyright holder. Additional terms will be linked to the Project
Gutenberg™ License for all works posted with the permission of the
copyright holder found at the beginning of this work.

1.E.4.

Do not unlink or detach or remove the full Project Gutenberg™ License
terms from this work, or any files containing a part of this work or any
other work associated with Project Gutenberg™.

1.E.5.

Do not copy, display, perform, distribute or redistribute this electronic
work, or any part of this electronic work, without prominently displaying
the sentence set forth in paragraph 1.E.1 with active links or immediate
access to the full terms of the Project Gutenberg™ License.

1.E.6.

You may convert to and distribute this work in any binary, compressed,
marked up, nonproprietary or proprietary form, including any word
processing or hypertext form. However, if you provide access to or
distribute copies of a Project Gutenberg™ work in a format other than
“Plain Vanilla ASCII” or other format used in the official version posted
on the official Project Gutenberg™ web site (http://www.gutenberg.org),
you must, at no additional cost, fee or expense to the user, provide a
copy, a means of exporting a copy, or a means of obtaining a copy upon
request, of the work in its original “Plain Vanilla ASCII” or other form.
Any alternate format must include the full Project Gutenberg™ License as
specified in paragraph 1.E.1.

1.E.7.

Do not charge a fee for access to, viewing, displaying, performing,
copying or distributing any Project Gutenberg™ works unless you comply
with paragraph 1.E.8 or 1.E.9.

1.E.8.

You may charge a reasonable fee for copies of or providing access to or
distributing Project Gutenberg™ electronic works provided that

- You pay a royalty fee of 20% of the gross profits you derive from
the use of Project Gutenberg™ works calculated using the method you
already use to calculate your applicable taxes. The fee is owed to
the owner of the Project Gutenberg™ trademark, but he has agreed to
donate royalties under this paragraph to the Project Gutenberg
Literary Archive Foundation. Royalty payments must be paid within 60
days following each date on which you prepare (or are legally
required to prepare) your periodic tax returns. Royalty payments
should be clearly marked as such and sent to the Project Gutenberg
Literary Archive Foundation at the address specified in Section 4,
“Information about donations to the Project Gutenberg Literary
Archive Foundation.”

- You provide a full refund of any money paid by a user who notifies
you in writing (or by e-mail) within 30 days of receipt that s/he
does not agree to the terms of the full Project Gutenberg™ License.
You must require such a user to return or destroy all copies of the
works possessed in a physical medium and discontinue all use of and
all access to other copies of Project Gutenberg™ works.

- You provide, in accordance with paragraph 1.F.3, a full refund of
any money paid for a work or a replacement copy, if a defect in the
electronic work is discovered and reported to you within 90 days of
receipt of the work.

- You comply with all other terms of this agreement for free
distribution of Project Gutenberg™ works.

1.E.9.

If you wish to charge a fee or distribute a Project Gutenberg™ electronic
work or group of works on different terms than are set forth in this
agreement, you must obtain permission in writing from both the Project
Gutenberg Literary Archive Foundation and Michael Hart, the owner of the
Project Gutenberg™ trademark. Contact the Foundation as set forth in
Section 3 below.

1.F.

1.F.1.

Project Gutenberg volunteers and employees expend considerable effort to
identify, do copyright research on, transcribe and proofread public domain
works in creating the Project Gutenberg™ collection. Despite these
efforts, Project Gutenberg™ electronic works, and the medium on which they
may be stored, may contain “Defects,” such as, but not limited to,
incomplete, inaccurate or corrupt data, transcription errors, a copyright
or other intellectual property infringement, a defective or damaged disk
or other medium, a computer virus, or computer codes that damage or cannot
be read by your equipment.

1.F.2.

LIMITED WARRANTY, DISCLAIMER OF DAMAGES — Except for the “Right of
Replacement or Refund” described in paragraph 1.F.3, the Project Gutenberg
Literary Archive Foundation, the owner of the Project Gutenberg™
trademark, and any other party distributing a Project Gutenberg™
electronic work under this agreement, disclaim all liability to you for
damages, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE
NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH
OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH F3. YOU AGREE THAT THE
FOUNDATION, THE TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT
WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL,
PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY
OF SUCH DAMAGE.

1.F.3.

LIMITED RIGHT OF REPLACEMENT OR REFUND — If you discover a defect in this
electronic work within 90 days of receiving it, you can receive a refund
of the money (if any) you paid for it by sending a written explanation to
the person you received the work from. If you received the work on a
physical medium, you must return the medium with your written explanation.
The person or entity that provided you with the defective work may elect
to provide a replacement copy in lieu of a refund. If you received the
work electronically, the person or entity providing it to you may choose
to give you a second opportunity to receive the work electronically in
lieu of a refund. If the second copy is also defective, you may demand a
refund in writing without further opportunities to fix the problem.

1.F.4.

Except for the limited right of replacement or refund set forth in
paragraph 1.F.3, this work is provided to you ’AS-IS,’ WITH NO OTHER
WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.

1.F.5.

Some states do not allow disclaimers of certain implied warranties or the
exclusion or limitation of certain types of damages. If any disclaimer or
limitation set forth in this agreement violates the law of the state
applicable to this agreement, the agreement shall be interpreted to make
the maximum disclaimer or limitation permitted by the applicable state
law. The invalidity or unenforceability of any provision of this agreement
shall not void the remaining provisions.

1.F.6.

INDEMNITY — You agree to indemnify and hold the Foundation, the trademark
owner, any agent or employee of the Foundation, anyone providing copies of
Project Gutenberg™ electronic works in accordance with this agreement, and
any volunteers associated with the production, promotion and distribution
of Project Gutenberg™ electronic works, harmless from all liability, costs
and expenses, including legal fees, that arise directly or indirectly from
any of the following which you do or cause to occur: (a) distribution of
this or any Project Gutenberg™ work, (b) alteration, modification, or
additions or deletions to any Project Gutenberg™ work, and (c) any Defect
you cause.

Section 2.

Information about the Mission of Project Gutenberg™

Project Gutenberg™ is synonymous with the free distribution of electronic
works in formats readable by the widest variety of computers including
obsolete, old, middle-aged and new computers. It exists because of the
efforts of hundreds of volunteers and donations from people in all walks
of life.

Volunteers and financial support to provide volunteers with the assistance
they need, is critical to reaching Project Gutenberg™’s goals and ensuring
that the Project Gutenberg™ collection will remain freely available for
generations to come. In 2001, the Project Gutenberg Literary Archive
Foundation was created to provide a secure and permanent future for
Project Gutenberg™ and future generations. To learn more about the Project
Gutenberg Literary Archive Foundation and how your efforts and donations
can help, see Sections 3 and 4 and the Foundation web page at
http://www.pglaf.org.

Section 3.

Information about the Project Gutenberg Literary Archive Foundation

The Project Gutenberg Literary Archive Foundation is a non profit
501(c)(3) educational corporation organized under the laws of the state of
Mississippi and granted tax exempt status by the Internal Revenue Service.
The Foundation’s EIN or federal tax identification number is 64-6221541.
Its 501(c)(3) letter is posted at
http://www.gutenberg.org/fundraising/pglaf. Contributions to the Project
Gutenberg Literary Archive Foundation are tax deductible to the full
extent permitted by U.S. federal laws and your state’s laws.

The Foundation’s principal office is located at 4557 Melan Dr.
S. Fairbanks, AK, 99712., but its volunteers and employees are scattered
throughout numerous locations. Its business office is located at 809 North
1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
[email protected]. Email contact links and up to date contact information
can be found at the Foundation’s web site and official page at
http://www.pglaf.org

For additional contact information:

Dr. Gregory B. Newby
Chief Executive and Director
[email protected]

Section 4.

Information about Donations to the Project Gutenberg Literary Archive
Foundation

Project Gutenberg™ depends upon and cannot survive without wide spread
public support and donations to carry out its mission of increasing the
number of public domain and licensed works that can be freely distributed
in machine readable form accessible by the widest array of equipment
including outdated equipment. Many small donations ($1 to $5,000) are
particularly important to maintaining tax exempt status with the IRS.

The Foundation is committed to complying with the laws regulating
charities and charitable donations in all 50 states of the United States.
Compliance requirements are not uniform and it takes a considerable
effort, much paperwork and many fees to meet and keep up with these
requirements. We do not solicit donations in locations where we have not
received written confirmation of compliance. To SEND DONATIONS or
determine the status of compliance for any particular state visit
http://www.gutenberg.org/fundraising/donate

While we cannot and do not solicit contributions from states where we have
not met the solicitation requirements, we know of no prohibition against
accepting unsolicited donations from donors in such states who approach us
with offers to donate.

International donations are gratefully accepted, but we cannot make any
statements concerning tax treatment of donations received from outside the
United States. U.S. laws alone swamp our small staff.

Please check the Project Gutenberg Web pages for current donation methods
and addresses. Donations are accepted in a number of other ways including
checks, online payments and credit card donations. To donate, please
visit: http://www.gutenberg.org/fundraising/donate

Section 5.

General Information About Project Gutenberg™ electronic works.

Professor Michael S. Hart is the originator of the Project Gutenberg™
concept of a library of electronic works that could be freely shared with
anyone. For thirty years, he produced and distributed Project Gutenberg™
eBooks with only a loose network of volunteer support.

Project Gutenberg™ eBooks are often created from several printed editions,
all of which are confirmed as Public Domain in the U.S. unless a copyright
notice is included. Thus, we do not necessarily keep eBooks in compliance
with any particular paper edition.

Each eBook is in a subdirectory of the same number as the eBook’s eBook
number, often in several formats including plain vanilla ASCII, compressed
(zipped), HTML and others.

Corrected _editions_ of our eBooks replace the old file and take over the
old filename and etext number. The replaced older file is renamed.
_Versions_ based on separate sources are treated as new eBooks receiving
new filenames and etext numbers.

Most people start at our Web site which has the main PG search facility:

http://www.gutenberg.org

This Web site includes information about Project Gutenberg™, including how
to make donations to the Project Gutenberg Literary Archive Foundation,
how to help produce our new eBooks, and how to subscribe to our email
newsletter to hear about new eBooks.

***FINIS***