I N T R O D U C T I O N BACKGROUND This project was begun about thirty-five years ago after I looked over a copy of Craddock & Barnard's Catalogue 112 'Etchings by Rembrandt' (1966) that had been sent to my father. I was amazed at the variety of the etchings and particularly the descriptions of reworkings to the plates that altered their appearance in dramatic and subtle ways. At that time it was difficult to locate illustrations of the various states although Rovinski had made a grand attempt in his publication of 1890. Over the next ten years I assembled as many books and catalogues on the subject that I could and catalogued their reproductions. Only a few additions were made in the next decade and none in the last ten years. Fortunately those first years saw the numerous publications associated with the exhibitions commemorating the three-hundredth anniversary of Rembrandt's death in 1969, the sales of the Nowell-Usticke and Downe collections and most importantly the publication of Christopher White and Karel G. Boon's catalogue raisonné which appeared as Volumes 18 and 19 of Hollstein's Dutch and Flemish Etchings, Engravings and Woodcuts, 1450-1700. The White and Boon (commonly referred to as Hollstein) was the most up to date of the many catalogues of Rembrandt's etchings and their descriptions made the classification of the various illustrations an easier task than might otherwise have been the case. Hollstein's descriptions are the current standard and are used as the basis of this work which should be viewed as adjunctive to it. Although many sources of illustration were catalogued the heart of the listings were the contents of the 1967-1972 exhibition and sale catalogues. The material from these was extracted from the larger list and the result was published as 'Recent Sources of Illustrations of Rembrandt Etchings: A Concordance' in Print Collector (Il Conoscitore de Stampi), No. 31 (March-April 1976), pp. 46-54. An attempt, in 1978, to have the entire work commercially published was thwarted by the cost and the small number of copies that could reasonably be expected to be sold. A few years after this I computer coded the work for typesetting but did not pursue publication further. I never thought that the work would have any public life until the web made it viable. Scripts were written to change the typesetting code to HTML code. And so it presented in this manner here. SCOPE, LIMITATIONS and ERRORS The arrangement of this compilation is, like Hollstein, in Bartsch order. Included are all prints by Rembrandt and those designated by Hollstein as 'attributed to Rembrandt' and those 'reworked by an early pupil.' Excluded are prints 'by unknown pupils of Rembrandt.' In the course of cataloguing the approximately 6500 reproductions that are listed here a small number of them showed features which were not consistent with the published literature in general and Hollstein's descriptions in particular. These seemingly unrecorded variations may be additional states. Where, in my opinion, there is sufficient grounds for such a designation a new state is described. These are very few in number. Two of the new states (cf. B. 4 and B. 13) were described in The Print Collector's Newsletter,8 (1977), p. 143, the remainder are unpublished. While it is always hazardous to rely on reproductions for any conclusion there was no practical way to assign a reproduction to a particular state without exercising some judgement. The text of a work being catalogued was relied upon when I could not make the decision based on the reproduction itself; guesses were avoided. This is mainly of concern where a state is the result of the addition of very light and fine shading which may be vague in a reproduction. Where this was a difficulty a note to this effect is given following the list of illustrations. The illustrations catalogued in this work do not nearly constitute the entire corpus of publications illustrating Rembrandt's etching. Publications were selected for inclusion if they had clear, and high quality reproductions, were monographic, had a comprehensive series of illustrations and/or contained illustrations of little known and infrequently reproduced impressions. A few exceptions are made to these criteria. As would be expected there is a great deal of duplication in the impressions which are published and which are subsequently reproduced and catalogued. The larger, more famous collections being represented the most. However a comprehensive listing from a wide variety of sources was thought better than a narrowly selective one. Some series of illustrations were excluded because of the method of their reproduction. These are heliogravures and others which use relief plates for printing. Thus the attractive series published in Dutuit (1883-85) and Blanc's (3rd ed., 1880) catalogues are not included as it is known that they were retouched by hand to increase their appeal. Also excluded are complete series which are so poorly reproduced as to be useless; Schild (1937) and Singer (1906 and 1910) are examples. I have no doubt that there are errors in the listings. I apologize to all who are caused difficulty as a result of using the material contained herein.

O R G A N I Z A T I O N   &   F O R M A T The information for each print contains the following elements: TITLE The Bartsch number is followed by the title, date and original size in millimeters, height preceding width. If the print is considered to be `Attributed to Rembrandt' or 'Reworked by an early pupil' this information is noted here as well.

B.  7  -  SELF PORTRAIT IN A SOFT HAT AND EMBROIDERED CLOAK  1631  148 × 130

STATE The states of a print (when there are more than one), as delineated by Hollstein, are given in the first column of each entry in lower case roman. All states are listed whether or not there are illustrations catalogued for that particular state. Where the size of the plate is a determining factor in the designation of a state the dimensions are given in a line by itself before the list of illustrations.

ii.

Plate measures 84 × 82.

All departures from Hollstein's descriptions of states are given within square brackets. Newly described states which are additions to the sequence given by Hollstein are indicated thus: [add.]. Newly described states for prints for which there are no states recognized by Hollstein are given a numerical sequence within square brackets. No numerical interpolation on Hollstein's order are used. A brief description of the important features by which a new state can be identified are given in the same line as the bracketed state designation.

[add.]

With the diagional scratch at top right but before the plate was cut down.

[i.]

With a small white space between the lapels and a slipped stroke in the area of thin hair at right.

ILLUSTRATIONS Each catalogued illustration is given a single line in the compilation. Collections: The first item is the name of the collection where the impression is or was (at the time of publication of the source) located. Collection names within square brackets indicate that there is positive evidence, usually from the presence of collector's marks or blemishes, about the location of the impression. These designations are due to the fact that some references do not label the source of their illustrations and changes in ownership as the result of dispersals of collections after the date of publication of the source. Illustrations for which no collection can be ascertained are labeled 'unknown' and are placed at the end of each list. A query following the collection name indicates that the location stated by the source is doubtful. References: Citations to references are given in shortened form, complete citations are found in the list of references. The citation is to author or, in the case of exhibition catalogues, the location of the exhibition, the date of publication or exhibition and the plate or illustration number as given in the source. For sources that do not have illustration numbers, page numbers are used and are so indicated. Size: The size of each illustration is given in millimeters, height preceeding width. Notes: The right most column contains, in highly abbreviated form, supplementary information about the illustration and/or impression. Included are designations if the illustration is a detail, enlarged or of a particular part, of the impression, if the reproduction is from a cut impression or a cropped illustration. A bracketed letter is used to differentiate, when possible, two or more impressions from the same collection. Comments and additional descriptions on a particular state are placed immediately following the list of illustrations for that state. Brief comments applicable to the print in general are placed at the end of the list of illustrations.

		Leningrad	Rovinski 1890, 287	235	×	287	[A]
		Leningrad	Rovinski 1890, 288	258	×	218	[B]
		London	White 1969, 285	125	×	130	det. cent. pt.
		[Paris ]	Coppier 1929, F. 16	118	×	98