Rembrandt Harmensz van Rijn (1606-1669) Joseph telling his dreams Etching, 1638, on laid, New Ho...

Rembrandt Harmensz van Rijn (1606-1669) The Little Jewish Bride (Saskia as Saint Catherine) (Bartsch, Hollstein 342, Hind 154, New Hollstein 169), 1638 Etching with drypoint on laid paper, New Hollste

Rembrandt Harmensz van Rijn (1606-1669) The Raising of Lazarus: Small Plate (Bartsch 72; New Hollstein 206) Etching, 1642, on laid, New Hollstein's final second state, with thread margins, 150 x 114mm

Rembrandt van Rijn (1606-1669)Joseph and Potiphar's WifeEtching and engraving, 1634, a good but later impression of New Hollstein's third state (of four), on laid paper without watermark, sheet 91 x 1

Rembrandt Harmensz van Rijn (Dutch, 1606-1669) Jews in the Synagogue (B. 126; H. 234; New Holl. 242), 1648 etching and drypoint on laid paper a H.L. Basan impression with no watermarks, New Hollsteins

Rembrandt Harmensz Van Rijn (Holland, 1606-1669)Christ before Pilateetching with drypoint and engraving on laid paperLarge Plate (B., Holl. 77; H. 143) Etching with drypoint and engraving, 1635-36, wa

van Rijn, Rembrandt Harmensz (1606-1669). "Three Oriental Figures" (Jacob and Laban?) 1641. Etching with drypoint. New Hollstein's second (final) state. Harris 118. Plate: 5 3/4" x 4 1/2" Visible Imag

Rembrandt van Rijn (1606-1669)The Pancake WomanEtching, 1635, a good but later impression of New Hollstein's final state (of seven), printing with plate tone on cream laid paper without watermark, pla

Rembrandt van Rijn (1606-1669)Jan Lutma, GoldsmithEtching and drypoint, 1656, but a later well inked impression of New Hollstein's fifth state (of five) on thick cream laid paper without watermark, pl

Rembrandt van Rijn (1606-1669)The Landscape with the CowEtching, circa 1650, but a later impression of New Hollstein's final state (of 5), on cream laid paper without watermark, platemark 105 x 130 mm

Rembrandt van Rijn (1606-1669)The Baptism of the EunuchEtching with touches of drypoint, 1641, but a later impression of New Hollstein's final state (of four), on laid paper without watermark, platema

** Rembrandt van Rijn (1606-1669)Beggar with a wooden legEtching, circa 1630, a good impression of New Hollstein's third state (of four) on laid paper without watermark, printing with plate tone and w

Rembrandt van Rijn (1606-1669)The Angel Appearing to the ShepherdsEtching, engraving and drypoint, 1634, a good but later impression of New Hollstein's final state (of six), on laid paper with out wat

Rembrandt van Rijn (1606-1669)Christ seated disputing with the doctorsEtching with touches of drypoint, 1654, a good but later impression of New Hollstein's second state (of two), on cream laid paper

Rembrandt van Rijn (1606-1669)A Scholar in his Study ('Faust')Etching and drypoint, circa 1652, but a later impression of New Hollstein's final state (of seven) on cream laid paper without watermark,

Rembrandt van Rijn (1606-1669)Three Heads of Women, One AsleepEtching, 1637, but a later impression of New Hollstein's third state (of three) on thick cream laid paper without watermark, platemark 142

** Rembrandt van Rijn (1606-1669)Old Beggar Woman with a GourdEtching, circa 1629, a good impression of New Hollstein's second state (of two) with slight signs of wear, on laid paper without watermark

Rembrandt van Rijn (1606-1669)Christ and the Woman of Samaria among RuinsEtching, circa 1634, a heavily inked black impression of New Hollstein's third state (of five), on laid paper without watermark

** Rembrandt van Rijn (1606-1669)Self-Portrait in a Cap and Scarf with the Face DarkEtching, 1633, a good but later impression of New Hollstein's fourth state (of five), on laid paper without watermar

Rembrandt van Rijn (1606-1669)Christ Driving the Money Changers from the TempleEtching with drypoint, 1635, a good but later impression of New Hollstein's fourth state (of four), on laid paper without

** Rembrandt van Rijn (1606-1669)Beggars Receiving Alms at the Door of a HouseEtching and drypoint, 1648, a good bold but later impression of new Hollstein's third state (of five), on cream laid paper

Rembrandt van Rijn (1606-1669)Bearded Man in a Furred Oriental Cap and Robe: The Artist's FatherEtching, 1631, a very good impression of New Hollstein's final state (of five), on laid paper without wa

Rembrandt van Rijn (1606-1669)Woman Bathing her Feet at a BrookEtching and drypoint, 1658, but a later impression of New Hollstein's final state (of two), on thick cream laid paper without watermark,

Rembrandt van Rijn (1606-1669)Peter and John Healing the Cripple at the Gate of the TempleEtching and drypoint, 1652, but a later impression of New Hollstein's sixth state (of six), on cream laid pape

Rembrandt van Rijn (1606-1669)Pharisees in the Temple (Jews in the Synagogue)Etching and drypoint, 1648, but a later impression of New Hollstein's final state (of nine), on cream laid paper without wa