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ARCH.2013.5.1, Rendition: 793856
The image displays a catalogue of Rembrandt's prints arranged in chronological order based on the dates given by the prints themselves or the year of a dated print akin in style to the undated example. The catalogue aims to provide an idea of the course Rembrandt's art took in its development, noting that the prints are usually impossible to hang in a gallery in this exact order. The catalogue distinguishes important states of the prints where significant changes in the plate occurred. It references two catalogues: one by Bartsch (1797) and Hind (1923), with the initials H. and B. indicating the respective catalogue numbers. The text also mentions Arthur M. Hind's "Catalogue of Rembrandt's Etchings," which contains detailed data on each print, and Norton lectures that provide context on the etchings within Rembrandt's broader body of work.
The listed prints include:
The image displays a page from a catalogue listing various etchings by Rembrandt in chronological order. The catalogue details each etching with specific identifiers and descriptions.
Here is a detailed summary of the etchings listed:
Beggar Seated on a Bank (H.11, B.174)
Beggar with a Wooden Leg (H.12, B.179)
Beggar Seated Warming His Hands at a Chafing Dish (H.8, B.173)
Christ at Emmaus: The Smaller Plate (H.121, B.88)
Rembrandt with Plumed Hat and Lowered Sabre: Three-Quarter Length: Afterwards Bust in Oval (H.110, B.23)
Christ and the Woman of Samaria: Among Ruins (H.122, B.71)
Girl with Hair Falling on Her Shoulders (The 'Great Jewish Bride') (H.127, B.340)
The catalogue also references additional resources such as Arthur M. Hind’s catalogue of Rembrandt’s etchings and Norton lectures, which provide further context and detailed information about the artist's progression and development of his work.
The image is a page from a catalogue that lists Rembrandt's prints in chronological order. The text explains that the prints are arranged based on the dates given by the prints themselves or the year of a dated print akin to the undated examples. The goal is to illustrate the progression of the artist's work.
The catalogue notes that it's difficult to hang prints in a gallery in order of development while maintaining balance and emphasis. It also mentions that important states of the prints are distinguished by significant changes in the plate between printings, with references to catalogues by Bartsch (1797) and Hind (1923).
The list includes the following prints with their respective details:
Beggar Seated on a Bank
Beggar with a Wooden Leg
Beggar Seated Warming His Hands at a Chafing Dish
Christ at Emmaus: The Smaller Plate
Rembrandt with Plumed Hat and Lowered Sabre: Three-Quarter Length; Afterwards Bust in Oval
Christ and the Woman of Samaria: Among Ruins
Girl with Hair Falling on Her Shoulders (The 'Great Jewish Bride')
Additionally, the text mentions Arthur M. Hind's Catalogue of Rembrandt's Etchings (two volumes) and Norton lectures for further information on Rembrandt's work.
The image is a page from a catalogue listing Rembrandt's prints in chronological order. The prints are organized based on the dates given by the prints themselves or the year of a dated print akin in style to the undated ones. The goal is to provide insight into the progression of Rembrandt's artistic development.
Key points from the text include:
The catalogue lists seven prints by Rembrandt, including:
Each entry provides details about the state of the print and its provenance.
The image shows a catalogue of Rembrandt's prints, organized in chronological order according to the dates provided by the prints themselves or based on stylistic comparisons to dated works. The list aims to illustrate the development of Rembrandt’s art. Important states of the prints, which indicate significant changes between stages of the printing process, are noted.
Here is a detailed summary of the listed prints:
BEGGAR SEATED ON A BANK
BEGGAR WITH A WOODEN LEG
BEGGAR SEATED WARMING HIS HANDS AT A CHAFING DISH
CHRIST AT EMMAUS: THE SMALLER PLATE
REMBRANDT WITH PLUMED HAT AND LOWERED SABRE: THREE-QUARTER LENGTH; AFTERWARDS BUST IN OVAL
CHRIST AND THE WOMAN OF SAMARIA: AMONG RUINS
GIRL WITH HAIR FALLING ON HER SHOULDERS (THE ‘GREAT JEWISH BRIDE’)
The initials H, B, and numbers refer to the catalogues by Hind (1923) and Bartsch (1797), which are key references for Rembrandt’s etchings. The catalogue entries provide detailed information about each print's states and provenance.
The image displays a page from a catalogue that lists Rembrandt's prints in chronological order. The catalogue aims to provide a developmental sequence of Rembrandt's works, typically based on the dates of dated prints or prints akin to undated examples. The prints are usually arranged in a gallery to balance and emphasize the artist's development.
The catalogue uses initials H. and B. to refer to the catalogues by Bartsch (1797) and Hind (1923). It also references Mr. Arthur M. Hind's Catalogue of Rembrandt's Etchings for additional details and reproductions. The Norton lectures by the same author (Rembrandt, Harvard University Press, 1932) are noted for their comprehensive overview of Rembrandt's etchings within his broader body of work.
The list includes the following prints with detailed descriptions:
Beggar Seated on a Bank
Beggar with a Wooden Leg
Beggar Seated Warming his Hands at a Chafing Dish
Christ at Emmaus: The Smaller Plate
Rembrandt with Plumed Hat and Lowered Sabre: Three-Quarter Length: Afterwards Bust in Oval
Christ and the Woman of Samaria: Among Ruins
Girl with Hair Falling on her Shoulders (The 'Great Jewish Bride')
Each entry provides specific details about the state of the print, its signature, date, and provenance.
The image displays a page from a catalogue or a book, with text describing a list of Rembrandt's prints. The page has the heading "CATALOGUE" and indicates that the prints of Rembrandt are arranged in chronological order based on the dates given by the prints themselves or the year of a dated print. The text explains that this is done to show the development of Rembrandt's art. The catalogue references include Bartsch (1797) and Hind (1923), as well as Arthur M. Hind's "Catalogue of Rembrandt's Etchings." The author of the text also mentions another scholarly work, "Rembrandt, Harvard University Press, 1932," as a guide to understanding the placement of the etchings within the whole series of Rembrandt's works.
Below this introduction, the page lists several items with brief descriptions:
BEGGAR SEATED ON A BANK
H.11. B.174. Signed, 1630. First state, with uneven plate edges.
From the P. Mathey collection.
BEGGAR WITH A WOODEN LEG
H.12. B.179. (c.1630). First state, with uneven edges of plate.
Berlin Museum duplicate. From the H. ten Cate collection.
BEGGAR SEATED WARMING HIS HANDS AT A CHAFING DISH
H.8. B.173. (c.1630). Second state, with shading on left side of the bundle.
From the H. ten Cate and S. Barden collections.
CHRIST AT EMMAUS: THE SMALLER PLATE
H.121. B.88. Signed, 1634.
REMBRANDT WITH PLUMED HAT AND LOWERED SABRE: THREE-QUARTER LENGTH: AFTERWARDS BUST IN OVAL
H.110. B.23. Signed, 1634.
Third state: Reduced to a bust and the oval plate made regular.
CHRIST AND THE WOMAN OF SAMARIA: AMONG RUINS
H.122. B.71. Signed, 1634.
First state, with lines across the top of the plate.
GIRL WITH HAIR FALLING ON HER SHOULDERS ('THE GREAT JEWISH BRIDE')
H.127. B.340. Signed, 1635.
Fourth state: The stonework at right divided by horizontal lines.
From the Mariette and H. Weber collections.
The list includes the title of each print, catalogue references (H. and B. numbers likely corresponding to different catalogues), state of the print, mentions of signatures and dates, as well as provenance from specific collections. The detailed descriptions provide glimpses into the condition and history of the prints.
The image shows a catalogue page related to Rembrandt's prints. The page describes the arrangement and categorization of his prints, indicating they are listed in chronological order based on the dates provided by the prints or the style of undated prints. The catalogue uses references from Bartsch (1797) and Hind (1923) to assign numbers to each print. The text explains the importance of detailing the states of the prints to show significant changes and development in the artist's work.
The catalogue entry lists seven specific prints of Rembrandt with detailed descriptions:
Beggar Seated on a Bank
Beggar with a Wooden Leg
Beggar Seated Warming His Hands at a Chafing Dish
Christ at Emmaus: The Smaller Plate
Rembrandt with Plumed Hat and Lowered Sabre: Three-quarter Length: Afterwards Bust in Oval
Christ and the Woman of Samaria: Among Ruins
Girl with Hair Falling on Her Shoulders (The 'Great Jewish Bride')
The image shows a page from a catalogue detailing Rembrandt's prints, arranged in chronological order based on the dates provided by the prints themselves or the year of creation. The page is titled "CATALOGUE" and begins with an explanatory paragraph that outlines the purpose and methodology of the catalogue. The text explains that the prints are listed chronologically to provide insight into the development of Rembrandt's artistic style, while acknowledging the challenges of balancing the order of development with the practicalities of displaying prints in a gallery setting.
Following the introduction, the page lists seven entries of Rembrandt's prints, each accompanied by detailed information:
Beggar Seated on a Bank
Beggar with a Wooden Leg
Beggar Seated Warming His Hands at a Chafing Dish
Christ at Emmaus: The Smaller Plate
Rembrandt with Plumed Hat and Lowered Sabre: Three-Quarter Length: Afterwards Bust in Oval
Christ and the Woman of Samaria: Among Ruins
Girl with Hair Falling on Her Shoulders (The 'Great Jewish Bride')
The entries include catalog numbers (H. and B.), signatures, approximate dates, states of the prints, and the collections from which the prints originate. The page is formatted in a clear, organized manner, typical of an art catalogue, and serves as a reference for scholars, collectors, and art historians studying Rembrandt's printmaking.
The image is a page from a catalog that features a list of Rembrandt's prints. The catalog is arranged in chronological order, based on the dates given by the prints themselves or the year of a dated print akin in style to the undated example. The page provides details about each print, including the title, the catalog number, the date, and the state of the print. The page also mentions the collections where the prints can be found, such as the P. Mathey collection, the H. ten Cate collection, and the Berlin Museum. The page also provides information about the significance of the prints and the importance of distinguishing between important states.