Rembrandt van Rijn. The Rest on the Flight into Egypt: Lightly Etched (1645). New Hollstein 227,

Rembrandt van Rijn. The Rest on the Flight into Egypt: Lightly Etched (1645). New Hollstein 227, only state. Thin, grey wove paper (chine volante?) Trimmed along the platemark, laid down completely on

After Rembrandt van Rijn (Dutch, 1606-1669), "The Flight to Egypt", numbered "9", possibly second state (of 2), inscribed "Rembrandt", lower edge, 3.5"l x 2.5"w (image), velvet matting with hardwood f

REMBRANDT VAN RIJN (AFTER), Dutch (1606-1669), "Flight into Egypt",etching on paper, 4 1/4 x 6 1/8 inches (sheet, sight), signed and dated in plate "Rembrandt 1654" lower left PROVENANCE: Linda Hyman

** Rembrandt van Rijn (1606-1669)The Descent from the Cross: Second PlateEtching and engraving, 1633, but a later impression of New Hollstein's eighth state (of eight) on chine collé, sturdy wove

Rembrandt van Rijn (1606-1669)The Raising of Lazarus: The Larger PlateEtching, circa 1632, a slightly worn impression of New Hollstein's fifth state (of nine), before any rework by later hands, on lai

Rembrandt van Rijn (1606-1669)The Raising of Lazarus: Small PlateEtching and drypoint, circa 1642, a good clear impression of New Hollstein's first state (of two) before any re-working to the plate an

Rembrandt van Rijn (1606-1669)Peter and John Healing the Cripple at the Gate of the TempleEtching and drypoint, 1652, an excellent impression of New Hollstein's third state (of six), still printing wi

REMBRANDT VAN RIJN The Agony in the Garden. Etching and drypoint, circa 1652. 112x85 mm; 4½x3 inches, narrow margins. Usticke's first state (of 2); New Hollstein's first state (of 3), before the

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)Self-Portrait in a Flat Cap and Embroidered DressEtching, circa 1642, an excellent early impression of New Hollstein's final state (of three), with minor signs of wear, o

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)The Presentation in the Temple: Oblong Plate (Simeon's Hymn of Praise)Etching and drypoint, circa 1639, a good but later impression of New Hollstein's fifth state (of fiv

REMBRANDT VAN RIJN Woman Bathing her Feet at a Brook. Etching and drypoint, 1658. 162x81 mm; 6½x3¼ inches, small margins. Usticke's second state (of 2); New Hollstein's second state (of 2).

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 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)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. Christ and the Woman of Samaria: An Arched Print (1657). New Hollstein 302, IV/V Sturdy, medium-weight cream laid paper. 1/16" margins all around. No visible watermark. The Tip of

Rembrandt van Rijn. St. Jerome Kneeling in Prayer, Looking Down (1635). New Hollstein 142, II/II Medium-weight, cream laid paper. 1/16" margins all around. No visible watermark. Overall including part

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)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)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