Glossary
Numbers
The main number used for the sequencing and identification is the numbering (and the categories) introduced by Bartsch in 1796. In 2013 the New Hollstein introduced a new numbering, based on chronological order. These numbers are identified as ‘NH’. Finally, of the prints of which an impression is included in the collection :Rembrandt in Black & White, the collection number is listed, with the identification ‘B&W’.
Titles
The English titles are those used in the New Hollstein (2013). The translations are those introduced by Bartsch (French) and von Seidlitz (German) and used by the Rembrandthuis in their catalogue (Dutch).
Basic information
The first paragraph provides basic information about the size of the print, the (estimated) year it was made, the signature and date (if present) and the ‘history’ of the original copperplate.
Rarity
One of the FAQ’s is ‘’how many impressions of this etching were made or are still existing”.
In 1867 Nowell-Usticke was the first author to introduce an estimate of the rarity based on the number of impressions in auctions. We have used the same approach by counting the numbers in auctions since 2000. A third count is based on the more than 18000 prints included in the New Hollstein. For all three we have used a classification in six categories (from extremely rare to very frequent) as introduced by Nowell-Usticke.
Apart from the total number of impressions it is also important to differentiate for the timing of the prints. Mainly based on the states as listed in the New Hollstein, we have indicated the number of ‘Early’ (contemporary)prints and ‘Later’ ones. In some cases, if a certain state was printed both before and (long) after Rembrants death, we used the identification ‘Inter’.
Description, Picture, Story, Subject
These paragraphs provide general information about the print. ‘Picture’ and ‘subject’. Picture describes ‘what you see’. ‘Story’ focusses on the story behind the picture, especially when it concerns Biblical stories. For portraits a section ‘the subject is often used to identify the person represented.
References
Rembrandt used many examples of prints by other artists, of which he had a large number in his possession. He also made preparatory drawings. In turn the prints inspired many later artists.
Animal Farm
Many prints show animals, varying from life-size horses and lions to very small birds, hidden in trees or bushes. Dogs are visible in a variety of postures and activities.
States
Differences between states which are very easily recognized (with the naked eye) are marked *. If they are clearly visible, especially when a magnifying glass is used, they are marked º. Changes that are hardly visible, even when using a magnifying glass, are marked °.
Prints and collections
This sections contains information about special impressions, like unique impressions of a certain state, impressions on special paper, counterproofs and maculatures. Almost all of these are now in museum collections.
Copies
Over the centuries, many artists have copied the etchings, either in the same direction or in reverse. Some prints were so popular that more than twenty copies are known. Most of these copies were already listed in earlier catalogues like White-Boon (WB), but by far the most complete listing is that of the New Hollstein (NHD). The reference numbers, sizes and other elements of the copies are also recorded.
Literature
The first series of abbreviations and numbers relate to the earlier catalogues and are explained in the foottext. Details of the other books listed can be found in the Literature section.