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The image displays a page from a catalog or book that lists various prints or artworks. Each entry includes a title, reference numbers (likely from a specific cataloging system), the state of the print, and sometimes additional details such as the artist, collection, or specific features of the print. Here is a detailed summary of the entries:

32. CLEMENT DE JONGHE, PRINTSELLER

• Reference: H.251. B.272.
• Signed, 1651.
• First state: Before the arch added in the third state, and with light shading on the outer fold of the cloak below the left shoulder.
• Provenance: From the Galichon and C. B. Eddy collections.

33. THE BLINDNESS OF TOBIT: THE LARGER PLATE

• Reference: H.252. B.42.
• Signed, 1651.
• British Museum duplicate. From the Sir Thomas Lawrence and William Esdaile collections.

34. THE FLIGHT INTO EGYPT: A NIGHT PIECE

• Reference: H.253. B.53.
• Signed, 1651.
• First state: With Joseph's right hand white.

35. THE STAR OF THE KINGS: A NIGHT PIECE

• Reference: H.254. B.113.
• Circa 1652.
• Provenance: From the H. ten Cate and Rumpf collections.

36. ADORATION OF THE SHEPHERDS: A NIGHT PIECE

• Reference: H.255. B.46.
• Circa 1652.
• Sixth state: Some curved lines of shading added to the pillows above the Child's head.
• Provenance: From the John Wilson and Emil Schroeder collections.

37. FAUST IN HIS STUDY, WATCHING A MAGIC DISK (DR. FAUSTUS)

• Reference: H.260. B.270.
• Circa 1652.
• First state: With the upright book at the right shaded in open lines.

38. CHRIST PREACHING ('LA PETITE TOMBE')

• Reference: H.256. B.67.
• Circa 1652.
• Proof on paper watermarked with the Head of Folly.

39. CHRIST BETWEEN HIS PARENTS, RETURNING FROM THE TEMPLE

• Reference: H.278. B.60.
• Signed, 1654.

40. THE VIRGIN AND CHILD WITH THE CAT: AND JOSEPH AT THE WINDOW

• Reference: H.275. B.63.
• Signed, 1654.
• First state: With some spots left white along the upper border, at the right, in the heavily shaded part of the wall.
• Provenance: From the H. ten Cate and Davidsohn collections.

41. THE ENTOMBMENT

• Reference: H.281. B.86.
• Circa 1654.
• First state: With etching in open lines.
• Provenance: From the Schlösser, Smith, Liphart, and Davidsohn collections.

42. THE DESCENT FROM THE CROSS: BY TORCHLIGHT

• Reference: H.280. B.83.
• Signed, 1654.
• Provenance: From the Gerstenberg collection.

The page is titled "HIGHLIGHTS FROM THE COLLECTION" and the page numbers range from 43 to 50, indicating the entries on this page.

The image displays a page from a catalog or a listing of prints and artwork, likely from a collection. The page includes entries numbered from 32 to 42, detailing specific prints and their associated details.

Here is a detailed summary of each entry:

1. 32. Clement de Jonghe, Printseller

   • H.251, B.272, signed, dated 1651.
   • Description: First state features an arch added in the third state with light shading on the cloak below the left shoulder.

2. 33. The Blindness of Tobit: The Larger Plate

   • H.252, B.42, signed, dated 1651.
   • Notes: A British Museum duplicate. Collected from Sir Thomas Lawrence and William Esdale.

3. 34. The Flight into Egypt: A Night Piece

   • H.253, B.53, signed, dated 1651.
   • First state: Joseph's right hand is white.

4. 35. The Star of the Kings: A Night Piece

   • H.254, B.113, circa 1652.
   • Source: From the H. ten Cate and Rumpf collections.

5. 36. Adoration of the Shepherds: A Night Piece

   • H.255, B.46, circa 1652.
   • Sixth state: Includes some curved lines of shading added to pillows above the Child’s head.
   • Source: From the John Wilson and Emil Schroeder collections.

6. 37. Faust in His Study, Watching a Magic Disk (Dr. Faustus)

   • H.260, B.270, circa 1652.
   • First state: With an upright book at the right shaded in open lines.

7. 38. Christ Preaching ('La Petite Tombe')

   • H.256, B.67, circa 1652.
   • Notes: Proof on paper watermarked with the Head of Folly.

8. 39. Christ Between His Parents, Returning from the Temple

   • H.278, B.60, signed, dated 1654.

9. 40. The Virgin and Child with the Cat: And Joseph at the Window

   • H.275, B.63, signed, dated 1654.
   • First state: Some spots left white along the upper border, right in the heavily shaded part of the wall.
   • Source: From the H. ten Cate and Davidsohn collections.

10. 41. The Entombment

    • H.281, B.86, circa 1654.
    • First state: With etching in open lines.
    • Source: From the Schlösser, Smith, Liphart, and Davidsohn collections.

11. 42. The Descent from the Cross: By Torchlight

    • H.280, B.83, signed, dated 1654.
    • Source: From the Gerstenberg collection.

This page seems to be part of a catalog of significant prints, likely from a notable collection or exhibition, detailing various states and specific notes on each artwork.

The image contains a list of various artworks, likely etchings or engravings, with their respective titles, catalog numbers, and additional information such as the year of signing, states of the artwork, and provenance details. Here's a detailed summary:

1. CLEMENT DE JONGHE, PRINTSELLER

   • H.251, B.272
   • Signed, 1651
   • First state: Before the arch added in the third state, and with light shading on the outer fold of the cloak below the left shoulder.
   • From the Galichon and C. B. Eddy collections.

2. THE BLINDNESS OF TOBIT: THE LARGER PLATE

   • H.252, B.42
   • Signed, 1651
   • British Museum duplicate.
   • From the Sir Thomas Lawrence and William Esdaile collections.

3. THE FLIGHT INTO EGYPT: A NIGHT PIECE

   • H.253, B.53
   • Signed, 1651
   • First state: With Joseph’s right hand white.

4. THE STAR OF THE KINGS: A NIGHT PIECE

   • H.254, B.113
   • (c.1652)
   • From the H. ten Cate and Rumpf collections.

5. ADORATION OF THE SHEPHERDS: A NIGHT PIECE

   • H.255, B.46
   • (c.1652)
   • Sixth state: Some curved lines of shading added to the pillows above the Child’s head.
   • From the John Wilson and Emil Schroeder collections.

6. FAUST IN HIS STUDY, WATCHING A MAGIC DISK (DR. FAUSTUS)

   • H.260, B.270
   • (c.1652)
   • First state: With the upright book at the right shaded in open lines.

7. CHRIST PREACHING ('LA PETITE TOMBE')

   • H.256, B.67
   • (c.1652)
   • Proof on paper watermarked with the Head of Folly.

8. CHRIST BETWEEN HIS PARENTS, RETURNING FROM THE TEMPLE

   • H.278, B.60
   • Signed, 1654.

9. THE VIRGIN AND CHILD WITH THE CAT: AND JOSEPH AT THE WINDOW

   • H.275, B.63
   • Signed, 1654
   • First state: With some spots left white along the upper border, at the right, in the heavily shaded part of the wall.
   • From the H. ten Cate and Davidsohn collections.

10. THE ENTOMBMENT

    • H.281, B.86
    • (c.1654)
    • First state: With etching in open lines.
    • From the Schlösser, Smith, Liphart, and Davidsohn collections.

11. THE DESCENT FROM THE CROSS: BY TORCHLIGHT

    • H.280, B.83
    • Signed, 1654
    • From the Gerstenberg collection.

The list appears to be part of a catalog or inventory, likely of a collection of prints or engravings, detailing specific details about each piece.

The image displays a page from a catalog or a collection list detailing various artworks by an artist, likely Rembrandt, based on the style and numbering conventions. Each entry includes a title, reference numbers (H. and B. numbers), a signature date, and sometimes additional details about the state of the artwork or its provenance. Here is a detailed summary of the entries:

32. Clement de Jonghe, Printseller

• Reference: H.251, B.272
• Signed, 1651
• First state: Before the arch added in the third state, with light shading on the outer fold of the cloak below the left shoulder
• From the Galichon and C. B. Eddy collections

33. The Blindness of Tobit: The Larger Plate

• Reference: H.252, B.42
• Signed, 1651
• British Museum duplicate
• From the Sir Thomas Lawrence and William Esdaile collections

34. The Flight into Egypt: A Night Piece

• Reference: H.253, B.53
• Signed, 1651
• First state: With Joseph's right hand white

35. The Star of the Kings: A Night Piece

• Reference: H.254, B.113 (c.1652)
• From the H. ten Cate and Rumpf collections

36. Adoration of the Shepherds: A Night Piece

• Reference: H.255, B.46 (c.1652)
• Sixth state: Some curved lines of shading added to the pillows above the Child's head
• From the John Wilson and Emil Schroeder collections

37. Faust in His Study, Watching a Magic Disk (Dr. Faustus)

• Reference: H.260, B.270 (c.1652)
• First state: With the upright book at the right shaded in open lines

38. Christ Preaching ('La Petite Tombe')

• Reference: H.256, B.67 (c.1652)
• Proof on paper watermarked with the Head of Folly

39. Christ Between His Parents, Returning from the Temple

• Reference: H.278, B.60
• Signed, 1654

40. The Virgin and Child with the Cat; and Joseph at the Window

• Reference: H.275, B.63
• Signed, 1654
• First state: With some spots left white along the upper border, at the right, in the heavily shaded part of the wall
• From the H. ten Cate and Davidsohn collections

41. The Entombment

• Reference: H.281, B.86 (c.1654)
• First state: With etching in open lines
• From the Schlösser, Smith, Liphart, and Davidsohn collections

42. The Descent from the Cross: By Torchlight

• Reference: H.280, B.83
• Signed, 1654
• From the Gerstenberg collection

The entries provide detailed provenance information, indicating the collections from which these artworks originate. The reference numbers (H. and B.) are likely from standard catalogues, which help in identifying and cross-referencing the works.

The image displays a catalog or inventory list of various etchings and artworks, primarily by an artist whose initials appear to be "H" and "B," likely referring to Hendrick Goudt and Hercules Segers or another artist, but more probably the catalog focuses on works by Rembrandt Harmenszoon van Rijn, commonly known by his signatures including "R" or "Rembrandt" and noted by "H" followed by numbers referencing Hollstein numbers, a catalog of Rembrandt's etchings.

Here are the details of each entry in the image:

32. Clement de Jonghe, Printseller

• Hollstein (H) number: 251
• Bartsch (B) number: 272
• Signed and dated: 1651
• First state: Before the arch added in the third state, with light shading on the outer fold of the cloak below the left shoulder.
• Provenance: From the Galichon and C. B. Eddy collections.

33. The Blindness of Tobit: The Larger Plate

• H.252, B.42, Signed, 1651
• Provenance: British Museum duplicate. From the Sir Thomas Lawrence and William Esdaile collections.

34. The Flight into Egypt: A Night Piece

• H.253, B.53, Signed, 1651
• First state: With Joseph's right hand white.

35. The Star of the Kings: A Night Piece

• H.254, B.113 (c.1652)
• Provenance: From the H. ten Cate and Rumpf collections.

36. Adoration of the Shepherds: A Night Piece

• H.255, B.46 (c.1652)
• Sixth state: Some curved lines of shading added to the pillows above the Child’s head.
• Provenance: From the John Wilton and Emil Schroeder collections.

37. Faust in his Study, Watching a Magic Disk (Dr. Faustus)

• H.260, B.270 (c.1652)
• First state: With the upright book at the right shaded in open lines.

38. Christ Preaching ("La Petite Tombe")

• H.256, B.67 (c.1652)
• Proof on paper watermarked with the Head of Folly.

39. Christ between his Parents, Returning from the Temple

• H.278, B.60, Signed, 1654

40. The Virgin and Child with the Cat; and Joseph at the Window

• H.275, B.63, Signed, 1654
• First state: With some spots left white along the upper border, at the right, in the heavily shaded part of the wall.
• Provenance: From the H. ten Cate and Davidszhn collections.

41. The Entombment

• H.281, B.86 (c.1654)
• First state: With etching in open lines.
• Provenance: From the Schlossers, Smith, Liphart, and Davidszhn collections.

42. The Descent from the Cross: By Torchlight

• H.280, B.83, Signed, 1654
• Provenance: From the Gerstenberg collection.

The image displays a page from a catalog or reference book detailing various prints by the artist Rembrandt. Each entry provides specific information about the print, including the title, Hind (H.) and Bartsch (B.) catalog numbers, the date, the state of the print, notable features, and the provenance (previous owners or collections). Here is a detailed summary of each entry:

32. CLEMENT DE JONGHE, PRINTSELLER

• Catalog Numbers: H.251, B.272.
• Date: 1651.
• State: First state, described as before the arch was added in the third state, and with light shading on the outer fold of the cloak below the left shoulder.
• Provenance: From the Galtchon and C.B. Eddy collections.

33. THE BLINDNESS OF TOBIT: THE LARGER PLATE

• Catalog Numbers: H.252, B.42.
• Date: 1651.
• State: Not specified.
• Provenance: British Museum duplicate, from the Sir Thomas Lawrence, and William Esdaile collections.

34. THE FLIGHT INTO EGYPT: A NIGHT PIECE

• Catalog Numbers: H.253, B.53.
• Date: 1651.
• State: First state, with Joseph's right hand white.

35. THE STAR OF THE KINGS: A NIGHT PIECE

• Catalog Numbers: H.254, B.113.
• Date: circa 1652.
• Provenance: From the H. ten Cate and Rumpf collections.

36. ADORATION OF THE SHEPHERDS: A NIGHT PIECE

• Catalog Numbers: H.255, B.46.
• Date: circa 1652.
• State: Sixth state, with some curved lines of shading added to the pillows above the Child's head.
• Provenance: From the John Wilson and Emil Schroeder collections.

37. FAUST IN HIS STUDY, WATCHING A MAGIC DISK (DR. FAUSTUS)

• Catalog Numbers: H.260, B.270.
• Date: circa 1652.
• State: First state, with the upright book at the right shaded in open lines.

38. CHRIST PREACHING (LA PETITE TOMBE)

• Catalog Numbers: H.256, B.67.
• Date: circa 1652.
• State: Proof on paper watermarked with the Head of Folly.

39. CHRIST BETWEEN HIS PARENTS, RETURNING FROM THE TEMPLE

• Catalog Numbers: H.278, B.60.
• Date: 1654.

40. THE VIRGIN AND CHILD WITH THE CAT: AND JOSEPH AT THE WINDOW

• Catalog Numbers: H.275, B.63.
• Date: 1654.
• State: First state, with some spots left white along the upper border, at the right, in the heavily shaded part of the wall.
• Provenance: From the H. ten Cate and Davidsohn collections.

41. THE ENTOMBMENT

• Catalog Numbers: H.281, B.86.
• Date: circa 1654.
• State: First state, with etching in open lines.
• Provenance: From the Schlüsser, Smith, Liphard, and Davidsohn collections.

42. THE DESCENT FROM THE CROSS: BY TORCHLIGHT

• Catalog Numbers: H.280, B.83.
• Date: 1654.
• Provenance: From the Gerstenberg collection.

The page numbers are visible on the right side, ranging from 43 to 50.

This image shows a page from a catalog or book listing various art pieces, most of them prints. Each entry includes a title, an inventory or catalog number, signature information, year, and state of the print (descriptions of variations from different stages of the printing process), as well as the collections from which they come. The artworks are from the 17th century, as indicated by the dates (1651, 1652, 1654) next to the signatures. The titles suggest the subject matter of the prints includes religious and historical themes, such as "THE FLIGHT INTO EGYPT: A NIGHT PIECE" and "THE DESCENT FROM THE CROSS: BY TORCHLIGHT." There are also notes on whether the piece is a duplicate, such as "British Museum duplicate," and references to specific collections, such as "From the Gersenberg collection."

The entries are numbered from 32 to 42, suggesting this might be a page from the middle of the catalog. The bottom of the image mentions "KEYPOINTS COLLECTION," which might imply the name of the collection or series.

The image depicts a page from a catalog or an art collection book. This page lists several art pieces with brief descriptions and provenance information. Each entry is numbered and includes the name of the artwork, the artist's name, catalog references, the year or estimated year of creation, description of the states or versions of the artwork, and mentions of collections from which the works come.

Below is a more detailed description of the entries found on this page:

32. Clement de Jonghe, Printseller: Signed, 1651. Describes the first state of the print and its provenance (from the Galichon and C.B. Eddy collections).

33. The Blindness of Tobit: The Larger Plate: Signed, 1651. Mentions the provenance (British Museum duplicate, from Sir Thomas Lawrence and William Esdaile collections).

34. The Flight Into Egypt: A Night Piece: Signed, 1651. Describes the first state, mentioning Joseph's right hand being white.

35. The Star of the Kings: A Night Piece: (circa 1652). Provides catalog references and mentions provenance (from the H. ten Cate and Rumpf collections).

36. Adoration of the Shepherds: A Night Piece: (circa 1652). Signed, description of the sixth state, provenance (from the John Wilson and Emil Schroeder collections).

37. Faust in His Study, Watching a Magic Disk (Dr. Faustus): (circa 1652). Describes the first state, mentioning shading of the upright book.

38. Christ Preaching ('La Petite Tombe'): (circa 1652). Describes a proof on paper watermarked with the Head of Folly.

39. Christ Between His Parents, Returning from the Temple: Signed, 1654.

40. The Virgin and Child with the Cat: And Joseph at the Window: Signed, 1654. Describes the first state mentioning white spots left along the upper border.

41. The Entombment: (circa 1654). Signed, describes the first state with etching in open lines, mentions provenance (from the Schlosser, Smith, Liphart and Davidsohn collections).

42. The Descent from the Cross: By Torchlight: Signed, 1654. Mentions provenance (from the Gerstenberg collection).

The layout is clean and organized, using italics and bullet points for emphasis. Some text is slightly cropped at the bottom.

The image shows a page from a catalog or inventory, likely of an art collection, detailing entries related to engravings or prints. The page is numbered "43" at the top right and is part of a larger document, as indicated by the visible page numbers and the continuation of text on the right edge. The entries are numbered sequentially from 32 to 42, each describing a specific print or artwork with detailed information.

Key Features of the Page:

1. Structure:

   • Each entry is numbered (e.g., 32, 33, etc.) and includes the title of the artwork, followed by descriptive details such as the artist's name, date, state of the print, and provenance (collections it was part of).

2. Content:

   • Entry 32: Describes an engraving titled "Clement de Jonghe, Printseller" by H.251, B.272, signed in 1651. It notes that it is the first state before the arch was added, with light shading on the outer fold of the cloak below the left shoulder. It was part of the Gallichon and C. B. Eddy collections.
   • Entry 33: "The Blindness of Tobit: The Larger Plate" by H.252, B.42, signed in 1651. It is a British Museum duplicate, from the Sir Thomas Lawrence and William Eadile collections.
   • Entry 34: "The Flight into Egypt: A Night Piece" by H.253, B.53, signed in 1651. It is the first state, with Joseph’s right hand white.
   • Entry 35: "The Star of the Kings: A Night Piece" by H.254, B.113, circa 1652. It is from the H. ten Cate and Rumpf collections.
   • Entry 36: "Adoration of the Shepherds: A Night Piece" by H.255, B.46, circa 1652. It is the sixth state, with curved lines of shading added to the pillows above the Child’s head. It was part of the John Wilson and Emil Schroeder collections.
   • Entry 37: "Faust in His Study, Watching a Magic Disk (Dr. Faustus)" by H.260, B.270, circa 1652. It is the first state, with the upright book at the right shaded in open lines.
   • Entry 38: "Christ Preaching (La Petite Tombe)" by H.256, B.67, circa 1652. It is a proof on paper watermarked with the Head of Folly.
   • Entry 39: "Christ Between His Parents, Returning from the Temple" by H.278, B.60, signed in 1654.
   • Entry 40: "The Virgin and Child with the Cat: And Joseph at the Window" by H.275, B.63, signed in 1654. It is the first state, with some spots left white along the upper border and in the heavily shaded part of the wall. It was part of the H. ten Cate and Davidson collections.
   • Entry 41: "The Entombment" by H.281, B.86, circa 1654. It is the first state, with etching in open lines. It was part of the Schlosser, Smith, Liphart, and Davidson collections.
   • Entry 42: "The Descent from the Cross: By Torchlight" by H.280, B.83, signed in 1654. It was part of the Gerstenberg collection.

3. Provenance:

   • Each entry includes information about the collections from which the artwork originated, such as the Gallichon, Eddy, Sir Thomas Lawrence, William Eadile, H. ten Cate, Rumpf, John Wilson, Emil Schroeder, Schlosser, Smith, Liphart, Davidson, and Gerstenberg collections.

4. Condition and State:

   • Details about the state of the print (e.g., first state, sixth state) and any specific features (e.g., shading, watermarks) are provided for each entry.

5. Visual Layout:

   • The text is neatly typed in a serif font, typical of formal catalogs or inventories.
   • Page numbers (43 and 44) are visible at the top right, indicating this is part of a larger document.

Conclusion:

The image depicts a page from an art catalog or inventory, listing detailed descriptions of engravings or prints, including their titles, artists, dates, states, and provenance. The entries are well-organized and provide comprehensive information about each artwork, making it a valuable resource for art historians or collectors. The page is part of a larger collection, as suggested by the visible page numbers and the continuation of text on the right edge.

This image is of a page from a book that appears to be a catalog or a scholarly work on the subject of etchings by the renowned artist Albrecht Dürer. The page is filled with text, which includes the titles and descriptions of various etchings by Dürer, along with their respective catalog numbers and states. The text is written in a formal and academic style, indicating that this is likely a specialized publication intended for art historians, collectors, or enthusiasts. The page also includes details about the provenance of each etching, mentioning the collections from which they originated, such as the Galchon, C. B. Eddy, Sir Thomas Lawrence, and William Esdaile collections, among others. The catalog numbers and dates associated with each etching suggest that this book provides a comprehensive and detailed overview of Dürer's etchings, likely including information on their historical significance, artistic techniques, and variations in different states.