SELF-PORTRAIT IN STUDIO ATTIRE, FULL-LENGTH.
B1171. Rembrandt Huis, Amsterdam. Pen and bistre.
Shown original size: 203 x 134 mm. About 1655.
Rembrandt Drawings
11 6 Ma st erp ieces in O rig in a l Co l o r
Rembrandt Van Rijn
About This Edition
The 116 drawings reproduced in this volume are universally acclaimed to
be among Rembrandt’s finest. While they constitute less than ten percent of
the existing corpus of his drawings, they have been carefully selected to
provide excellent examples of all aspects of his work: Bible illustrations;
figure studies and nudes; portraits and self-portraits; animal studies; and
landscapes and views.
The vast majority of the illustrations in this volume have been reproduced
from ten rare portfolios of superb facsimiles published in London and The
Hague in extremely limited editions between 1888 and 1911, under the
editorship of Friedrich Lippmann, Cornelis Hofstede de Groot, and others.
Like those facsimiles, all these reproductions are faithful to the colors of
Rembrandt’s originals, and most of them are also shown in original size. The
dimensions of all the original drawings are included in the captions.
As also indicated in the captions, the original drawings are today in the
collections of over twenty major European and American art museums.
To facilitate further study on individual drawings, the captions also
include the catalogue number of Otto Benesch’s authoritative The Drawings
of Rembran∂t, A Critical and Chronological Catalogue, London, 1954–57
and 1973.
The Introduction by Stephen Longstreet was originally published in 1963.
Copyright
Copyright © 2007 by Dover Publications, Inc.
All rights reserved.
Library of Congress Cataloging-in-Publication Data
Rembrandt Harmenszoon van Rijn, 1606–1669.
Rembrandt drawings : 116 masterpieces in original color / Rembrandt van
Rijn.
p. cm.
9780486134536
1. Rembrandt Harmenszoon van Rijn, 1606–1669—Catalogs. 1. Title.
NC263.R4A4 2007
741.9492—dc22
2007013844
Manufactured in the United States of America
Dover Publications, Inc., 31 East 2nd Street, Mineola, N.Y 11501
Table of Contents
Title Page
About This Edition
Copyright Page
REMBRANDT HARMENSZOON VAN RIJN - 1606–1669
Notes on Rembrandt’s Family and Friends Pictured in the Drawings
LIST OF DRAWINGS
THE DRAWINGS
REM BRANDT
HARM ENSZOON VAN RIJN
1606–1669
The Oude Rijn was a river on which a miller ground malt for beer and he
took the name of the river as his own. Of his six sons only one is known to
us, the artist we call Rembrandt. One of the world’s most profound artists he
was a draftsman whose sketches have created a dozen styles in the art of
drawing.
The boy was always sketching, and at fourteen he was at the University of
Leyden where his drawing interested him more than textbooks. Apprenticed
to a bad painter, his genius outgrew that handicap so that by 1625 he was an
independent master in Leyden and soon a popular portrait painter in
Amsterdam. He never stopped drawing no matter how successful he was
with paintings in heavy gold frames. His early drawings in black and red
chalk have the crude power of the soil and the mill; heads and figures of his
parents, his brothers, the solid Dutch countryside. From the sources of his
mother’s Bible he took to drawing scenes from the Old and New Testament.
In chalk, in ink, with remarkable skill, and a kind of shorthand notation of
faces and bodies in his later styles, he created a personal world peopled by
his imagination. His skill was his ability to project the drama of faith and
legend onto paper, yet basing it on the peasants, the rich life of the
Amsterdam mijnheer and his fat wife and children the artist had observed.
Somehow with a scratchy reed pen, a tone or two of brown wash, he could
build up Jerusalem, the Passion of Christ, the Prodigal Son, Lazarus rising
from his grave. Rembrandt’s drawing is as remarkable as his painting and his
etchings.
For each of his etchings there are often many drawings, for every painting
usually a searching series of drawings that seek out costumes, gestures,
settings, furnishings, often enveloped in that personal chiaroscuro of the
artist’s inner world. He rises above the other great draftsmen of his time,
Rubens and Callot, by what he tried to get into a drawing. An instantaneous
emotion to the visual world, a reaction of inner expression that was beyond
the marvelous sensual reality of Rubens or the dancing ballet of horror that
was Callot’s image of the history of their world.
Rembrandt not only drew himself but was one of the great collectors of the
drawings of other artists. In 1665, when his collection of drawings and prints
(Papier Kunst—paper art) was sold at a special sale, it listed “works of art
of various outstanding Italian, French, German and Netherlandish masters
gathered by the just-listed Rembrandt van Rijn with great collector’s skill.”
The drawings themselves, already in his lifetime being collected, were at
first done in black and red chalk, in bistre and gallnut ink. He combined
chalk later with pen and brush work, using a bistre and Indian ink and often a
white body color. With a feather quill, a reed pen or a brush, he directed a
flexibility of rapid loops and curves into his work. The reed pen was his
favorite, used often half dry, it gave his line a vibrant transparency, and when
he diluted his inks to wash them over the lines, there resulted a velvet quality
of atmosphere, which, combined with sections of the paper left white added
to the drama of the drawing a mystery of artistic purpose. He rarely in his
colored drawings went beyond a solemn brown and a saffron yellow.
His drawings are of two types. Those he did directly from nature and those
he created out of his imagination and emotions. No matter how he treated
myths or holy subjects, they picture human beings. And they live for him and
for us in that atmosphere of indoor air and outdoor landscape in which his
figures move, his dramas come to their climaxes.
His drawings are not large. He drew them for his own knowledge and for
his students. Hundreds of them have survived and they speak to us more
directly than Rembrandt’s etchings and paintings. Time, contemplation, and
genius meet in his pen lines, the viewer participates in the artist’s world on
paper. His sketches have a new kind of realism, not posed, but fully active,
going about their life as if in a scene witnessed by accident through a
suddenly opened door.
Rembrandt’s success as a society artist did not last. His wife died, his new
style of painting did not please the burghers who parade in The Night Watch.
In 1657 he was declared a bankrupt, his debtors hounded him. His last self-
portraits show an aging face colored with drink and neglect. Only the eyes
seem alive, alert to a chaos of emotions that his drawings still captured.
Living among the Jewish patriarchs on the fringe of the ghetto, the old artist
continued to draw. His style, his last manner is that of a man who has seen
everything, experienced much, and only the vital core of a drawing is
preserved on paper.
Gone from his last drawings are the stylish costumes, the rich
backgrounds, the plump faces of worldly success. Forgotten by his former
patrons, the staaltmesters, he said: “What I want is not honor but freedom.”
Alone, often cold and hungry, Rembrandt drew the sacred texts of the
Bible. His angels spin in space, the Christ child is born, holy men kneel, the
dreadful journey to the Cross is recorded by a great draftsman. It is hard to
believe that the torn ink line, the slashed stroke of a loaded pen or brush in a
shaking hand can, with such economy of means, tell us so much. With a thin
wash or a blot of diluted ink Rembrandt places his world firmly before us.
He said: “A picture is finished when the artist has fulfilled his purpose in
undertaking it.” In 1669 he, too, was done, but his death only began his fame.
STEPHEN LONGSTREET
Notes on Rembrandt’s Family
and Friends Pictured in the
Drawings
Saskia van Uylenburch (Nos. 63–66; 82 and 84), a beautiful and wealthy
woman, married Rembrandt in 1634. The couple’s first three children all
died within a few months of birth. Saskia and her firstborn, Rombartus, are
thought to be the subjects of Woman Carrying a Child Downstairs (No. 82).
The couple’s fourth child, Titus (see Nos. 70 and 76), born in 1641,
survived infancy. He had a close and loving relationship with his father, but
died from the plague in 1668, a year before Rembrandt’s death. Saskia died
in 1642, a year after Titus was born, at the age of thirty. Titia van
Uylenburch (No. 78) was Saskia’s sister.
A number of years after Saskia’s death his housemaid Hendrickje
Stoffels (see Nos. 43 and 79) became his mistress. In 1654 she gave birth to
a healthy daughter, Cornelia (not shown in these drawings).
Rembrandt’s close friend Jan Six (1618–1700; see Nos. 71 and 72), an
important cultural figure in the golden age of the Netherlands, became mayor
of Amsterdam in 1691. His large art collection, including numerous works by
Rembrandt, is still a major art venue in Amsterdam.
Cornelis Claesz Anslo (1592–1646; see No. 67) was a famous preacher
of the Mennonite community in Amsterdam.
Jan Cornelis Sylvius (No. 68) was a preacher of the Dutch Reformed
Church and the legal guardian of Saskia van Uylenburch at the time of her
marriage to Rembrandt.
LIST OF DRAWINGS
Frontispiece: Self-portrait in Studio Attire, Full-length
B IB LE D R AWIN G S AN D S AIN TS
1. Adam and Eve After the Fall
2. Esau Selling His Birthright to Jacob
3. Jacob’s Dream
4. The Angel Appearing to Hagar in the Desert
5. Moses and the Burning Bush
6. Jael Driving a Nail into the Head of Sisera
7. The Angel Disappearing Before Manoah and His Wife
8. Boaz Pours Six Measures of Barley into Ruth’s Veil
9. Daniel in the Lion’s Den
10. Nathan Admonishing David
11. The Blind Tobit and Anna with the Goat
12. The Healing of Tobit
13. The Angel Departing from the Family of Tobit
14. The Virgin and Child Seated near a Window
15. The Naming of St. John the Baptist
16. Christ and His Disciples
17. Christ and the Woman Taken in Adultery
18. The Parable of the Talents
19. The Return of the Prodigal Son
20. Christ Healing a Leper
21. Christ Walking on the Waves
22. Christ Washing the Feet of the Disciples
23. Christ Finding the Apostles Asleep in Gethsemane
24. The Arrest of Christ
25. The Mocking of Christ
26. Christ Carrying the Cross
27. The Entombment of Christ
28. St. Peter’s Prayer Before the Raising of Tabitha
29. The Liberation of St. Peter from Prison
30. St. Jerome
31. Study for St. Peter
32. St. Jerome Reading in a Landscape
S IN G LE F IG U R E S TU D IES
33. Study of an Oriental Standing
34. Life Study of a Youth Pulling at a Rope
35. A Man Pulling a Rope
36. Seated Old Man
37. Bearded Old Man Seated in an Armchair, Turned to the Right, Full-
length
38. Man in a Flat Cap Seated on a Step
39. A Man Seated at a Table Covered with Books
40. Oriental Seen from Behind, Another Head Above on the Right
41. A Mounted Officer
42. Old Man with a Wide-brimmed Hat, Seated
43. A Woman (Hendrickje Stoffels?) Sleeping
44. Seated Old Woman, in a Large Head-dress, Half-length, Turned to the
Right
45. Woman Wearing a Costume of North Holland, Seen from the Back
46. Woman Seated, in an Oriental Costume
S TU D IES O F G R O U P S O F F IG U R ES
47. An Old Man with His Hands Leaning on a Book and a Study of a Man
Wearing a Turban
48. Study of a Group of Figures
49. Studies of Heads and Figures
50. Studies of Nine Figures
51. Three Full-length Studies of an Old Man on Crutches, and of a Woman
Seen in Half-length
52. Two Studies of a Woman Reading
53. Sheet of Studies of Listeners
N U D ES
54. Seated Male Nude
55. Standing Male Nude
56. Female Nude Seated and Bending Forward
57. Seated Female Nude with Her Arms Raised, Supported by a Sling
58. Female Nude Seated on a Chair, Seen from Behind
59. Female Nude Asleep
S ELF - P O RTR AITS AN D P O RTR AITS
60. Self-portrait
61. Self-portrait
62. Self-portrait
63. Saskia van Uylenburch
64. Saskia Seated in an Armchair
65. Saskia Looking Out of a Window
66. Saskia Lying in Bed, a Woman Sitting at Her Feet
67. Portrait of Cornelis Claesz Anslo
68. Portrait of Jan Cornelisz Sylvius
69. Portrait of a Man in an Armchair, Seen Through a Frame
70. A Boy (Titus?) Drawing at a Desk
71. Jan Six with a Dog, Standing by an Open Window
72. A Man (Jan Six?) Writing
73. Portrait of a Young Man
74. Study of a Syndic
75. Portrait of a Scholar
76. Young Man (Titus?) Holding a Flower
77. Portrait of a Man
78. Portrait of Titia van Uylenburch
79. A Woman (Hendrickje Stoffels?) Looking Out of a Window
80. Portrait of a Seated Old Woman with an Open Book on Her Knees
81. Portrait Bust of a Lady in a Cap Plumed with an Ostrich Feather
82. Woman (Saskia?) Carrying a Child (Rombartus?) Downstairs
83. The Screaming Boy
84. Young Woman (Saskia?) at Her Toilet
85. An Old Woman Holding a Child in Leading Strings; on the Left a
Separate Study of the Bust of the Child
G EN R E AN D M IS C ELLAN EO U S D R AWIN G S
86. Saskia’s Lying-in Room
87. Diana and Actaeon
88. The Conspiracy of Julius Civilis
89. The Eye Operation (?)
90. A Quack Addressing a Crowd at a Fair
91. Interior of a House with a Winding Staircase
92. Copy after an Unidentified Indian Miniature
93. Four Orientals Seated Beneath a Tree
94. Study after Leonardo’s “Last Supper”
AN IM ALS
95. An Elephant
96. A Recumbent Lion, Turned to the Right
97. Lion Resting, Turned to the Left
98. A Study of Two Pigs
99. Two Studies of a Bird of Paradise
LAN D S C AP ES AN D VIEWS
100. View of London with Old St. Paul’s, Seen from the North
101. The Bend in the Amstel River, with Kostverloren Castle and Two
Men on Horseback
102. The Ruins of Kostverloren Castle
103. The Montelbaanstoren in Amsterdam
104. The Westpoort at Rhenen
105. The Rijnpoort at Rhenen
106. View over the Amstel from the Blauwbrug in Amsterdam
107. A Hayrick near a Farm
108. Cottages Amongst High Trees
109. A Group of Large Trees on the Edge of a Pond
110. Cottage near the Entrance to a Wood
111. Peasant Courtyard
112. A Farmhouse Among Trees Beside a Canal with a Man in a Rowboat
113. A Farmstead with a Hayrick and Weirs Beside a Stream
114. Cottage Beside a Canal
115. A Thatched Cottage by a Tree
THE DRAWINGS
1. ADAM AND EVE AFTER THE FALL.
B8611. Morgan Library & Museum, New York.
Pen and bistre. Shown original size: 130 x 110 mm. About 1650.
2. ESAU SELLING HIS BIRTHRIGHT TO JACOB.
B564. Fodor Museum, Amsterdam. Pen and bistre.
Shown original size: 155 x 148 mm. About 1645.
3. JACOB’S DREAM.
B557. Louvre, Paris. Pen and wash in bistre, corrections in white body
color.
250 x 208 mm. About 1640.
4. THE ANGEL APPEARING TO HAGAR IN THE DESERT.
B904. Kunsthalle, Hamburg.
Reed pen and bistre, white body color. 182 x 252 mm. About 1655–57.
5. MOSES AND THE BURNING BUSH.
B951. Sir Max J. Bonn Collection, London. Reed pen and wash in bistre,
white body color.
175 x 247 mm. About 1655.
6. JAEL DRIVING A NAIL INTO THE HEAD OF SISERA.
B1042. Rijksprentenkabinet, Amsterdam. Pen and bistre, white body color.
Shown original size: 190 x 172 mm. About 1657–60.
7. THE ANGEL DISAPPEARING BEFORE MANOAH AND HIS WIFE.
B975. Nationalmuseum, Stockholm. Reed pen and wash in Indian ink.
233 x 203 mm. About 1655.
8. BOAZ POURS SIX MEASURES OF BARLEY INTO RUTH’S VEIL.
B643. Rijksprentenkabinet, Amsterdam. Pen and bistre, white body color.
Shown original size: 126 x 143 mm. About 1648–50.
9. DANIEL IN THE LION’S DEN.
B887. Rijksprentenkabinet, Amsterdam. Reed pen and bistre, wash, white
body color.
222 x 185 mm. About 1652.
10. NATHAN ADMONISHING DAVID.
B948. Metropolitan museum of Art, New York.
Reed pen and bistre, wash, white body color. 183 x 252 mm. About 1655–
56.
11. THE BLIND TOBIT AND ANNA WITH THE GOAT.
B584. Morgan Library & Museum, New York. Pen and bistre, washes in
sepia by a later hand.
173 x 234 mm. About 1647.
12. THE HEALING OF TOBIT.
B547. Mme. Pierre Goujon Collection, Paris. Pen and bistre, wash, white
body color.
Shown original size: 210 x 177 mm. About 1640—45.
13. THE ANGEL DEPARTING FROM THE FAMILY OF TOBIT.
B893. Morgan Library & Museum, New York. Reed pen and bistre, partly
rubbed with the finger.
193 x 243 mm. About 1652.
14. THE VIRGIN AND CHILD SEATED NEAR A WINDOW.
B113. British Museum, London. Pen and bistre, wash.
Shown original size: 155 x 137 mm. About 1635–37.
15. THE NAMING OF ST. JOHN THE BAPTIST.
B1007. Louvre, Paris. Pen and wash in bistre and Indian ink.
199 x 314 mm. About 1655.
16. CHRIST AND HIS DISCIPLES.
B89. Teyler Museum, Haarlem. Red and black chalk, pen and brush in
bistre, heightened with
brown, yellow and red, white body color. 355 x 476 mm. Signed and dated
1634.
17. CHRIST AND THE WOMAN TAKEN IN ADULTERY.
B1038. Nationalimuseum, Stockholm.
Pen and bistre. 189 x 248 mm. About 1655.
18. THE PARABLE OF THE TALENTS.
B910. Louvre, Paris. Reed pen and bistre.
173 x 218 mm. About 1652.
19. THE RETURN OF THE PRODIGAL SON.
B519. Teyler Museum, Haarlem. Pen and wash in bistre.
190 x 227 mm. About 1642.
20. CHRIST HEALING A LEPER.
B900. Kupferstichkabinett, Berlin. Pen and wash in bistre, white body
color.
180 x 247 mm. About 1655.
21. CHRIST WALKING ON THE WAVES.
B1043. British Museum, London. Reed pen and bistre.
191 x 295 mm. About 1658–60.
22. CHRIST WASHING THE FEET OF THE DISCIPLES.
B931. Rijksprentenkabinet, Amsterdam. Reed pen and bistre.
Shown original size: 156 x 220 mm. About 1655.
23. CHRIST FINDING THE APOSTLES ASLEEP IN GETHSEMANE.
Formerly J. P. Heseltine Collection, London. Pen and wash.
185 x 280 mm. About 1655.
24. THE ARREST OF CHRIST.
B1044. Nationalmuseum, Stockholm. Pen and wash in bistre.
205 x 298 mm. About 1655–60.
25. THE MOCKING OF CHRIST.
B1024. Formerly Léon Bonnat Collection, Paris.
Pen and bistre. 181 x 245 mm. About 1655.
26. CHRIST CARRYING THE CROSS.
B97. Kupferstichkabinett, Berlin. Pen and bistre, wash.
145 x 260 mm. Mid-1630s.
27. THE ENTOMBMENT OF CHRIST.
B1208. Teyler Museum, Haarlem. Pen and wash in bistre, white body color,
in the shape of a lunette.
180 x 283 mm. About 1655–60.
28. ST. PETER’S PRAYER BEFORE THE RAISING OF TABITHA.
B949. Musée, Bayonne. Reed pen and wash, white body color.
190 x 200 mm. About 1655–60.
29. THE LIBERATION OF ST. PETER FROM PRISON.
B616. Städelsches Kunstinstitut, Frankfurt am Main. Pen and wash in
bistre.
195 x 221 mm. About 1648–49.
30. ST. JEROME.
B18. Louvre, Paris. Red and black chalk.
Shown original size: 206 x 161 mm. About 1630.
31. STUDY FOR ST. PETER.
B12. Kupferstichkabinett, Dresden. Black chalk.
254 x 190 mm. About 1629.
32. ST. JEROME READING IN A LANDSCAPE.
B886. Kunsthalle, Hamburg. Reed pen and wash.
250 x 207 mm. About 1652.
33. STUDY OF AN ORIENTAL STANDING.
B207. British Museum, London. Pen and bistre, wash, white body color.
Shown original size: 221 x 169 mm. About 1633.
34. LIFE STUDY OF A YOUTH PULLING AT A ROPE.
B311. Rijksprentenkabinet, Amsterdam. Brush, quill and reed pen, wash,
heightened with white.
290 x 178 mm. About 1656–58.
35. A MAN PULLING A ROPE.
B5. Staatliche Graphische Sammlung, Munich. Red chalk.
273 x 176 mm. About 1627–28.
36. SEATED OLD MAN.
B37. National Gallery of Art (Rosenwald Collection), Washington. Red
chalk.
Shown original size: 157 x 147 mm. Signed with a monogram and dated
1630.
37. BEARDED OLD MAN SEATED IN AN ARMCHAIR, TURNED TO THE
RIGHT, FULL-LENGTH.
B40. Teyler Museum, Haarlem. Red and black chalk. Shown original size:
225 x 145 mm.
Signed with a monogram and dated 1631.
38. MAN IN A FLAT CAP SEATED ON A STEP.
B324. Metropolitan Museum of Art, New York. Pen and wash in bistre.
Shown original size: 146 x 138 mm. About 1637.
39. A MAN SEATED AT A TABLE COVERED WITH BOOKS.
B120. Chatsworth Settlement. Pen and bistre.
Shown original size: 183 x 150 mm. About 1636–38.
40. ORIENTAL SEEN FROM BEHIND, ANOTHER HEAD ABOVE ON THE
RIGHT.
B723. Kupferstichkabinett, Berlin. Black chalk.
Shown original size: 123 x 72 mm. About 1648.
41. A MOUNTED OFFICER.
B367. British Museum, London. Pen and wash in bistre, red chalk, yellow
water color, heightened
with white and some oil color. Shown original size: 210 x 164 mm. About
1638.
42. OLD MAN WITH A WIDE-BRIMMED HAT, SEATED.
B1075. Albertina, Vienna. Black chalk.
Shown original size: 128 x 95 mm. About 1647–52.
43. A WOMAN SLEEPING (HENDRICKJE STOFFELS?).
B1103. British Museum, London. Brush and wash in bistre.
245 x 203 mm. About 1655.
44. SEATED OLD WOMAN, IN A LARGE HEAD-DRESS, HALF-LENGTH,
TURNED TO THE RIGHT.
B684. Count Antoine Seilern Collection, London. Black chalk.
Shown original size: 140 x 110 mm. About 1643.
45. WOMAN WEARING A COSTUME OF NORTH HOLLAND, SEEN
FROM THE BACK.
B315. Teyler Museum, Haarlem. Pen and wash in bistre.
Shown original size: 220 x 150 mm. About 1642.
46. WOMAN SEATED, IN AN ORIENTAL COSTUME.
B325. Kupferstichkabinett, Berlin. Brush, pen and wash, white body color.
Shown original size: 200 x 162 mm. Mid-1630s.
47. AN OLD MAN WITH HIS HANDS LEANING ON A BOOK AND A
STUDY OF A MAN WEARING A TURBAN.
B48. Formerly Henry Oppenheimer Collection, London. Pen and bistre.
Shown original size: 116 x 156 mm. About 1631.
48. STUDY OF A GROUP OF FIGURES.
B52. Musée, Bayonne. Pen and brush.
173 x 190 mm. About 1630.
49. STUDIES OF HEADS AND FIGURES.
B340. Barber Institute, Birmingham, England. Pen and wash, red chalk.
220 x 233 mm. About 1636.
50. STUDIES OF NINE FIGURES.
B219. Kupferstichkabinett, Berlin. Pen and bistre.
178 x 184 mm. About 1635.
51. THREE FULL-LENGTH STUDIES OF AN OLD MAN ON CRUTCHES,
AND OF A WOMAN SEEN IN HALF-LENGTH.
B327. British Museum, London. Pen and bistre.
152 x 185 mm. About 1633.
52. TWO STUDIES OF A WOMAN READING.
B249. Metropolitan Museum of Art, New York.
Pen and bistre. Shown original size: 173 x 150 mm. About 1636–39.
53. SHEET OF STUDIES OF LISTENERS.
B140. Kupferstichkabinett, Berlin. Pen and bistre.
Shown original size: 190 x 125 mm. About 1637.
54. SEATED MALE NUDE.
B711. Musée, Bayonne. Black chalk.
250 x 190 mm. About 1646.
55. STANDING MALE NUDE.
B710. British Museum, London. Pen and wash in bistre, white body color,
over traces of red and black chalk. 252 x 193 mm. Mid-1640s.
56. FEMALE NUDE SEATED AND BENDING FORWARD.
B1145. British Museum, London. Pen, brush and wash in bistre and Indian
ink.
286 x 160 mm. About 1660–62.
57. SEATED FEMALE NUDE WITH HER ARMS RAISED, SUPPORTED BY
A SLING.
B1146. Rijksprentenkabinet, Amsterdam. Pen, brush and wash in bistre.
292 x 155 mm. About 1660–61.
58. FEMALE NUDE SEATED ON A CHAIR, SEEN FROM BEHIND.
B1107. Staatliche Graphische Sammlung, Munich. Pen and brush in bistre.
222 x 185 mm. About 1655.
59. FEMALE NUDE ASLEEP.
B1137. Rijksprentenkabinet, Amsterdam. Pen and brush in bistre, wash.
135 x 283 mm. Late 1650s.
60. SELF-PORTRAIT.
B53. British Museum, London. Pen and bistre, brush and Indian ink.
Shown original size: 127 x 95 mm. About 1629.
61. SELF-PORTRAIT.
B432. Kupferstichkabinett, Berlin. Pen and bistre, wash, white body color.
Shown original size: 123 x 137 mm. About 1635.
62. SELF-PORTRAIT.
B437. National Gallery of Art (Rosenwald Collection), Washington. Red
crayon.
Shown original size: 129 x 119 mm. About 1637.
63. SASKIA VAN UYLENBURCH.
B427. Kupferstichkabinett, Berlin. Silverpoint on white prepared vellum.
Shown original size: 185 x 107 mm. Dated 1633.
64. SASKIA SEATED IN AN ARMCHAIR.
B429. Louvre, Paris. Red and white chalk.
Shown original size: 147 x 110 mm. About 1635.
65. SASKIA LOOKING OUT OF A WINDOW.
B250. Boymans-van Beuningen Museum, Rotterdam. Pen and wash in
bistre.
Shown original size: 236 x 178 mm. About 1633–34.
66. SASKIA LYING IN BED, A WOMAN SITTING AT HER FEET.
B405. Staatliche Graphische Sammlung, Munich. Brush, pen and wash in
bistre, and some Indian ink.
Shown original size: 228 x 165 mm. About 1635–38.
67. PORTRAIT OF CORNELIS CLAESZ ANSLO.
B759. Louvre, Paris. Red chalk, pen and wash in bistre, Indian ink, white
body color.
246 x 201 mm. Signed and dated 1640.
68. PORTRAIT OF JAN CORNELISZ SYLVIUS.
B763. British Museum, London. Pen and wash in bistre, white body color.
283 x 193 mm. About 1645–46.
69. PORTRAIT OF A MAN IN AN ARMCHAIR, SEEN THROUGH A
FRAME.
B433. Mr. and Mrs. Charles S. Payson Collection, New York.
Black and red chalk, pen and wash in bistre, on vellum. 373 x 272 mm.
Signed and dated 1634.
70. A BOY (TITUS?) DRAWING AT A DESK.
B1095. Kupferstichkabinett, Dresden. Pen and brush in bistre.
Shown original size: 182 x 140 mm. About 1655–60.
71. JAN SIX WITH A DOG, STANDING BY AN OPEN WINDOW.
B767. Six Collection, Amsterdam. Pen and wash, white body color.
Shown original size: 220 x 175 mm. About 1647.
72. A MAN (JAN SIX?) WRITING.
B1172. Louvre, Paris. Pen and wash in bistre, white body color.
135 x 197 mm. About 1655.
73. PORTRAIT OF A YOUNG MAN.
B1181. Six Collection, Amsterdam. Reed pen and bistre.
232 x 194 mm. About 1655–60.
74. STUDY OF A SYNDIC.
B1179. Rijksprentenkabinet, Amsterdam. Pen and brush in bistre, wash,
white body color.
Shown original size: 193 x 159 mm. About 1662.
75. PORTRAIT OF A SCHOLAR.
B766. Museum of Art, Budapest. Pen and wash in bistre.
Shown original size: 161 x 150 mm. About 1646.
76. YOUNG MAN (TITUS?) HOLDING A FLOWER.
B1184. Louvre, Paris. Pen and bistre.
Shown original size: 175 x 118 mm. About 1658–60.
77. PORTRAIT OF A MAN.
B1182. Louvre, Paris. Reed pen and bistre, white body color.
247 x 192 mm. About 1660–65.
78. PORTRAIT OF TITIA VAN UYLENBURCH.
B441. Nationalmuseum, Stockholm. Pen and wash in bistre.
Shown original size: 178 x 146 mm. Inscribed and dated by the artist,
1639.
79. A WOMAN (HENDRICKJE STOFFELS?) LOOKING OUT OF A
WINDOW.
B1099. Louvre, Paris. Pen and brush in bistre.
292 x 162 mm. About 1655.
80. PORTRAIT OF A SEATED OLD WOMAN WITH AN OPEN BOOK ON
HER KNEES.
B757. Boymans-van Beuningen Museum, Rotterdam. Pen and bistre, wash.
Shown original size: 125 x 105 mm. About 1635–40.
81. PORTRAIT BUST OF A LADY IN A CAP PLUMED WITH AN OSTRICH
FEATHER.
B761. Musée, Bayonne. Black chalk and wash.
Shown original size: 195 x 140 mm. About 1640.
82. WOMAN (SASKIA?) CARRYING A CHILD (ROMBARTUS?)
DOWNSTAIRS.
B313. Morgan Library & Museum, New York. Pen and bistre, wash.
Shown original size: 185 x 133 mm. About 1636.
83. THE SCREAMING BOY.
B401. Kupferstichkabinett, Berlin. Pen and bistre, wash, white body color,
black chalk.
Shown original size: 206 x 143 mm. About 1635.
84. YOUNG WOMAN (SASKIA?) AT HER TOILET.
B395. Albertina, Vienna. Pen and bistre, washes in bistre and brown and
gray Indian inks.
238 x 184 mm. About 1632–34.
85. AN OLD WOMAN HOLDING A CHILD IN LEADING STRINGS;
ON THE LEFT A SEPARATE STUDY OF THE BUST OF A CHILD.
B706. Nationalmuseum, Stockholm. Pen and bistre.
Shown original size: 160 x 165 mm. About 1645.
86. SASKIA’S LYING-IN ROOM.
B404. Rijksprentenkabinet, Amsterdam. Pen and brush in bistre, washes,
white body color.
177 x 240 mm. About 1636–39.
87. DIANA AND ACTAEON.
B1210. Kupferstichkabinett, Dresden. Pen and bistre, wash, white body
color.
246 x 347 mm. About 1662–65.
88. THE CONSPIRACY OF JULIUS CIVILIS.
B1061. Staatliche Graphische Sammlung, Munich.
Pen and wash in bistre. Shown original size: 196 x 180 mm. 1661.
89. THE EYE OPERATION (?).
B1154. Nationalmuseum, Stockholm. Pen and bistre, wash, white body
color.
243 x 188 mm. About 1650–52.
90. A QUACK ADDRESSING A CROWD AT A FAIR.
B417. Count Antoine Seilern Collection, London. Pen and wash.
Shown original size: 188 x 164 mm. About 1638–42.
91. INTERIOR OF A HOUSE WITH A WINDING STAIRCASE.
B392. Kobberstiksamling, Copenhagen. Pen and wash in bistre.
Shown original size: 153 x 180 mm. About 1633.
92. COPY AFTER AN UNIDENTIFIED INDIAN MINIATURE.
B1205. British Museum, London. Pen and bistre, washes in bistre and
Indian ink, red chalk and yellow water color, heightened with white, on
Japanese paper. Shown original size: 206 x 177 mm. About 1655.
93. FOUR ORIENTALS SEATED BENEATH A TREE.
B1187. British Museum, London. Pen and bistre, wash on Japanese paper.
Shown original size: 192 x 125 mm. About 1655.
94. STUDY AFTER LEONARDO’S “LAST SUPPER.”
B443. Metropolitan Museum of Art (Robert Lehman Collection), New York.
red chalk.
365 x 475 mm. Signed. About 1635.
95. AN ELEPHANT.
B457. Albertina, Vienna. Black chalk.
230 x 340 mm. 1637.
96. A RECUMBENT LION, TURNED TO THE RIGHT.
B1216. Rijksprentenkabinet, Amsterdam. Reed pen and bistre.
Shown original size: 119 x 212 mm. About 1660.
97. LION RESTING, TURNED TO THE LEFT.
B1214. Louvre, Paris. Pen and brush in bistre.
Shown original size: 138 x 204 mm. About 1650–52.
98. A STUDY OF TWO PIGS.
B777. Louvre, Paris. Pen and bistre, white body color.
Shown original size: 126 x 182 mm. About 1643.
99. TWO STUDIES OF A BIRD OF PARADISE.
B456. Louvre, Paris. Pen and wash in bistre, white body color.
Shown original size: 181 x 154 mm. About 1637.
100. VIEW OF LONDON WITH OLD ST. PAUL’S, SEEN FROM THE
NORTH.
B788. Kupferstichkabinett, Berlin. Pen and bistre, wash, white body color.
164 x 318 mm. About 1640.
101. THE BEND IN THE AMSTEL RIVER, WITH KOSTVERLOREN
CASTLE AND TWO MEN ON HORSEBACK.
B1265. Chatsworth Settlement. Reed pen and brush in bistre, washes in
bistre and Indian ink,
white body color: 136 x 250 mm. About 1650–52.
102. THE RUINS OF KOSTVERLOREN CASTLE.
B1270. Art Institute of Chicago. Pen and bistre, wash, white body color.
Shown original size: 104 x 173 mm. About 1650–52.
103. THE MONTELBAANSTOREN IN AMSTERDAM.
B1309. Rembrandt Huis, Amsterdam. Reed pen and bistre, wash.
Shown original size: 145 x 144 mm. About 1650.
104. THE WESTPOORT AT RHENEN.
B826. Teyler Museum, Haarlem. Pen and bistre in wash.
Shown original size: 165 x 226 mm. About 1648.
105. THE RIJNPOORT AT RHENEN.
B1300. Louvre, Paris. Pen and wash in Indian ink.
146 x 252 mm. About 1648.
106. VIEW OVER THE AMSTEL FROM THE BLAUWBRUG IN
AMSTERDAM.
B844. Rijksprentenkabinet, Amsterdam. Pen and wash on vellum.
Shown original size: 132 x 232 mm. About 1648–50.
107. A HAYRICK NEAR A FARM.
B1233. Chatsworth Settlement. Pen and bistre, wash.
Shown original size: 128 x 200 mm. About 1650.
108. COTTAGES AMONGST HIGH TREES.
B1367. Kupferstichkabinett, Berlin. Pen and brush in bistre, wash.
195 x 310 mm. About 1655–60.
109. A GROUP OF LARGE TREES ON THE EDGE OF A POND.
B1338. Louvre, Paris. Pen and bistre, wash.
145 x 250 mm. About 1655.
110. COTTAGE NEAR THE ENTRANCE TO A WOOD.
B815. Metropolitan Museum of Art (Robert Lehman Collection), New York.
Pen and bistre, wash, some black and red chalk. 298 x 452 mm. Signed and
dated 1644.
111. PEASANT COURTYARD.
B464. Museum of Art, Budapest. Pen and bistre, wash.
Shown original size: 164 x 226 mm. About 1636.
112. A FARMHOUSE AMONG TREES BESIDE A CANAL WITH A MAN IN
A ROWBOAT.
B1232. Chatsworth Settlement. Pen and bistre, wash, white body color.
Shown original size: 133 x 204 mm. About 1650.
113. A FARMSTEAD WITH A HAYRICK AND WEIRS BESIDE A STREAM.
B1294. Chatsworth Settlement. Reed pen and bistre, wash, white body
color.
Shown original size: 116 x 202 mm. About 1652.
114. COTTAGE BESIDE A CANAL.
B1297. Art Institute of Chicago. Reed pen and wash in bistre.
Shown original size: 149 x 248 mm. About 1652–53.
115. A THATCHED COTTAGE BY A TREE.
B1282. Chatsworth Settlement. Reed pen and bistre.
175 x 267 mm. About 1652.
1 The catalogue number in Otto Benesch’s authoritative six-volume The
Drawings of Rembrandt (Phaidon Press Ltd., London, 1973) is provided for
the convenience of persons who wish to do further study on individual
drawings.
