Rembrandt Nude Hand List

1
v tbe va/ea forv vate or fevate Revbravat ra. av

e.qvivav. i. votiov. of tbe aeticate forv. of rovav
rovta bare frigbtevea av arctic bear.
Benjamin Robert laydon

1his exhibition opens with a print in which a naked
woman stares sel-consciously out at us, seemingly
aware o our presence as spectators, or ro,evr.. It closes
with two prints in which a naked woman turns away,
absorbed in a priate world where we can play no part.
1hese are the earliest and latest o Rembrandt`s
prints o nudes, separated by some thirty years. Midway
between them in date is a group o studies o a naked
male model, posed and obsered with cool objectiity
in the studio. 1hese three groups o actiity, with their
distinct approaches to the depiction o the naked
human igure, account or almost all o the prints in
this exhibition. 1he remainder are those that eature the
nude in a narratie or allegorical context ,excluding
Cruciixions,, in two instances the nude appears in the
guise o a statue.
A modern spectator, whose conception o the
nude is probably as much inluenced by the naturalism
o Degas as by the classicising idealism o the
Renaissance, will be touched by the humanity o
Rembrandt`s depiction o the naked body and moed
the beauty o the prints. But in the later seenteenth
and eighteenth centuries Rembrandt`s treatment o the
nude was subjected to a series o ierce attacks ,o
which laydon`s, quoted aboe, is only one,, and the
etchings were right in the iring line. As early as 1681, a
Dutch commentator attacked Rembrandt`s naturalism,
with a barely disguised reerence to the irst print in this
exhibition: le chose no Greek Venus as his model but
rather a washerwoman, or a treader o peat rom the
barn, and called this whim imitation o nature`,
eerything else to him was idle ornament. llabby
breasts, ill-shaped hands, nay, the traces o the lacings
o the corsets on the stomach, o the garters on the legs
must be isible i nature was to get her due, 1his is bi.
nature which would stand no rules. No principle o
proportion in the human body.` In the middle o the
eighteenth century, the irst cataloguer o Rembrandt`s
prints wrote o his .aav ava re ,no. 8,: As
Rembrandt did not understand at all how to draw the
nude, this scene is rather incorrectly treated, and the
heads are altogether ugly.`
\et the prints show that Rembrandt understood
ery well how to draw the nude, and we can deduce
rom them the importance he placed on the study o
the nude in his studio. 1he group o male nudes o the
mid-1640s show the results o drawing sessions in ront
o a male model which also yielded a number o
drawings by his pupils o the same model in the same
pose iewed rom slightly dierent angles. \e can also
see this process underlying his less prosaic prints o the
emale nude made in the last decade o his lie. 1he
more we look at these late prints, the more ambiguous
the settings become, so that a title such as !ovav
batbivg ber feet at a broo/ ails to take into account the
estiges that still remain o a studio session in which the
model was sitting comortably on a cushioned chair.
Similarly, with the last print in the exhibition, a model
obsered in the studio seated on a chair has been
moed in the same pose onto the somewhat
indeterminate edge o a bed. In the recesses o the bed
lurks a male companion, and the woman holds alot an
arrow. It is possible that there was neer a clear
iconographical intent or these scenes, the meaning o
which has puzzled scholars or centuries. \ith his
imaginatie transmutations o these naked models
Rembrandt remoes them to an indeterminate world
which is only really made consistent by the subtly
obsered playing o light on orm and texture. And in
the inal prints the eocation o light becomes the most
tangible thing in the picture: we are no longer presented
with the traces o the lacings o the corset on the
stomach` which troubled Andries Pels in 1681.
O course, the reactions oer the centuries reeal
probably more about the attitudes and preconceptions
o the writers, and the age in which they lied, than
they reeal about Rembrandt. \hat has mainly
troubled people is that Rembrandt did not idealise his
models, or stick to Renaissance exemplars. lis prints
always appeal to generations more comortable with
realism than classicism. \et as recently as 1956
Kenneth Clark, in his book 1be ^vae ,1956,, suggested
that in the much abused etching o 1631 Rembrandt as
a sort o protest has gone out o his way to ind the
most deplorable body imaginable and emphasise its
least attractie eatures... \e can hardly bring our eyes
to dwell on her: and that, I imagine, was exactly
Rembrandt`s intention.` \et this is surely Clark`s
distaste rather than an accurate relection o the

RMBRAND1 AND 1H NUD

lrlnrs by Rcmbrandr van Rl|n l606-l669)

1lc Flrzwllllam Muscum

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reaction o Rembrandt`s contemporaries. Ater all, the
labby breasts` despised een by 1681 were not enough
o a hindrance to stop Rembrandt selling his prints, or
to stop artists such as \enzel lollar etching a copy o
the oending print in 1635, only a ew years ater
Rembrandt etched the original plate. 1he wide
dissemination o prints reproducing Rubens` designs no
doubt helped prepare an audience or emales liberally
endowed with lesh.
Clark`s Ruskinian distaste at Rembrandt`s choice o
the most deplorable body imaginable` also inorms his
interpretation o the late nudes, which he sees as
studies o the inherent pitiulness o the body` o an
old woman. 1his seems strange gien his acceptance
that the similarly depicted body in Rembrandt`s
painting o atb.beba is that o a young woman. Visitors
to the exhibition must judge or themseles, yet it
seems sad to take away rom the etching Yovvg rovav
batbivg ber feet at a broo/ ,which Clark entitles Ota
woman bathing her eet`, the idea that the artist preers
the Gothic hulk o an old body to the comely
proportions o a young one.`
leminists should take heart that Clark is at least as
harsh on Rembrandt`s males as his emales, but again
there is a sense that this deries more rom personal
preerence than rom an objectie assessment o the
nudes rom a historical perspectie: Just as he could
hae ound plenty o girls in Amsterdam with irm
young bodies, so there must hae been boys with well-
deeloped muscles.`
1he book o 1991, Reaaivg Revbravat: e,ova tbe
roraivage oo.itiov, by the literary scholar Mieke Bal,
has a chapter on the nudes and their relation to the
iewer, entitled Between localization and Voyeurism:
1he Representation o Vision`. Again this tells us more
about the writer`s own perspectie ,and the critical
jargon o the age, than it does about Rembrandt`s
nudes. 1he book inds both Pels and Clark guilty o
the typical conlation o representation and object that
comes with the eroticization o iewing. I matching the
body constructed or the mind`s eye inspires lust, the
painting is praised, i that body does not, the painting
or drawing is criticized.` 1his is an oer-simpliied
criticism o the two men, and een i this sort o
imputation were allowed, what would we then make o
Proessor Bal`s own reading o Rembrandt, which sees
a phallus in eery bed-post

1he litzwilliam Museum`s collection

1his exhibition coincides with the completion o the
second part o a long-term programme o conseration
o the litzwilliam`s Rembrandt collection ,generously
supported by the Monument 1rust,, the irst part,
which dealt with Rembrandt`s landscape prints, was the
subject o an exhibition in 1993. 1he remoal o the
prints rom their 19th-century mounts has allowed an
initial study o the paper, which will eentually proide
a more complete understanding o the circumstances in
which Rembrandt's plates were printed. A uller
analysis o Rembrandt`s use o paper awaits the
eentual completion o the conseration o the whole
Rembrandt collection in the litzwilliam, and it is hoped
that the watermarks discoered will be photographed
and published so that the litzwilliam can contribute to
the ambitious sureys o Rembrandt`s papers being
undertaken at the Rijksmuseum in Amsterdam, the
British Museum in London, and the National Gallery o
Art in \ashington, the results o which are yet to be
published. 1he litzwilliam also intends making a
urther analysis o arious papers o oriental origin -
Japanese, Chinese or Indian - in an attempt to identiy
more precisely their origins and their dierent
characteristics.
1he litzwilliam Museum's collection o
Rembrandt's prints came rom two major sources. 1he
irst was the album compiled by the ounder o the
Museum, Richard, th Viscount litzwilliam ,145-
1816,, between about 194 and 1804. In these years
seeral o the great 18th-century Rembrandt collections
came on the London market, and litzwilliam seems to
hae bought extensiely, oten through the assiduous
dealer 1homas Philipe. 1he scholarly attention to
cataloguing and the careul description o states
adocated by Philipe in his preace to the sale o John
Barnard`s Rembrandt collection in 198, was exactly
the model ollowed by litzwilliam in his album. le
pasted ariant states and impressions on opposite
pages, and, as he noted on the titlepage, eerything was
.rravgea accoraivg to Cer.aivt ,the irst catalogue o
Rembrandt`s prints published in 151, and Gersaint`s
numbers were written aboe the prints ,this was later
altered to a simple sequential numbering,. 1o gain
some idea o the high reputation o this collection
among litzwilliam`s contemporaries, we can turn to
1homas Dibdin`s description o the Reerend
Cracherode`s amous Rembrandt collection
,bequeathed to the British Museum in 199,: a
collection, which I beliee was second to none,
including een that o the late Viscount litzwilliam` ,.
iograbicat Decaverov, 181,.
litzwilliam`s collection was considerably enhanced
by the transer to the Museum in 186 o the albums o
prints in the care o Cambridge Uniersity Library.
lour o the albums contained Rembrandts, although
just two o them held the major part o the collection.
Dierent impressions o the same prints were diided
between albums, so although the albums themseles do
not surie, it is eident that they came to the Library
rom more than one Rembrandt collection. One album
in particular ,AD.12.39, was ull o beautiul rare
impressions, generally in exceptional condition, and
apparently with no collectors` marks. 1his last may hae
come with the library o Bishop John Moore ,1646-
114, which was presented to the Uniersity by George
I in 115. It is not certain whether it was this, or
another o the Uniersity Library albums, that was
described by the Rembrandt scholar Charles Middleton

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in 188 as a mysterious olio, seenteenth-century in
appearance, in which was a somewhat miscellaneous
collection o Rembrandt`s etchings`. 1he condition o
many o the prints suggests that they did not pass rom
collection to collection in the 18th century, but there is
eidence that a number o impressions, probably
acquired loose, were added to album AD.12.38 by one
o the Library assistants in the years between 151 and
10.
1hree hundred o the so-called 'duplicate'
Uniersity Library Rembrandts were sold by auction in
188, but the Museum`s collection is still able to oer
the possibility o studying an extraordinary range o
ariant impressions o the same print, een in the same
state. As a study collection it is probably without equal.
1he display here o comparatie impressions rom the
same plate gies a glimpse o the dierent results
possible with the manipulation o printing eects and
the use o dierent papers.

Rembrandt`s paper

Beore the late 1640s Rembrandt mainly used
Luropean papers rom Swiss and south German
sources. le sometimes tried coarser or greyer papers
or the sake o their dierent colours and textures. By
around 1650 he used lrench papers or standard
impressions o new plates and or reprints o plates
made some years earlier. le had already experimented
with arious warm coloured oriental papers. Some o
these were probably among a cargo recorded as being
brought back to Amsterdam rom Japan in 1643-4 by
the Dutch Last India Company, others may be rom
other parts o the lar and Near Last. A number o
prints in this exhibition are on an extremely thin paper
with chainlines ery close together ,about 15 mm,, this
paper may well be Chinese. In the late 1640s
Rembrandt also started printing on ellum and on
Luropean papers that had been toned with a coloured
wash, probably inspired by the colours o ellum and
oriental papers. le was no doubt attracted by the
Japanese paper`s distinct, and ery beautiul, printing
qualities, which allowed him a greater potential ariety
o printing eects, and a greater number o ariants
which collectors would want to buy. In 1699 Roger de
Piles noted that impressions on oriental papers were
considered highly desirable by collectors, and this must
already hae been true during Rembrandt`s lietime.
Japanese paper was also attractie because o its
similarity o colour and inish to ellum ,or parchment,,
which was associated with special luxury impressions.
1he immediate appeal o Japanese and other
oriental papers to a contemporary o Rembrandt`s in
London is recorded in John Lelyn`s diary entry or 22
June 1664: One 1omson a Jesuite shewed me such a
Collection o rarities, sent rom the Jesuites o Japan &
China to their order at Paris ,as a present to be resered
in their Cbivetivv, but brought to Lond|on| with the
Last India ships or them, as in my lie I had not seene:
1he chiee things were ... A sort o paper ery broad
thin, & ine like abortie parchment, & exquisitely
polished, o an amber yellow, exceeding glorious &
pretty to looke on, & seeming to be like that which my
L|ord| Verulame |lrancis Bacon| describes in his ôra
.ttavti., with seerall other sorts o papers some
written, others Printed...` 1his passage is important or
establishing that these papers were still being brought
to Lurope by the Dutch Last India Company in the
1660s, that some came rom China, that dierent types
o oriental paper were imported, and that a print
connoisseur with Lelyn`s technical interest had neer
seen them beore. ,lis reerence to ôra .ttavti. ,162,
alludes to Bacon`s imaginary description o an ideal
parchment, based on traellers` accounts o the orient:
somewhat yellower than our parchment, and shining
like the |iory| leaes o writing tables, but otherwise
sot and lexible.`,
1he earliest reerence to Rembrandt`s use o
oriental paper, and the noelty o its tonal eect,
apparently dates rom 5 September 1668 when the
Lnglish traeller Ldward Browns wrote to his ather
rom Amsterdam: lere is a strange ariety o excellent
prints... lere are diers good ones o Rembrandt and
some upon Indian paper that look like washing, though
scratched in his manner.` 1he reerence to Indian` is
probably an abbreiation o Last Indian`, that is,
brought rom the Last Indies, or generally the orient,
on Last India Company ships.

Craig lartley
Senior Assistant Keeper ,Prints,

1echnical terms

BURIN
1he -shaped tool used or evgrarivg a plate. Rembrandt
occasionally used the burin to add heaier accents to a plate
started in etcbivg or ar,oivt.
COUN1LRPROOl
An oset produced by running a reshly printed wet
impression back through the press with a blank sheet o
paper, the image is thereore reersed rom a normal
impression. Suicient counterproos surie to indicate that
there was a market or them among collectors.
ClAINLINLS
Lines impressed at regular interals in laid` paper during
manuacture, caused by the chains that supported the wires o
the mould.
DR\POIN1
A sharp point used to scratch directly into the copper without
the use o an etching ground or acid. 1he copper displaced
rom the scratched line is thrown up to either side in a rough
bvrr. \hen the plate is inked the bvrr traps rich deposits o ink
which are then printed on the paper as sot elety areas
around the line. 1he use o cold-hammered ,rather than
rolled, copper or Rembrandt`s plates meant that about 50
good prints could be expected beore the burr wore
signiicantly.

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L1ClING
A thin copper plate is coated with an acid-resistant ground.
1he artist draws with an etching needle which easily scrapes
through the ground to leae lines o exposed copper. 1he
plate is then immersed or coered in acid which bite.
,corrodes, into the copper where it has been exposed. I the
artist wants some lines deeper than others so that they will
print more heaily, these lines can be exposed or a second
time to the acid whilst protecting the other lines with some
kind o acid-resistant arnish. \hen the ground has been
cleaned o, the plate is then ready or printing. Upwards o
500 good prints could be printed rom a reasonably deeply
and eenly etched plate.
IMPRLSSION
An ivre..iov is a single pull printed rom a plate.
SCRAPING, BURNISlING
1he means by which lines in a plate are altered, or the surace
o a plate is smoothed and polished so that it tends to retain
less ink. Rembrandt`s use o a ery thin copper made it easier
to beat up the surace rom the back ater making an
alteration.
S1A1L
1he condition and appearance o the plate when a number o
impressions were printed. I alterations were subsequently
made to the plate, any urther impressions would represent a
dierent state.
SULPlUR 1IN1
1he application o sulphur, or similar corrosie substance,
suspended in an oil or paste to produce a pitted surace on
the copper. \hen printed the tiny dots gie the eect o grey
tone.
SURlACL 1ONL
Ater ink has been orced into the lines in the plate, the
surace o the plate is wiped clean with a cloth, or with the
side o the hand, to remoe excess ink. Lspecially ater 1650,
Rembrandt aried indiidual impressions by leaing ilms o
ink on the surace o the plate which printed as a grey tone:
the areas o tone could be aried within an indiidual
impression by selectiely wiping dierent areas o the plate.
\A1LRMARKS
Marks in paper caused during manuacture by a pattern
ormed o wire attached to the wires o the mould. 1he mark
usually denotes maker, size, or place o origin.

IUR1HLR RLADING

O. Benesch, 1be Drarivg. of Revbravat, London,New \ork
193
H. Bevers, P. Schatborn and B. Welzel, Revbravat: tbe
Ma.ter ava bi. !or/.bo, New laen,London 1991
Boston, Museum of Iine Arts, Revbravat: erivevtat
tcber, exhibition catalogue 1969
J. A. Lmmens, Revbravat ev ae reget. rav ae /vv.t, Utrecht
1968
J. P. Iiledt Kok, Revbravat`. tcbivg. ava Drarivg. iv tbe
Revbravat ov.e, Amsterdam 193
R. Gaudriault, itigrave. et avtre. caracteri.tiqve. ae. aier.
fabriqve. ev ravce av `1
e
et `1
e
.iecte., Paris 1995
L-I. Gersaint, Catatogve rai.ovve ae tovte. te iece. qvi forvevt
tòvrre ae Revbravat, Paris 151
A. M. Hind, . Catatogve of Revbravat`. tcbivg., London 1923
L. Hinterding, 1be bi.tor, of Revbravat`. coertate., Zwolle
1993
C. Hofstede de Groot, Die Urkunden ber Rembrandt
,155-121,,` Qvettev.tvaiev vr bottavai.cbev Kvv.tge.cbicbte ,
1he lague 1906
J. Houbraken, De groote .cbovbvrgb aer êaertava.cbe
/ov.t.cbitaer. ev .cbitaere..ev, Amsterdam 118
C. H. Middleton, De.critire Catatogve of tbe tcbea !or/ of
Revbravat rav Rb,v, London 188
L. Mnz, Revbravat`. tcbivg., 2 ols., London 1952
R. de Piles, .brege ae ta rie ae. eivtre., arec ae. refteiov. .vr tevr.
ovrrage., Paris 1699
M. Royalton-Kisch, Drarivg. b, Revbravat ava bi. Circte,
London 1992
S. Slive, Revbravat ava bi. Critic. 1010, 1he lague 1953
C. 1mpel, Rembrandt legt die Bibel aus,`Zeicbvvvgev vva
Raaiervvgev av. aev Kvfer.tcb/abivett aer taatticbev Mv.eev
Prev..i.cber Kvttvrbe.it ertiv, Berlin 190
C. White, Revbravat a. av tcber, London 1969

Lxplanation o catalogue inormation

Bartsch,lollstein |reerence to C. \hite and K. Boon,
ott.teiv`. Dvtcb ava tevi.b etcbivg., evgrarivg. ava rooacvt.,
ol. XVIII, Revbravat rav Ri;v, Amsterdam 1969|
|Medium ,measurement o platemark, support
,measurement o support., direction o chainlines ,spacing
o chainlines,|
\A1LRMARK: |description with reerences where applicable
to the listing in 1. Laurentius. l.M. an Jughten, L.
linterding and J.P. liledt Kok, let Amsterdamse
onderzoek naar Rembrandts papier: radiograie can de
watermerken in de etsen an Rembrandt` vttetiv rav bet
Ri;/.vv.evv 40 ,1992,, and C. P. Schneider, Revbravat`.
ava.cae., New laen,London 1990|
SIGNLD IN 1lL PLA1L: |the artist`s printed inscription|
INSCRIP1IONS:| handwritten inscriptions|
PROVLNANCL: |preious collectors where known ,reerence
to l. Lugt, e. Marqve. ae Cottectiov ae ae..ivg. et e.tave.,
Amsterdam 1921, vtevevt, 1he lague 1956, and source
o acquisition|
SURVIVING PLA1L: |measurement o copper|, |location|
All measurements are in millimetres, height preceding width
,preceding thickness in case o copper plates,.

Other collections cited

Amsterdam Rijksprentenkabinet, Rijksmuseum
London British Museum
Paris Bibliotheque Nationale
Vienna Albertina
Washington National Gallery o Art

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CA1AlOCUI
Larly prints o the emale nude

J Naked woman seated on a mound c.1631

Bartsch,lollstein 198 state II,II
Ltching and burin ,18 x 159, printed on elt side o laid
paper ,19 x 161, chainlines ertical ,23,
INSCRIP1IONS: rer.o: 2 ,graphite,
PROVLNANCL: litzwilliam Bequest 1816 ,23.K.5-26,
1his print was the subject o many attacks on
Rembrandt`s treatment o the emale igure in the later
seenteenth and eighteenth centuries ,see aboe p. 2,,
howeer \enzel lollar thought enough o the print to
make an etched copy in 1635, and his reaction is almost
certainly more typical o Rembrandt`s contemporaries.
1he plate is exactly the same size as Diava at tbe batb
,no. 2,. Both date rom the end o Rembrandt`s period
in Leiden, and it is possible that they were intended as a
pair. No mythological or biblical subject is eident in
this plate although it is possible that one was intended.
1he pose has been compared with an etching by
Annibale Carracci o v.avva ava tbe etaer., but the
similarity is not ery speciic.
1he irst state ,not in the litzwilliam`s collection,
lacks some o the shading on the right shoulder and
shows blank patches by the let leg and arm which were
shaded oer in this second state, at the same time
patches o strong shading eident in the irst state on
the let thigh, stomach and right oot hae here been
burnished down. 1he aint signature ,R, isible on
some early impressions is not isible on this impression,
but the rather grey appearance is typical o most
examples and is perhaps due to the plate being rather
lightly bitten.

2 Diana at the bath c.1631
Bartsch,lollstein 201 only state
Ltching ,1 x 159, printed with slight surace tone on
mould side o laid paper ,19 x 161, chainlines ertical
,23,26,
SIGNLD IN 1lL PLA1L: R . f.
INSCRIP1IONS: rer.o: 1 , 20 ,graphite,
Diana, chaste Roman goddess o the hunt, is identiied
by her quier o arrows on the let, and the rod in the
background may be intended or her bow. 1hese
attributes are clearer in the preparatory drawing in
London ,Benesch 21, where a quier and bow are more
prominently displayed hanging rom the tree. 1he
design was transerred onto the copper-plate by laying
the drawing on the plate and indenting the outlines with
the sharp point o the black chalk. 1hese outlines were
then ollowed closely or the igure, but the background
was substantially ampliied and altered, with the simple
drapery o the drawing becoming a rich garment.
Rembrandt may hae been inspired by the pose o the
igure and placement o the tree in two etchings by
\illem Buytewech ,\hite 1969, igs. 258-9,.
1he plate was more deeply bitten than no. 1, but
both impressions o this print in the litzwilliam ,the
other not exhibited, lack the sumptuous range o tones
and textures ound only in the ery earliest impressions,
such as the sensational example in Paris ,Lpreue A,.

Larly narratie prints with nudes

3 Jupiter and Antiope c.1631
Ltching and burin ,82 x 111, printed on elt,,side o laid
paper ,84 x 112, chainlines ertical ,24,25,
SIGNLD IN 1lL PLA1L: R.
stamped as 282,
1his is probably the plate called 1evv. ava at,r in the
inentory o the printseller and publisher Clement de
Jonghe ,169,, and ae Davae in the inentory o Valerius
Roer ,131,. 1he latter identiication is gien some
credence by what might be interpreted as a shower o
gold rain, the particular guise adopted by Jupiter on the
occasion o his isit to Danae, but she is usually shown
wide awake. De Jonghe`s title was generally used until
lind ,1923, proposed the title ]viter ava .vtioe, which
has been widely adopted. Antiope, daughter o the king
o 1hebes, was approached one night while sleeping by
Jupiter, who assumed the guise o a satyr to surprise
her with his amorous adances. She subsequently gae
birth to twin boys, Amphion and Zethos.
Rembrandt may hae been inspired in the
composition and lighting by \erner an den Valckert`s
etching o Venus surprised by satyrs ,\hite 1969, ig.
264,, although only the pose o Antiope is particularly
close to the earlier work, and een then the ainity may
derie rom a type o reclining sleeping emale amiliar
in late sixteenth and early seenteenth century art and
ultimately deriing rom the Antique model o the
teeivg .riaave in the Vatican. Another example o this
type is ound in the etching by Annibale Carracci which
more speciically inspired Rembrandt`s later ersion o
]viter ava .vtioe ,see no. 30,. Rembrandt made a sheet
o two studies o sleeping emale nudes around this
time ,\hite 1969, ig. 263,, and the naturalism o the
sleeping ace in the etching no doubt beneitted rom
such studies.
1his second state impression lacks the darker
shading that was burnished rom the plate ater printing
a ew proos o the irst state ,unortunately none o
them is in the litzwilliam,. Rembrandt also extended
the blanket oer Antiope`s knees, although its ormer
position is still detectable. 1his print is much simpler in
techniique than the later plate o the subject ,no. 30,.

6
4 Joseph and Potiphar's wife 1634
Bartsch,lollstein 39 state I,II
Ltching ,92 x 116, printed on mould side o laid paper ,99
x 119, chainlines ertical ,22,
\A1LRMARK: ragment o unidentiied watermark on lower
edge
SIGNLD IN 1lL PLA1L: Revbravat. f. 11
INSCRIP1IONS: rer.o: 112 , :: ,graphite,
PROVLNANCL: 1ranserred rom Cambridge Uniersity
Library 186 ,AD.12.40-55,
SURVIVING PLA1L: 93 x 118 x 1.03, Priate Collection,
Switzerland
1he story is rom Genesis ,39:-12,. Sold in Lgypt by
merchants to Potiphar, an oicer o the Pharaoh,
Joseph won his master`s conidence and rose to a
responsible position in his household. Potiphar`s wie
attempted to seduce Joseph but he resisted, most
amously in the scene depicted here: And she caught
him by his garment, saying, Lie with me: and he let his
garment in her hand, and led, and got him out`. She
subsequently used Joseph`s garment as eidence in her
accusation that he molested her, which led to Joseph
being put in prison.
Rembrandt`s treatment o the emale nude is
similar to that o Antiope a ew years earlier ,see no. 3,.
1he idea o the igures in relation to the bed, although
not the details, may hae been suggested by a small
etching by Antonio 1empesta ,whose works
Rembrandt owned in our olumes,. 1he iid
expression o the eelings o the igures is entirely
Rembrandt`s own. 1here is probably a symbolism
intended in the contrast between the light background
behind Joseph and the dark background behind his
seductress. Rembrandt also made two etchings o
earlier episodes o Joseph`s story in the 1630s
,Bartsch,lollstein 3 and 38,.

S Joseph and Potiphar's wife 1634
Ltching and burin ,cut to platemark, printed on extremely
thin ,Chinese, laid paper ,92 x 11, chainlines ertical
,1,18,
In this state there is diagonal shading added with the
burin in the top right part o the plate. 1he paper
used or this impression has coarse ibres ,straw or
rice, and a distinctie yellow tone, although it is
otherwise similar in weight and spacing o chainlines
to the thin laid paper used or no. 41. It may
thereore be a less expensie paper made in a similar
mould. Both these look like Chinese papers, although
a secure identiication awaits analysis o the paper
ibres.

Bartsch,lollstein 39 state I,,,II counterproo
Ltching and burin with border completed in pen-and-ink,
counterproo on mould side o laid paper ,104 x 128,
chainlines horizontal ,2,28,
Library 186 ,AD.12.38-116,
1here is another counterproo o the irst state in
Amsterdam. 1his counterproo has printed rather
muddily in the shaded areas so that it is diicult to tell
whether it corresponds exactly to the irst state ,no. 4,,
but it is certainly printed rom an impression earlier
than the second state ,no. 5, as it lacks the diagonal
shading on the right. 1he lower-right corner o the
sheet has not been printed and thereore lacks the
signature and the lower-right corner o the border line.
1his part must hae been missing on the impression
rom which it was printed, or it could hae been
masked with a piece o paper during printing. 1here is
no sign o the use o a backing plate ,see no. 12,.

Bartsch,lollstein 39 copy in reerse
Ltching and burin touched by a later hand with pen-and-
ink ,cut inside platemark, printed on elt side o laid paper
,89 x 112, chainlines ertical ,22,23,
INSCRIBLD IN 1lL PLA1L: Revbravat. fe. 11
\RI11LN INSCRIP1IONS: recto: 1 ,brown ink,, P.Mariette
1 ,brown ink,, rer.o: 1 ,graphite,
PROVLNANCL: P. Mariette ,cf. Lugt 189 recto,, 1ranserred
rom Cambridge Uniersity Library 186 ,AD.12.39-168,
1he signature o Mariette and the date inscribed on this
print suggests that this copy was in the hands o the
amous Parisian print dealer by 166. 1here is,
howeer, a possibility that Mariette`s name was added
by a later collector or dealer in order to increase the
interest o the copy and perhaps strengthen its chances
o being taken or an original. 1he style and paper are
in keeping with a later date or the print, perhaps in the
early eighteenth century, although the proenance o
the print rom Uniersity album AD.39 tends to
support an early date.
1he copyist elt the need to coer up the woman`s
naked thigh and loin with a sheet or blanket, and a later
collector or dealer ,Mariette!, has added the missing
anatomical detail with a pen in brown ink, presumably
to make it look more like the original. 1he pen
additions were obiously made with direct reerence to
the original.

8 Adam and Lve 1638
Ltching ,cut inside platemark at sides, printed with surace
tone on elt side o laid paper ,166 x 128, chainlines
horizontal ,c.25,
Library 186 ,AD.12.38-114,
Rembrandt depicts the moment when Adam succumbs

7
to temptation and reaches to take the apple rom Le.
1he serpent that tempted Le to taste the ruit is
shown rather like a dragon, with eet, in accordance
with the legend that it was only ater the all ,the
impending moment in the print, that it was condemned
to crawl on its belly. 1he creature, and the placing o
Adam and Le in relation to the tree, are eidently
inspired by an engraing by Durer showing Christ in
Limbo with Adam and Le in the background ,Bartsch
16,. 1he nude igures are ar less idealised than most
preious ersions o this subject: Durer`s .aav ava re
or instance was an occasion or the artist to deine
models o proportion or the male and emale bodies.
Rembrandt`s naturalism was based on drawings o the
nude ,Benesch 13, \hite 1969, ig. 266,, while the
relationship o the igures was mapped out in schematic
drawings ,Benesch 163-4, \hite 1969, igs. 36-3,
which show that he irst conceied Adam as taking a
ar more resistant pose at the moment o temptation.
1his second state only diers rom the irst ,not in
the litzwilliam`s collection, in that the bank behind
Adam is made darker and continuous. On an
impression o the irst state in London a tree trunk has
been drawn, apparently by the artist, down the let-
hand side.

9 1he Artist drawing from the model c.1639
Ltching, drypoint and burin ,229 x 183, printed on elt side
o laid paper ,236 x 189, chainlines horizontal ,25,
\A1LRMARK: Basle Crozier with initials M. P below
Library 186 ,AD.12.39-21,
SURVIVING PLA1L: 235 x 185 x 1.1 ,thicker on let,, Priate
Collection, Netherlands
1he content and meaning o this apparently uninished
print has been much discussed. Is it simply an artist in
his studio drawing a emale nude who poses or him
with some studio props In eighteenth-century lolland
the plate was known as P,gvatiov, the king who ell in
loe with his own statue o Aphrodite. 1he
composition does indeed bear a close resemblance to a
print o P,gvatiov by Peter leddes an larlingen
,\hite 1969, ig. 241,, and the emale nude is closer to
the ideals o antique statuary than was the igure o Le
etched by Rembrandt the preious year ,no. 8,. But
Rembrandt depicts himsel as the artist, and he is
certainly drawing, not merely gazing in silly admiration
at the nude as Pygmalion does in an larlingen`s print.
Attempts by later writers to produce an allegorical
meaning based on the interpretation o the Pygmalion
story, or the arious studio trappings ,a sculpted bust,
weapons, a palm, a peacock,, are only partly
conincing. 1he best suggestion is that it was intended
as some sort o allegory on the isual arts, perhaps on
the 1ruth o Drawing.
It does not help that the uninished status o the
print is also a matter o debate: did Rembrandt leae it
like this on purpose, with a speciic meaning in mind
Or did he break o, as \hite suggests, because the
background had been worked too heaily It is diicult
to beliee that Rembrandt would hae been deeated by
a technical problem at this stage o work, without
adapting or re-using the plate. 1he drawing in London
,Benesch 423, was almost certainly made after the
second state o the plate had been printed, possibly
with a iew to deciding what to do next with the plate.
I this is the case, the drawing suggests that Rembrandt
intended to inish the plate but or some reason neer
did so. \hateer Rembrandt`s intention, the act that
enough impressions surie to suggest that a good
number were printed, and that the plate was not re-
used or something else, suggests that the artist was
happy or people to appreciate the plate as it stands.
Neertheless it is unlikely, as has been suggested, that
he intended its uninished appearance as some sort o
eo.e o his etching methods, or to instruct his pupils
in the elaboration o a composition ,the execution o
the plate has in the past sometimes been attributed to a
pupil,, or een as a conceptual element expressing the
importance o drawing.
1his is an early impression o the second state, with
the drypoint burr producing rich deposits o ink around
some o the lines. 1he irst state, known only through
impressions in London and Vienna, lacks the shading
on the easel and the drapery hanging oer the model`s
arm, there is also a small press ,not an etching press,
between the artist and his model, which has been
erased in this second state.

J0 1he Artist drawing from the model c.1639
Ltching, drypoint and burin ,232 x 182, printed on mould
side o laid paper ,234 x 184, chainlines ertical ,22,24,
\A1LRMARK: countermark . |without the crossbar| M
either side o a quatreoil, within a cartouche ,cf. Gaudriault
4015,
By the time this impression was printed some o the
drypoint burr seen in no. 9 had worn rom the plate
,this is especially eident on the palm held by the
woman and on the lines at the bottom let,. 1he paper
conirms the eidence o the worn drypoint that this
impression was printed later than either no. 9 or 11.
1he countermark is similar to one used by the lrench
papermaker A. Malmenaide in the 1660s ,see
Gaudriault 4015,.

JJ 1he Artist drawing from the model c.1639
Bartsch,lollstein 192 state II,II counterproo
Ltching, drypoint and burin ,cut within image,
counterproo on elt side o laid paper ,22 x 13,
chainlines ertical ,23,
\A1LRMARK: countermark !K in a monogram, ariant
\K.a
INSCRIP1IONS: rer.o: 2: ,graphite,

8
Preiously classed as a reersed copy, this is in act a
counterproo. Unortunately it has been insensitiely
cropped by a preious owner. It is printed quite
sharply, in contrast to no. 12 ,there is another
counterproo o this state in Vienna,. 1he !K
countermark ound on the paper o this impression was
used as a countermark to the Strasbourg Lily
watermark that appears on a number o Rembrandt`s
prints dating rom the early 1650s and also on reprints
made at that date o a number o earlier prints, such as
this one ,there is a normal impression o this print on
the same paper in Amsterdam,. 1he production o
counterproos as part o a later edition, without any
changes o state, supports the theory that there was a
market or counterproos, and that they were not only
made as part o the process o prooing the plate
during etching.

J2 1he Artist drawing from the model c.1639
Ltching, drypoint and burin ,mark o backing plate 232 x
182, counterproo on elt side o laid paper ,241 x 192,
chainlines ertical ,23,24,
INSCRIP1IONS: rer.o: 20, ,graphite,
Library 186 ,AD.12.39-20,
1his counterproo has printed less clearly than no. 11,
with less ink deposited on the paper and the lines
tending to spread into grey. It also looks soter because
the paper has slipped while going through the press so
that the lines at the bottom right are blurred. As a
counterproo is an oset rom another impression, and
is not printed rom a plate, one would not expect to
ind a platemark, but traces o a mark show that
Rembrandt put the plate behind the paper when
printing a counterproo, presumably so that he did not
hae to adjust signiicantly the spacing or pressure o
the press. 1he plate may also hae helped to produce a
irmer impression than just two sheets o paper
sandwiched between blankets. 1he same eect is isible
in nos. 15 and 18. 1he plate corresponds to the size o
plate used or ordinary impressions, but the mark is not
aligned with where it would normally appear.

Prints o male nudes

J3 Nude Man seated before a curtain 1646
Ltching and drypoint ,cut just inside platemark, printed
with slight surace tone on elt,, side o laid paper ,164 x
9, chainlines horizontal ,24,25,
SIGNLD IN 1lL PLA1L: Revbravat. f.11
INSCRIP1IONS: rer.o: ] ritbiv circte ,red chalk,, 2
,graphite,
Ater a break o some years, Rembrandt returned in his
prints to a study o the nude in the mid-1640s with
three plates eaturing academic studies o male nudes,
perhaps depicting the same model ,nos. 13-22,. A
number o drawings by Rembrandt`s pupils, some o
them corrected by Rembrandt himsel, conirm his
practice o using male models in his studio, and one o
them ,Benesch A48, apparently shows the same model
as this print but seen rom a dierent angle and in
reerse. 1his suggests that Rembrandt may hae drawn
this print on the plate directly rom a model ,see also
no. 16,. 1he reedom o drawing on the plate supports
this supposition and shows how Rembrandt`s etching
style had become much more supple since the ussier
and scratchier plates o the early 1630s ,see no. 3,. 1he
model`s eet rest on the same bench-like arrangement
in Rembrandt`s studio that the emale model stands on
in no. 12.

J4 Nude Man seated before a curtain 1646
Ltching and drypoint ,164 x 9, printed with slight surace
tone on elt side o laid paper ,180 x 110, chainlines
horizontal ,22,24,
\A1LRMARK: Arms o Amsterdam, nearly identical to
ariant l
Library 186 ,AD.12.38-144,
1he inking o the plate is dierent rom no. 13. 1he
paper suggests that it is a later impression than either
no. 13 or 15. 1he single recorded impression o the
second state has additional shading by the right cheek
and below the right leg.

JS Nude Man seated before a curtain 1646
Bartsch,lollstein 193 state I,II counterproo
Ltching and drypoint ,mark o backing plate 164 x 9,
counterproo printed on elt side o laid paper ,12 x 102,
chainlines horizontal ,24,
\A1LRMARK: 1op o crown isible at edge ,part o Paschal
Lamb, ariant A.b,
INSCRIP1IONS: rer.o: , ,graphite,
Library 186 ,AD.12.40-33,
1he paper is similar to that used in prints made in the
early 1650s. 1here is another counterproo o this state
in Paris printed on the same paper with the watermark
in the same position, and with the similar use o a
backing plate ,see no. 12,.

J6 Nude Man seated on the ground 1646
Ltching ,98 x 166, printed with surace tone on elt side o
laid paper ,104 x 12, chainlines horizontal ,23,24,
Library 186 ,AD.12.39-205,
SURVIVING PLA1L: 99 x 10 x 0.91, Priate Collection, USA

9
1his plate is ery similar in size, character and
execution to ^vae vav .eatea before a cvrtaiv ,nos. 13-15,,
and it must also hae resulted rom a direct study o the
model in the studio. 1he pose is a slight ariant o one
recommended and illustrated in drawing books such as
the Guide to Drawing and Painting` o 1643 by Crispin
de Passe II. Rembrandt may well hae had a similar
didactic purpose in mind when he made these prints.
1his irst state is pure etching beore the touches o
burin added in the second state ,no. 1,. 1he toes hae
already been shortened - their original outlines are still
just isible.

Ltching and burin ,9 x 16, printed with surace tone on
extremely thin ,Chinese, laid paper ,112 x 181, chainlines
horizontal ,20, - with an extra chainline midway between
two o the regular ones - laid-down on old backing paper
with chainlines ertical ,2,28,
INSCRIP1IONS: rer.o o backing paper: 1:, ,graphite,
Library 186 ,AD.12.39-15,
Printed with more surace-tone than no. 34, although
the blacks are less rich. 1he changes made in this state
include the shading o the narrow white strip seen on
the inside o the orearm on no. 16, and extra ertical
shading on the upper part o the let thigh and the
underside o the cushion. In addition the edges o the
plate are polished ,so that they do not trap ink along
the edges as in no. 16, and the corners rounded.

Ltching and burin ,mark o backing plate 9 x 16,
counterproo on mould side o laid paper ,102 x 11,
chainlines ertical ,24,25,, with a ragment o another
impression stuck ace-down on the man`s thigh
INSCRIP1IONS: rer.o: 1:, ,graphite,
Library 186 ,AD.12.39-156,
1here are also counterproos o this state in
Amsterdam and Paris. See no. 12 or a note on
Rembrandt`s use o a backing plate when printing
counterproos.

J9 Nude Man seated and another standing, with
a baby learning to walk c.1646
Bartsch,lollstein 194 state I,III
Ltching and drypoint ,194 x 130, printed on mould side o
laid paper ,202 x 143, chainlines ertical ,23,25,
Library 186 ,AD.12.40-9,
SURVIVING PLA1L: 198 x 129.5 x 1, Priate Collection, USA
As with the two preceding prints ,nos. 13-18,, the male
nudes here ,conceiably the same model in dierent
poses, were apparently drawn by Rembrandt on the
plate during a session in his studio at which three pupils
also made drawings ,Benesch A55, 09 and 10, that
show the standing nude in the same pose rom a
slightly dierent angle, but in reerse. 1his plate is
rather more elaborately conceied than the two single
male nudes ,nos. 13-18,, mainly as a result o
introducing the scene in the background. Are these
intended as separate sketches on the same plate, or can
we read something into the juxtaposition o oreground
and background I there is an intended connection it is
probably an analogy between the child learning to walk
in the background, and the training o artists through
the study o drawing implied by the nude igures in the
oreground. In other words, the subject can be read as
Practice makes perect,` a saying illustrated by a child`s
walking trainer in contemporary Dutch emblem books.
lranciscus Junius and Joost an den Vondel both
compared the constant exercise o training artists to a
small child`s laborious attempts to walk ,Lmmens
1968,.
loweer, no matter how much practice, een the
greatest o artists occasionally make mistakes: there is a
trace o an alteration to the plate isible in this print,
showing that the seated man`s upper arm was originally
drawn somewhat higher and to the let.

20 Nude Man seated and another standing, with
Bartsch,lollstein 194 state I,III
Ltching and drypoint ,cut within platemark at top, with an
old alse margin, printed with lots o surace-tone on
extremely thin ,Japanese, laid paper with a silky surace
INSCRIP1IONS: rer.o: ,graphite,
Library 186 ,AD.12.40-66,
Described misleadingly in lollstein as a maculature ,a
second impression printed without re-inking the plate,,
the curious tonal eect o this impression seems to
hae been created by wiping the inked plate with spirit,
or thinning luid, thus thinning the ink and dragging it
out o some o the lines. Simply printing a maculature
would not hae resulted in so much surace tone,
because the surace o the plate would hae been
cleaned by the act o printing the initial impression. 1he
plate appears to hae been wiped so that the woman
and baby sketched in the distance barely register,
leaing the emphasis on the two oreground igures.
Perhaps Rembrandt was thinking o erasing the
background igures rom the plate, although the use o
an exotic paper makes it more likely that this was a
ariant impression printed or its own sake. It is one o
the earliest known examples o Rembrandt
experimenting with an oriental paper. A inger print is
isible in the tone at bottom right. Smudges o burr on
the ine drypoint lines on the seated man`s cheek
suggest that this is a slightly earlier impression than no.
19.

10

2J Nude Man seated and another standing, with
Bartsch,lollstein 194 state II,III
side o laid paper ,203 x 13, chainlines horizontal ,23,25,
Library 186 ,AD.12.39-19,
In comparison with the irst state ,see no. 19,
horizontal lines hae been added to the blank space on
the cushion and ery ine ertical lines added lightly in
drypoint on the blank spaces on the shoulder, neck and
cheek o the seated man. 1he alteration in the contour
o his upper arm is now better disguised against extra
shading. 1he blank space in the crook o the other
man`s elbow has also been shaded. 1he paper appears
ery similar to that used or no. 19 except that it has
been cut the other way round.

22 Nude Man seated and another standing, with
Bartsch,lollstein 194 state III,III
Ltching, drypoint and burin ,194 x 129, printed with
surace tone on elt side o laid paper ,19 x 131, chainlines
ertical ,24,25,
INSCRIP1IONS: rer.o: :
...
,ink,, 1 , 2 ,graphite,
1he outline o the loin cloth o the seated man has
been completed. 1he texture o the blankets that
sandwiched the paper and plate during printing is
eident as aint ertical stripes isible in the surace
tone in the background.

23 1he Bathers 1651
Ltching ,109 x 13, printed with surace tone on mould
side o laid paper ,112 x 139, chainlines ertical ,24,
SIGNLD IN 1lL PLA1L: Revbravat. f 1:1 ,the : corrected in
drypoint rom a ,
INSCRIP1IONS: rer.o: ^
o
1 , 1 , 2 ,graphite,
SURVIVING PLA1L: 112 x 139.5 x 0.3 ,thicker on let,,
Priate Collection, USA
1his plate was called 1be .rivver. in the inentory o
the printseller and publisher Clement de Jonghe drawn
up in 169. 1he orms are briely eoked in a rapid
style, and presumably the plate took little time to draw
or etch. In contrast to the elaborate method o
Rembrandt`s more ambitious plates ,or example
!ovav .ittivg batf are..ea be.iae a .tore, no. 32,, this simple
etching is as close as the medium comes to a
spontaneous pen-and-ink sketch, with the blank paper
eoking the brilliance o the sunlight.

24 1he Bathers 1651
Ltching ,109 x 138, printed on elt side o thick laid paper
,111 x 139, chainlines ertical ,c.34,35,
SIGNLD IN 1lL PLA1L: Revbravat. f 1:1 ,the : corrected in
drypoint rom a ,
By the appearance o the paper and the state o the
plate this is a considerably later impression than no. 23,
probably printed in the eighteenth century. 1he
disiguring spot in the sky is caused by corrosion o the
plate, and there are also some curious intentional
deacements such as the aint letter scratched on the
let-hand bank.

Statues and allen idols

2S 1he image seen by Nebuchadnezzar 1655
Bartsch,lollstein 36 ,undiided plate, A state II,V
Ltching, drypoint and burin,cut impression printed rom
the undiided plate, printed with surace tone on oriental
,probably Japanese, ellum-like paper ,10 x 3,
SIGNLD IN 1lL PLA1L: Revbravat.f 1::
Library 186 ,AD.12.39-120,
One o our illustrations designed or Samuel Manasseh
Ben Israel`s book, Pieara gtorio.a ae ta e.tatva ae
êbvcbaave.ar ,1he illustrious stone o the statue o
Nebuchadnezzar,, published in Amsterdam in 1655.
1he book was a mystical explanation o the coming o
the Messiah, written in Spanish by a rabbi whom
Rembrandt had known since 1636, and whose portrait
he had etched. 1his image illustrates a passage rom the
Book o Daniel describing Nebuchadnezzar`s dream:
1his great image, whose brightness was excellent,
stood beore thee, and the orm thereo was terrible.
1his image`s head was o ine gold, his breast and his
arms o siler, his belly and his thighs o brass, his legs
o iron, his eet part o iron and part o clay. 1hou
sawest till that a stone was cut out without hands,
which smote the image upon his eet that were o iron
and clay, and brake them to pieces. 1hen was the iron,
the clay, the brass, the siler, and the gold, broken to
pieces together, and became like the cha o the
summer threshingloors, and the wind carried them
away, that no place was ound or them: and the stone
that smote the image became a great mountain, and
illed the whole earth.` ,Daniel 2: 31-5,. Daniel
interpreted the image as oretelling the many and
arious kingdoms that would rise and all beore the
coming o the kingdom o heaen, the stone was the
symbol o God`s might. Rembrandt presents the image
on a plinth as though it were a statue, although it
otherwise looks like a close relation o the nude models
in his studio seen in nos. 13-22.
1his is an earlier state than that seen in the
impression o all our illustrations ,no. 26,, with the legs
o the statue broken in two places. An earlier state

11
,known in a unique impression in Paris, is only lightly
worked in the background. 1he Japanese paper is
thinner than that used in no. 26, it is similar in weight,
colour and smoothness to that used in no. 32. 1here
are at least our other recorded impressions o this state
on Japanese paper, and two on ellum.

26 Iour illustrations to a Spanish book 1655
Bartsch,lollstein 36 ,undiided plate, state III,III
Ltching, drypoint and burin ,24 x 160, printed with lots o
surace tone on thick oriental ,probably Japanese, ellum-
like paper ,2 x 166,, cut and joined across the centre
SIGNLD IN 1lL PLA1L: Revbravat.f 1:: ,our times,
INSCRIP1IONS: rer.o: ] ,ink,, 10: , 11 ,graphite,
PROVLNANCL: libbert ,Lugt 2849 recto,, John Barnard
,Lugt 1419 rer.o,, litzwilliam Bequest 1816 ,23.K.5-44,
lour illustrations designed or Samuel Manasseh Ben
Israel`s book, Pieara gtorio.a ae ta e.tatva ae êbvcbaave.ar,
published in Amsterdam in 1655. 1be ivage .eev b,
êbvcbaavear has been altered so that the legs are only
broken at the ankle, the stone that broke the image and
a globe are added on the right, and an arch appears
aboe the statue`s head. 1he other illustrations are
,anti-clockwise, ]acob`. taaaer, Daria ava Cotiatb, and
Daviet`. ri.iov of tbe fovr bea.t.. All our hae
iconographical precedents in Protestant biblical
illustrations ,1mpel 190,.
1he warm-coloured thick Japanese paper is typical
o that used in a number o impressions o late prints
,see particularly nos. 38, 40 and 42, - the true colour o
the paper is seen only in the margins because the area
inside the platemark is coered with so much surace
tone ,ink let on the surace o the plate,. Most o the
recorded impressions o this state are on Japanese
paper, and two are on ellum.

27 1he image seen by Nebuchadnezzar 1655
Bartsch,lollstein 36 ,diided plate, A state V,V
Ltching ,111 x 69, printed on elt side o laid paper ,118 x
3, chainlines ertical ,23,24,
SIGNLD IN 1lL PLA1L: Revbravat.f 1::
INSCRIP1IONS: rer.o: 121 ,graphite
Library 186 ,AD.12.39-121,
Printed ater the plate had been diided into our so
that each illustration could be printed separately. 1he
other changes, compared to no. 26, are that the
headband has been lowered, the shadow on the let side
o the head burnished away, and the names o the
kingdoms prophesied by the dierent parts o the
image are added to make the meaning more explicit.
1his was the state o the plate as published in the
book, which was reissued in a second edition ater
Rembrandt`s death with engraed copies more suited
than Rembrandt`s ragile plates to a large edition.

28 1he Phoenix 1658
\A1LRMARK: indistinct - possibly balls rom a loolscap
SIGNLD IN 1lL PLA1L: Revbravat. f. 1:
Library 186 ,AD.12.39-9,
Also known as 1be tatve Orertbrorv. According to
legend the phoenix turned itsel to the sun and, ater
catching ire, rose again out o its own ashes. Since
medieal times it had been a symbol o Christ`s
resurrection. Rembrandt shows it silhouetted against
the sun, heralded by trumpeting angels, haing
anquished rom the pedestal the allen nude in the
oreground. 1his nude, presumably a statue, has a
serpent round its arm. Some sort o allegory on Christ`s
Passion and the oerthrow o the old order seems a
possible interpretation or the print, but arious other
meanings hae been suggested. 1he least likely o these
is that the print is a personal statement by Rembrandt
that his bankruptcy o 1656 would not preent him
rom rising to ortune again. A more plausible reading
puts the print in a political context: medals o 1655-
oten portrayed the phoenix as a symbol o the
regeneration o the louse o Orange in the person o
Prince \illem III.
1he depiction o the allen statue is notable in that
it shows an acutely oreshortened nude igure in a pose
more reminiscent o the igures beloed o
Netherlandish mannerists, with their oert
demonstrations o skill in anatomical perspectie, than
the less contried poses normally adopted by the
models in Rembrandt`s studio.

29 1he Phoenix 1658
Ltching and drypoint ,18 x 181, printed on oriental
,probably Japanese, ellum-like paper ,191 x 184,
SIGNLD IN 1lL PLA1L: Revbravat. f. 1:
Library 186 ,AD.12.38-25,
1here is marginally less drypoint burr on this
impression, suggesting that it was printed ery slightly
later than no. 28, but the dierence may be partly
explained by the dierent inking. Otherwise the two
impressions are distinguished by the contrasting
qualities o the Luropean and Japanese papers. In the
late 1650s Rembrandt oten combined a bold use o
drypoint lines with the use o this sort o Japanese
paper, probably because the paper was less absorbent
than Luropean paper, and the ink trapped on the
surace o the plate by the drypoint burr would
thereore lie delicately on the surace o the paper.

12
Late prints o the emale nude

30 Jupiter and Antiope 1659
like paper ,148 x 209,
SIGNLD IN 1lL PLA1L: Revbravat f 1:
INSCRIP1ION: rer.o: 1:, ,graphite,
Library 186 ,AD.12.39-159,
Almost thirty years ater making his small plate o
]viter ava .vtioe ,see no. 3,, Rembrandt returned to
the subject on a larger scale. 1his time the composition
was clearly inspired by an etching by Annibale Carracci
,Bartsch 1,. 1he subject o Rembrandt`s print was
identiied as 1evv. ava a at,r in the inentory o the
printseller Clement de Jonghe drawn up in 169, but an
inscription ,not by Rembrandt, in the second state o
the plate describes it as Jupiter and Antiope. \hite
,1969, p.185, suggests that Carracci`s print supports this
identiication, but it is possible that Carracci`s print also
shows Venus and a satyr. A drawing by Rembrandt in
the Loure ,Benesch 1040, probably shows Jupiter and
Antiope and may hae been made in preparation or
the print, although the composition diers. Likewise, a
drawing o a sleeping emale nude in the Rijkmuseum
made around the same time ,Benesch 113, recalls to
some extent the pose o Antiope, but neither drawing is
as important as Carracci`s etching, which must hae
been Rembrandt`s immediate starting point, not only
or the orms but also or the mood o his print.
1his is an extremely resh and beautiul impression
printed with subtle skeins o surace tone on Japanese
paper with a slightly greyish tinge ,similar to that o no.
39,. On the right the support is bubbling slightly where
two thinner sheets that hae been bonded together to
orm the thick ellum-like sheet are delaminating
slightly. Most o the thick Japanese paper used in
Rembrandt`s later prints was probably ormed in a
similar way.

3J Jupiter and Antiope 1659
SIGNLD IN 1lL PLA1L: Revbravat f 1:
INSCRIP1IONS: rer.o: .220.. ,graphite, 1 ,graphite,, 1,2
,red chalk,, 1: , 2 ,graphite,
stamped as 283,
1his impression was printed somewhat later than no.
30. 1he burr caused by the drypoint needle has
substantially worn rom the plate so that there is less
ink trapped along the side o the lines. Otherwise the
dierence o eect is due mainly to the use here o a
Luropean rather than the Japanese paper o no. 30.

32 Woman sitting half dressed beside a stove
1658
Bartsch,lollstein 19 state I,VII
Ltching, drypoint and burin ,cut inside platemark, printed
with surace tone on oriental ,probably Japanese, ellum-
SIGNLD IN 1lL PLA1L: Revbravat f. 1:.
INSCRIP1IONS: rer.o: ]:.. ,ink,, 22 ,graphite,
PROVLNANCL: libbert ,Lugt 2849 recto,, John Barnard
,Lugt 1419 rer.o,, litzwilliam Bequest 1816 ,23.K.5-22,
In 1658 Rembrandt returned to the subject o the
naked emale igure in a series o our plates ,nos. 32-
43,, these were ollowed by two more plates in 1659
and 1661 ,nos. 30-31 and 44-46,. In the years 1656-60
he also made a large number o wash and reed-pen
drawings o emale nudes ,Benesch 110-29, 1142-4,.
1his group o etchings, and this one in particular, is ar
more elaborate than the series o male nudes made in
the 1640s ,nos. 13-22,: whereas those plates adopt a
style and technique akin to drawing, this plate has the
range and strength o tone o a painting. 1here is more
emphasis on surace and contour and less on line, and
the luminous orm o the igure emerges out o the
deep-hatched shadow o the background rather than
being cast in line against blank paper. Len in this irst
state the composition looks substantially inished, and
most o the changes that Rembrandt made in the
ollowing six states ,three o them in this exhibition,
seem to modulate rather than adance the composition.
1here is a slight indication o oliage at the upper let.
1his may, as \hite suggests, indicate that Rembrandt
irst thought o haing a window with a iew, but it is
also possible that he thought o introducing elements o
an outside setting as he did in !ovav batbivg ber feet at a
broo/ ,no. 40,, and perhaps also in !ovav at tbe batb ritb
a bat be.iae ber ,no. 38,. 1he relie on the stoe seems to
depict Mary Magdalene kneeling beore a cruciix.
1he area o drapery oer the arm o the chair
appears to hae a dotted tone akin to the eect o
sulphur tint, but in act these specks o ink appear only
on the raised ibres, so the eect is probably that
caused by heay surace tone on this particular paper.
Despite the resilience o the ibres during printing, the
paper is o a lighter weight than the thick ellum-like
paper used in nos. 33 and 36, and although damage on
the back makes it diicult to judge the colour
accurately, it appears similar in tone and smoothness to
the paper in no. 36.

1658
Bartsch,lollstein 19 state III,VII
Ltching, drypoint and burin ,22 x 184, printed with plate
tone on thick oriental ,probably Japanese, ellum-like paper
,239 x 192,
Library 186 ,AD.12.39-4,

13
1he arched niche in the wall behind the igure has been
more irmly deined with shading than in no. 32, and
there is additional hatching which helps to model the
woman`s breasts and right side.
1here are seeral impressions o this state on
Japanese paper, which in this example has a slightly
pinker tinge and is heaier than that used or no. 33.
On the back is the patterned impression caused by a
textile used during the paper-making process ,either the
paper was made with a abric mould or it was dried
against abric,.

1658
Bartsch,lollstein 19 state III,VII
Ltching, drypoint and burin ,cut just inside platemark,
printed on elt side o laid paper ,226 x 184, chainlines
ertical ,26,
\A1LRMARK: with a Cross ,cf. Gaudriault 18,
INSCRIP1IONS: rer.o: P. Mariette 1 ,brown ink,, 1.P.
,brown ink,, 0 ,red chalk,, 1 , 2: ,graphite,
PROVLNANCL: P. Mariette ,Lugt 189 rer.o,, 1homas
Philipe ,Lugt 2451 rer.o,, litzwilliam Bequest 1816
,23.K.5-25,
1he same state as no. 33 but printed on Luropean
paper. Judging rom those that surie, a relatiely large
number o impressions o this state were printed. It is
possible that Rembrandt saw this as a inished state,
and that it was subsequently altered as much or the
sake o the market as or the reinement o the
composition. In a similar way he printed a large edition
o Cbri.t re.evtea to tbe eote o 1655 ,Bartsch,lollstein
6, in the state beore he remoed the crowd:
eectiely creating two plates out o one.

3S Woman sitting half dressed beside a stove
1658
Bartsch,lollstein 19 state III,VII counterproo
Ltching, drypoint and burin, counterproo on elt side o
laid paper ,226 x 184, chainlines ertical ,24,25,
INSCRIP1IONS: rer.o: 1:1,
Library 186 ,AD.12.39-151,
A counterproo taken rom an impression in the same
state as no. 33 and no. 34. Another counterproo is in
Paris.

1658
Bartsch,lollstein 19 state V,VII
Ltching, drypoint and burin ,cut on and just inside
platemark, printed on thick oriental ,probably Japanese,
ellum-like paper ,226 x 18,
A damper key has been added on the let side o the
stoe pipe ,the only change eident on the unique
impression o the intermediate ourth state,, and there
is also additional shading on the woman`s skirt and on
the stoe. 1he shading may well hae been added to
reresh areas o wear caused by printing the third state,
but the addition o the damper key is more curious. It
hardly alleiates the ungainliness o the stoe pipe, or
adds much o interest to the plate, and it is best
explained as a marketing ploy ,the same could be said
or the remoal o the woman`s cap in no. 3,. As early
as 118, Arnold loubraken gae this as the reason that
Rembrandt made so many state changes: 1hanks to his
method o putting in slight changes or small additions
so that his prints could be sold as new ... no true
connoisseur could be without the ]vvo...with or without
the crown...Aye, the woman by the stoe, albeit one o
his lesser works, each must hae it with and without the
white cap, and with and without the stoe-key.` In other
words, the extraordinary number o state changes o
this type might be better explained as changes made or
the sake o selling more impressions to a sophisticated
clientele, rather than as eidence o Rembrandt`s
restless urge towards perection` ,\hite 1969,.
Likewise, the surial o so many impressions o these
dierent states, which i they were merely technical try-
outs would probably hae been discarded, show that
people were collecting them in his lietime and
thereore must hae been interested in the dierences
between them. Rembrandt created een more
dierences by using dierent papers and printing them
with dierent amounts o surace tone.
1he impression is ery densely printed, so that the
thick deposit o ink, in combination with the glow o
the Japanese paper, gies a ery rich eect ,see no. 32
or a note on the paper,. 1he paper has been cut by a
preious collector so that the edge o the image is
missing.

1658
Bartsch,lollstein 19 state VII,VII
Ltching, drypoint and burin ,22 x 186, printed on elt side
o laid paper ,229 x 188, chainlines ertical ,23,25,
\A1LRMARK: Countermark P ,cf. Gaudriault 4236,
INSCRIP1IONS: rer.o: 1.P. ,brown ink,, 21 ,graphite,
1he woman`s cap has been remoed ,compare the
changes made to the woman`s cap in nos. 38 and 39,.
A relatiely large number o contemporary impressions
o this state are on Japanese paper, as are all the
recorded impressions o the preious state, which is the
same except that it lacks the accidental scratch aboe
the woman`s let breast. 1he mark in this paper was
used as the countermark to arious papers made
c.1630s-0s.

14
38 Woman at the bath, with a hat beside her
1658
SIGNLD IN 1lL PLA1L: Revbravat. f. 1:.
INSCRIP1IONS: recto: 10 ,brown ink,, rer.o: 10, ,graphite,
Library 186 ,AD.12.39-160,
1he traditional title is gien here, although it has been
obsered that there is little eidence that the woman is
bathing rather than simply sitting on a chair. 1he early
inentories do not help: she is identiied as
Rembrandt`s concubine` ,de Jonghe 169,, 1he Jewish
iance` ,!, ,de Burgy,, and as one o two naked sitting
women rom the lie` ,Roer 131,. 1here do, howeer,
seem to be indications o relections at the bottom o
the plate which make the setting somewhat ambiguous.
1he same is true to some extent in !ovav batbivg ber feet
at a broo/ ,no. 40,, where Rembrandt has combined
elements that suggest an outdoor setting by a stream or
well, with objects rom the studio. Lidently these
prints were based on the study o a nude posing in the
studio and then the context was changed ,or made
ambiguous, by the inclusion o elements rom another
setting. 1he model is apparently the same woman who
sat or !ovav .ittivg batf are..ea be.iae a .tore ,no. 3,.
1here is a slight oset o the same print on the
erso. Most impressions o the irst state are on
Japanese paper, with one recorded in Vienna on white`
,Chinese, paper. ,Another impression on Japanese
paper rom the Uniersity Library collection, sold as a
duplicate in 188, is illustrated in . Cottectiov of tcbivg.
b, Revbravat, Artemis and Sotheby`s 1995, no. 88.,

39 Woman at the bath, with a hat beside her
1658
surace tone on oriental ,probably Japanese, ellum-like
paper ,160 x 128,
SIGNLD IN 1lL PLA1L: Revbravat. f. 1:.
INSCRIP1IONS: rer.o: P. Rev, ... 11 ,brown ink,, 11 , 2
,graphite,
PROVLNANCL: P. Remy 11 ,Lugt 2136 rer.o,, litzwilliam
Bequest 1816 ,23.K.5-2,
1he woman`s cap has been reduced in height and
rounded more like a turban. An impression o this state
on Japanese paper in \ashington has the inscription
1oor`t Cbirvrg, which has been interpreted ,without
conirming eidence, as suggesting that the artist gae
this impression to the Surgeons` Guild in recognition
or allowing him acilities to draw rom the nude. Most
impressions o this state are also on Japanese paper,
which in this example is thinner and has a greyer tinge
than that used or no. 38 ,it is possible that the colour
was changed slightly when this print was apparently
soaked o the album page in the nineteenth century -
the ink inscription on the rer.o is substantially aded,.

40 Woman bathing her feet at a brook 1658
Ltching, drypoint and burin ,160 x 9, printed with surace
,11 x 89,
SIGNLD IN 1lL PLA1L: Revbravat., f. 1:
Library 186 ,AD.12.39-162,
SURVIVING PLA1L: 162.5 x 82 x 1.3, Bibliotheque
Nationale, Paris
lor comments on the rather ambiguous setting, which
seems to combine elements that suggest an outdoor
setting by a stream or well, with cushions and a bench
rom the studio, see no. 38. 1his plate is perhaps that
described in the 169 inentory o de Jonghe as
\oman at the well`.
It is possible that the plate used was the piece o
copper cut the preious year rom the larger plate,
Cbri.t ava tbe rovav of avaria ,Bartsch 0,. Most
impressions are recorded as being on Japanese or
Chinese paper, and there is also one example in Paris
on ellum. 1he Japanese paper in this example is ery
similar to that used in no. 42. 1here is a slight oset o
the same print on the rer.o.

4J Woman bathing her feet at a brook 1658
Ltching, drypoint and burin ,161 x 9.5, printed on
extremely thin ,Chinese, laid paper ,162 x 83, chainlines
ertical ,c.18,
SIGNLD IN 1lL PLA1L: Revbravat., f. 1:
An impression in the Pierpont Morgan Library is
apparently on similar paper ,see also the note under no.
5,. It is quite possible that a number o early
impressions o prints described as on white paper` are
printed on this thin Chinese-looking paper, the extreme
thinness o the paper is not apparent when the prints
are laid down and it can quite easily be mistaken or a
normal thick Luropean laid paper.

42 Woman lying on a bed 1658
Ltching, drypoint and burin ,80 x 159, printed with surace
,88 x 166,
SIGNLD IN 1lL PLA1L: Revbravat,f. 1:
Library 186 ,AD.12.39-163,
SURVIVING PLA1L: 84 x 160.5 x 1.2, Priate Collection, UK
1his print has a mysterious poetry that in all but the
most sensitiely printed early examples can lapse into
dark illegibility. 1his is a ery richly printed

15
impression. In later, paler impressions ,see no. 15,
where the drypoint burr has worn away, the orms
break down and the print becomes a pale ghost o
what we see here. 1he irst state ,known only through
a unique impression in Paris, is much paler, and in
darkening the igure so much in this second state
Rembrandt led Bartsch and later writers into
describing it as a negress`. 1he irst state suggests
that the woman was in act white. Larly inentories
reer to it under the heading sleeping naked women`
,de Jonghe 169, and as the sleeping woman` ,Roer
131,. It is o course not eident whether the woman
is sleeping because her ace is turned away rom us,
this, as much as the darkness that conceals the inner
recesses o the bed, lends the plate its air o secretie
intimacy. Such a pose was unusual, although there
were precedents, notably the igure o the princess
who lies across the ront o Sebald Beham`s
engraing t ]obv Cr,.o.tov ,Bartsch 215,, or the close
relatie o this igure in Agostino Veneziano`s ^vae
rovav ov a fvr ,Bartsch XIV 410,.
1he size o the plate is identical to that o !ovav
ra.bivg ber feet at a broo/ ,nos. 40-41,. 1here would hae
been an adantage in making two plates the same size i
they were prooed and printed at the same time,
because obiously the same batch o paper could be
used. A large proportion o the impressions o this state
are on Japanese paper, which in this case seems
identical to that used in no. 40.

43 Woman lying on a bed 1658
Ltching, drypoint and burin ,81 x 159, printed on mould,,
side o laid paper ,89 x 16, chainlines horizontal ,c.23,
SIGNLD IN 1lL PLA1L: Revbravat, f. 1:
INSCRIP1IONS: rer.o: 21 ,graphite,, ^
o
1 ,graphite,
1he paleness o this impression is probably due to the
wear suered by the plate, but it is possible that some
o it results rom Rembrandt using a burnisher to
lighten the shading on the woman`s back. As there is
less ink, we can discern an earlier position o the leg
and oot, which was disguised by the shading in darker
impressions. 1he impression o the irst state in Paris
bears een clearer traces o this earlier work showing
that the whole igure was originally somewhat higher up
on the plate, and the head was in the ery top right
corner. An impression in London o a later state is
reworked with shading to remodel the back and to
disguise the repositioning o the igure.

44 1he Woman with the arrow 1661
surace tone on mould side o laid paper ,213 x 132,
SIGNLD IN 1lL PLA1L: Revbravat. f. 11. ,a reersed,
Library 186 ,AD.12.39-153,
1his is probably Rembrandt`s last print except or a
portrait commissioned in 1665. 1he title used here
deries rom Valerius Roer`s inentory o 131. 1he
subject has been much debated as it seems to suggest
some sort o narratie beyond the simple obseration
o the emale orm. A man`s head appears in the
recesses o the bed to the let o the woman. 1he
woman, who seems to wear an antique headdress,
clearly holds an arrow in her upraised hand, although
some writers interpret the hand as holding together the
curtains surrounding the bed, and the arrow` as actually
being a slit o light between the curtains. 1his may be
the plate described in de Jonghe`s inentory o 169 as
Naked Cleopatra`, which has led to the suggestion that
the print represents Antony and Cleopatra. 1his seems
less plausible than an alternatie identiication, Venus
and Cupid, which at least explains the woman holding
the arrow in terms o a known iconography. loweer,
although Venus was oten represented holding out an
arrow to Cupid, there is no precedent or him to be
peering so reticently rom the shadows. 1his is
eidently another case o Rembrandt starting with a
nude posing in the studio and then embroidering the
subject with imaginatie details that suggest other
connotations or the igure. 1wo drawings ,Benesch
1146, 114, now attributed to one or more pupils, show
rom dierent angles a model in a similar pose, seated
in a chair with her upraised arm supported in a sling.
1he drawings and the print may well hae been started
at the same sitting. lurther details added later in wash
to one o the drawings were apparently made with
reerence to the setting that Rembrandt had added to
the print ,see Royalton-Kisch 1992,.
1he earlier irst state ,not in the litzwilliam`s
collection, lacks some o the shading on the igure and
in the background. 1he sotening o the lines ,with the
result that een in the irst state the signature is
obscured, must be due to burnishing rather to wear. In
contrast to the group o plates made in 1658-9, there
are apparently no recorded impressions o this plate
printed on oriental paper: perhaps by this slightly later
date Rembrandt had exhausted his supply. It may hae
been partly to compensate or this that he aried the
wiping o dierent impressions to an een greater
extent than in the other late nudes. In this impression,
the plate surace has been wiped clean in the area o the
igure in order to emphasise the contrast between her
lesh and the background, where a lot o tone has been
let on the surace o the plate ,relecting the
disposition o blank paper and wash in the preparatory
drawing,.

4S 1he Woman with the arrow 1661
surace tone on mould side o laid paper ,20 x 125,
chainlines horizontal` but sloping ,25,26,
SIGNLD IN 1lL PLA1L: Revbravat. f. 11. ,a reersed,

16
INSCRIP1IONS: rer.o: , 1 ,graphite,
Library 186 ,AD.12.40-48,
In this state the obscure signature has been redrawn
and the blank triangle aboe and to the right o the
signature has been shaded. Nos. 45 and 46 are printed
on dierent sides o identical paper that has been cut in
the same way: they were undoubtedly printed in the
same batch. Dierences are thereore due not to any
change in the plate, but to dierences o printing ,and
dierent uses and abuses by later collectors,.

46 1he Woman with the arrow 1661
Ltching, drypoint and burin,204 x 123, printed with
surace tone on elt side o laid paper ,214 x 128, chainlines
horizontal` but sloping ,25,26,
SIGNLD IN 1lL PLA1L: Revbravat f. 11. ,a reersed,
Compared to no. 45 there has been more ink let on the
surace o the plate producing a ilm o tone isible on
the igure and between the lines in the background.

Impressions o Rembrandt`s prints o
nudes not included in this exhibition

Bartsch/Hollstein

20J
Printed with slight surace tone on elt,, side o laid paper
\A1LRMARK: Single-headed Lagle with partially legible
initials and diagonal band below
INSCRIP1IONS: rer.o: ^
o
1 ,ink,, 1 , 2 ,graphite,
28 II/II
Cut inside platemark, printed on elt side o laid paper ,165
x 118, chainlines ertical ,c.25,
\A1LRMARK: indistinct loolscap
INSCRIP1IONS: recto: 11 ,brown ink,, rer.o: 11 ,graphite,
Library 186 ,AD.12.39-11,
J96 II/II
Cut inside platemark, printed on mould side o laid paper
\A1LRMARK: 1hree balls ,ragment o loolscap
watermark,
INSCRIP1IONS: rer.o: 1: , 21 ,graphite,
J9S state I/II
Printed with surace tone on elt side o laid paper ,138 x
166, chainlines ertical ,24,
Library 186 ,AD.12.38-46,
J9S I/II
Cut inside platemark at top, printed with surace tone on
thin ,Chinese, laid paper ,109 x 142, - so ragile it cannot
be remoed rom old backing sheet
\A1LRMARK: indistinct watermark at lower edge
Library 186 ,AD.12.40-29,
JJ0 copy
Drawn in pen-and-ink on 2 sheets o oriental paper laid on
top o each other
1he rarity o 1be Pboevi is emphasised by the act that
Lord litzwilliam had to make do with a drawn copy in his
album: he ailed to acquire the print. 1he copy is notable
or being executed on oriental paper.
J97 VII/VII
Printed on mould,, side o laid paper ,239 x 200,
Library 186 ,AD.12.39-22,
Partial oset o the same print on the rer.o.

17

Produced to accompany an exhibition at 1he litzwilliam Museum, Cambridge, 8 October 1996 to 31 March 199

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