These acclaimed drawings date from the 1620s to the 1660s, spanning Rembrandt's prolific career and documenting his changes in style and focus. Superb examples from every genre of the artist's work include landscape drawings, figure studies, scenes from the Old and New Testaments, animal sketches, and several portraits, including a few of the self-images for which he is famed.
Beautifully produced in a generous format on high-quality paper, this deluxe edition offers a rare variety of 116 works from more than twenty major European and American museums. Informative captions accompany each illustration.
These acclaimed drawings date from the 1620s to the 1660s, spanning Rembrandt's prolific career and documenting his changes in style and focus. Superb examples from every genre of the artist's work include landscape drawings, figure studies, scenes from the Old and New Testaments, animal sketches, and several portraits, including a few of the self-images for which he is famed.
Beautifully produced in a generous format on high-quality paper, this deluxe edition offers a rare variety of 116 works from more than twenty major European and American museums. Informative captions accompany each illustration.
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Overview
These acclaimed drawings date from the 1620s to the 1660s, spanning Rembrandt's prolific career and documenting his changes in style and focus. Superb examples from every genre of the artist's work include landscape drawings, figure studies, scenes from the Old and New Testaments, animal sketches, and several portraits, including a few of the self-images for which he is famed.
Beautifully produced in a generous format on high-quality paper, this deluxe edition offers a rare variety of 116 works from more than twenty major European and American museums. Informative captions accompany each illustration.
Product Details
| ISBN-13: | 9780486134536 |
|---|---|
| Publisher: | Dover Publications |
| Publication date: | 08/24/2012 |
| Series: | Dover Fine Art, History of Art |
| Sold by: | Barnes & Noble |
| Format: | eBook |
| Pages: | 128 |
| File size: | 205 MB |
| Note: | This product may take a few minutes to download. |
Read an Excerpt
Rembrandt Drawings
116 Masterpieces in Original Color
By Rembrandt van Rijn
Dover Publications, Inc.
Copyright © 2007 Dover Publications, Inc.All rights reserved.
ISBN: 978-0-486-13453-6
CHAPTER 1
REMBRANDT HARMENSZOON VAN RIJN
1606–1669
The Oude Rijn was a river on which a miller ground malt for beer and he took the name of the river as his own. Of his six sons only one is known to us, the artist we call Rembrandt. One of the world's most profound artists he was a draftsman whose sketches have created a dozen styles in the art of drawing.
The boy was always sketching, and at fourteen he was at the University of Leyden where his drawing interested him more than textbooks. Apprenticed to a bad painter, his genius outgrew that handicap so that by 1625 he was an independent master in Leyden and soon a popular portrait painter in Amsterdam. He never stopped drawing no matter how successful he was with paintings in heavy gold frames. His early drawings in black and red chalk have the crude power of the soil and the mill; heads and figures of his parents, his brothers, the solid Dutch countryside. From the sources of his mother's Bible he took to drawing scenes from the Old and New Testament. In chalk, in ink, with remarkable skill, and a kind of shorthand notation of faces and bodies in his later styles, he created a personal world peopled by his imagination. His skill was his ability to project the drama of faith and legend onto paper, yet basing it on the peasants, the rich life of the Amsterdam mijnheer and his fat wife and children the artist had observed. Somehow with a scratchy reed pen, a tone or two of brown wash, he could build up Jerusalem, the Passion of Christ, the Prodigal Son, Lazarus rising from his grave. Rembrandt's drawing is as remarkable as his painting and his etchings.
For each of his etchings there are often many drawings, for every painting usually a searching series of drawings that seek out costumes, gestures, settings, furnishings, often enveloped in that personal chiaroscuro of the artist's inner world. He rises above the other great draftsmen of his time, Rubens and Callot, by what he tried to get into a drawing. An instantaneous emotion to the visual world, a reaction of inner expression that was beyond the marvelous sensual reality of Rubens or the dancing ballet of horror that was Callot's image of the history of their world.
Rembrandt not only drew himself but was one of the great collectors of the drawings of other artists. In 1665, when his collection of drawings and prints (Papier Kunst—paper art) was sold at a special sale, it listed "works of art of various outstanding Italian, French, German and Netherlandish masters gathered by the just-listed Rembrandt van Rijn with great collector's skill."
The drawings themselves, already in his lifetime being collected, were at first done in black and red chalk, in bistre and gallnut ink. He combined chalk later with pen and brush work, using a bistre and Indian ink and often a white body color. With a feather quill, a reed pen or a brush, he directed a flexibility of rapid loops and curves into his work. The reed pen was his favorite, used often half dry, it gave his line a vibrant transparency, and when he diluted his inks to wash them over the lines, there resulted a velvet quality of atmosphere, which, combined with sections of the paper left white added to the drama of the drawing a mystery of artistic purpose. He rarely in his colored drawings went beyond a solemn brown and a saffron yellow.
His drawings are of two types. Those he did directly from nature and those he created out of his imagination and emotions. No matter how he treated myths or holy subjects, they picture human beings. And they live for him and for us in that atmosphere of indoor air and outdoor landscape in which his figures move, his dramas come to their climaxes.
His drawings are not large. He drew them for his own knowledge and for his students. Hundreds of them have survived and they speak to us more directly than Rembrandt's etchings and paintings. Time, contemplation, and genius meet in his pen lines, the viewer participates in the artist's world on paper. His sketches have a new kind of realism, not posed, but fully active, going about their life as if in a scene witnessed by accident through a suddenly opened door.
Rembrandt's success as a society artist did not last. His wife died, his new style of painting did not please the burghers who parade in The Night Watch. In 1657 he was declared a bankrupt, his debtors hounded him. His last self-portraits show an aging face colored with drink and neglect. Only the eyes seem alive, alert to a chaos of emotions that his drawings still captured. Living among the Jewish patriarchs on the fringe of the ghetto, the old artist continued to draw. His style, his last manner is that of a man who has seen everything, experienced much, and only the vital core of a drawing is preserved on paper.
Gone from his last drawings are the stylish costumes, the rich backgrounds, the plump faces of worldly success. Forgotten by his former patrons, the staaltmesters, he said: "What I want is not honor but freedom."
Alone, often cold and hungry, Rembrandt drew the sacred texts of the Bible. His angels spin in space, the Christ child is born, holy men kneel, the dreadful journey to the Cross is recorded by a great draftsman. It is hard to believe that the torn ink line, the slashed stroke of a loaded pen or brush in a shaking hand can, with such economy of means, tell us so much. With a thin wash or a blot of diluted ink Rembrandt places his world firmly before us.
He said: "A picture is finished when the artist has fulfilled his purpose in undertaking it." In 1669 he, too, was done, but his death only began his fame.
STEPHEN LONGSTREET
CHAPTER 2Notes on Rembrandt's Family and Friends Pictured in the Drawings
Saskia van Uylenburch (Nos. 63–66; 82 and 84), a beautiful and wealthy woman, married Rembrandt in 1634. The couple's first three children all died within a few months of birth. Saskia and her firstborn, Rombartus, are thought to be the subjects of Woman Carrying a Child Downstairs (No. 82). The couple's fourth child, Titus (see Nos. 70 and 76), born in 1641, survived infancy. He had a close and loving relationship with his father, but died from the plague in 1668, a year before Rembrandt's death. Saskia died in 1642, a year after Titus was born, at the age of thirty. Titia van Uylenburch (No. 78) was Saskia's sister.
A number of years after Saskia's death his housemaid Hendrickje Stoffels (see Nos. 43 and 79) became his mistress. In 1654 she gave birth to a healthy daughter, Cornelia (not shown in these drawings).
Rembrandt's close friend Jan Six (1618–1700; see Nos. 71 and 72), an important cultural figure in the golden age of the Netherlands, became mayor of Amsterdam in 1691. His large art collection, including numerous works by Rembrandt, is still a major art venue in Amsterdam.
Cornelis Claesz Anslo (1592–1646; see No. 67) was a famous preacher of the Mennonite community in Amsterdam.
Jan Cornelis Sylvius (No. 68) was a preacher of the Dutch Reformed Church and the legal guardian of Saskia van Uylenburch at the time of her marriage to Rembrandt.
CHAPTER 3LIST OF DRAWINGS
Frontispiece: Self-portrait in Studio Attire, Full-length
BIBLE DRAWINGS AND SAINTS
1. Adam and Eve After the Fall
2. Esau Selling His Birthright to Jacob
3. Jacob's Dream
4. The Angel Appearing to Hagar in the Desert
5. Moses and the Burning Bush
6. Jael Driving a Nail into the Head of Sisera
7. The Angel Disappearing Before Manoah and His Wife
8. Boaz Pours Six Measures of Barley into Ruth's Veil
9. Daniel in the Lion's Den
10. Nathan Admonishing David
11. The Blind Tobit and Anna with the Goat
12. The Healing of Tobit
13. The Angel Departing from the Family of Tobit
14. The Virgin and Child Seated near a Window
15. The Naming of St. John the Baptist
16. Christ and His Disciples
17. Christ and the Woman Taken in Adultery
18. The Parable of the Talents
19. The Return of the Prodigal Son
20. Christ Healing a Leper
21. Christ Walking on the Waves
22. Christ Washing the Feet of the Disciples
23. Christ Finding the Apostles Asleep in Gethsemane
24. The Arrest of Christ
25. The Mocking of Christ
26. Christ Carrying the Cross
27. The Entombment of Christ
28. St. Peter's Prayer Before the Raising of Tabitha
29. The Liberation of St. Peter from Prison
30. St. Jerome
31. Study for St. Peter
32. St. Jerome Reading in a Landscape
SINGLE FIGURE STUDIES
33. Study of an Oriental Standing
34. Life Study of a Youth Pulling at a Rope
35. A Man Pulling a Rope
36. Seated Old Man
37. Bearded Old Man Seated in an Armchair, Turned to the Right, Full-length
38. Man in a Flat Cap Seated on a Step
39. A Man Seated at a Table Covered with Books
40. Oriental Seen from Behind, Another Head Above on the Right
41. A Mounted Officer
42. Old Man with a Wide-brimmed Hat, Seated
43. A Woman (Hendrickje Stoffels?) Sleeping
44. Seated Old Woman, in a Large Head-dress, Half-length, Turned to the Right
45. Woman Wearing a Costume of North Holland, Seen from the Back
46. Woman Seated, in an Oriental Costume
STUDIES OF GROUPS OF FIGURES
47. An Old Man with His Hands Leaning on a Book and a Study of a Man Wearing a Turban
48. Study of a Group of Figures
49. Studies of Heads and Figures
50. Studies of Nine Figures
51. Three Full-length Studies of an Old Man on Crutches, and of a Woman Seen in Half-length
52. Two Studies of a Woman Reading
53. Sheet of Studies of Listeners
NUDES
54. Seated Male Nude
55. Standing Male Nude
56. Female Nude Seated and Bending Forward
57. Seated Female Nude with Her Arms Raised, Supported by a Sling
58. Female Nude Seated on a Chair, Seen from Behind
59. Female Nude Asleep
SELF-PORTRAITS AND PORTRAITS
60. Self-portrait
61. Self-portrait
62. Self-portrait
63. Saskia van Uylenburch
64. Saskia Seated in an Armchair
65. Saskia Looking Out of a Window
66. Saskia Lying in Bed, a Woman Sitting at Her Feet
67. Portrait of Cornelis Claesz Anslo
68. Portrait of Jan Cornelisz Sylvius
69. Portrait of a Man in an Armchair, Seen Through a Frame
70. A Boy (Titus?) Drawing at a Desk
71. Jan Six with a Dog, Standing by an Open Window
72. A Man (Jan Six?) Writing
73. Portrait of a Young Man
74. Study of a Syndic
75. Portrait of a Scholar
76. Young Man (Titus?) Holding a Flower
77. Portrait of a Man
78. Portrait of Titia van Uylenburch
79. A Woman (Hendrickje Stoffels?) Looking Out of a Window
80. Portrait of a Seated Old Woman with an Open Book on Her Knees
81. Portrait Bust of a Lady in a Cap Plumed with an Ostrich Feather
82. Woman (Saskia?) Carrying a Child (Rombartus?) Downstairs
83. The Screaming Boy
84. Young Woman (Saskia?) at Her Toilet
85. An Old Woman Holding a Child in Leading Strings; on the Left a Separate Study of the Bust of the Child
GENRE AND MISCELLANEOUS DRAWINGS
86. Saskia's Lying-in Room
87. Diana and Actaeon
88. The Conspiracy of Julius Civilis
89. The Eye Operation (?)
90. A Quack Addressing a Crowd at a Fair
91. Interior of a House with a Winding Staircase
92. Copy after an Unidentified Indian Miniature
93. Four Orientals Seated Beneath a Tree
94. Study after Leonardo's "Last Supper"
ANIMALS
95. An Elephant
96. A Recumbent Lion, Turned to the Right
97. Lion Resting, Turned to the Left
98. A Study of Two Pigs
99. Two Studies of a Bird of Paradise
LANDSCAPES AND VIEWS
100. View of London with Old St. Paul's, Seen from the North
101. The Bend in the Amstel River, with Kostverloren Castle and Two Men on Horseback
102. The Ruins of Kostverloren Castle
103. The Montelbaanstoren in Amsterdam
104. The Westpoort at Rhenen
105. The Rijnpoort at Rhenen
106. View over the Amstel from the Blauwbrug in Amsterdam
107. A Hayrick near a Farm
108. Cottages Amongst High Trees
109. A Group of Large Trees on the Edge of a Pond
110. Cottage near the Entrance to a Wood
111. Peasant Courtyard
112. A Farmhouse Among Trees Beside a Canal with a Man in a Rowboat
113. A Farmstead with a Hayrick and Weirs Beside a Stream
114. Cottage Beside a Canal
115. A Thatched Cottage by a Tree
CHAPTER 4THE DRAWINGS
1. ADAM AND EVE AFTER THE FALL.
B8611. Morgan Library & Museum, New York. Pen and bistre. Shown original size: 130 x 110 mm. About 1650.
2. ESAU SELLING HIS BIRTHRIGHT TO JACOB.
B564. Fodor Museum, Amsterdam. Pen and bistre.
Shown original size: 155 x 148 mm. About 1645.
3. JACOB'S DREAM.
B557. Louvre, Paris. Pen and wash in bistre, corrections in white body color.
250 x 208 mm. About 1640.
4. THE ANGEL APPEARING TO HAGAR IN THE DESERT.
B904. Kunsthalle, Hamburg.
Reed pen and bistre, white body color. 182 x 252 mm. About 1655–57.
5. MOSES AND THE BURNING BUSH.
B951. Sir Max J. Bonn Collection, London. Reed pen and wash in bistre, white body color.
175 x 247 mm. About 1655.
6. JAEL DRIVING A NAIL INTO THE HEAD OF SISERA.
B1042. Rijksprentenkabinet, Amsterdam. Pen and bistre, white body color.
Shown original size: 190 x 172 mm. About 1657–60.
7. THE ANGEL DISAPPEARING BEFORE MANOAH AND HIS WIFE.
B975. Nationalmuseum, Stockholm. Reed pen and wash in Indian ink.
233 x 203 mm. About 1655.
8. BOAZ POURS SIX MEASURES OF BARLEY INTO RUTH'S VEIL.
B643. Rijksprentenkabinet, Amsterdam. Pen and bistre, white body color.
Shown original size: 126 x 143 mm. About 1648–50.
9. DANIEL IN THE LION'S DEN.
B887. Rijksprentenkabinet, Amsterdam. Reed pen and bistre, wash, white body color.
222 x 185 mm. About 1652.
10. NATHAN ADMONISHING DAVID.
B948. Metropolitan museum of Art, New York. Reed pen and bistre, wash, white body color. 183 x 252 mm. About 1655–56.
11. THE BLIND TOBIT AND ANNA WITH THE GOAT.
B584. Morgan Library & Museum, New York. Pen and bistre, washes in sepia by a later hand.
173 x 234 mm. About 1647.
12. THE HEALING OF TOBIT.
B547. Mme. Pierre Goujon Collection, Paris. Pen and bistre, wash, white body color. Shown original size: 210 x 177 mm. About 1640—45.
13. THE ANGEL DEPARTING FROM THE FAMILY OF TOBIT.
B893. Morgan Library & Museum, New York. Reed pen and bistre, partly rubbed with the finger.
193 x 243 mm. About 1652.
14. THE VIRGIN AND CHILD SEATED NEAR A WINDOW.
B113. British Museum, London. Pen and bistre, wash.
Shown original size: 155 x 137 mm. About 1635–37.
15. THE NAMING OF ST. JOHN THE BAPTIST.
B1007. Louvre, Paris. Pen and wash in bistre and Indian ink.
199 x 314 mm. About 1655.
16. CHRIST AND HIS DISCIPLES.
B89. Teyler Museum, Haarlem. Red and black chalk, pen and brush in bistre, heightened with brown, yellow and red, white body color. 355 x 476 mm. Signed and dated 1634.
17. CHRIST AND THE WOMAN TAKEN IN ADULTERY.
B1038. Nationalimuseum, Stockholm.
Pen and bistre. 189 x 248 mm. About 1655.
18. THE PARABLE OF THE TALENTS.
B910. Louvre, Paris. Reed pen and bistre.
173 x 218 mm. About 1652.
19. THE RETURN OF THE PRODIGAL SON.
B519. Teyler Museum, Haarlem. Pen and wash in bistre.
190 x 227 mm. About 1642.
20. CHRIST HEALING A LEPER.
B900. Kupferstichkabinett, Berlin. Pen and wash in bistre, white body color.
180 x 247 mm. About 1655.
21. CHRIST WALKING ON THE WAVES.
B1043. British Museum, London. Reed pen and bistre.
191 x 295 mm. About 1658–60.
22. CHRIST WASHING THE FEET OF THE DISCIPLES.
B931. Rijksprentenkabinet, Amsterdam. Reed pen and bistre.
Shown original size: 156 x 220 mm. About 1655.
23. CHRIST FINDING THE APOSTLES ASLEEP IN GETHSEMANE.
Formerly J. P. Heseltine Collection, London. Pen and wash.
185 x 280 mm. About 1655.
24. THE ARREST OF CHRIST.
B1044. Nationalmuseum, Stockholm. Pen and wash in bistre.
205 x 298 mm. About 1655–60.
25. THE MOCKING OF CHRIST.
B1024. Formerly Léon Bonnat Collection, Paris.
Pen and bistre. 181 x 245 mm. About 1655.
26. CHRIST CARRYING THE CROSS.
B97. Kupferstichkabinett, Berlin. Pen and bistre, wash.
145 x 260 mm. Mid-1630s.
27. THE ENTOMBMENT OF CHRIST.
B1208. Teyler Museum, Haarlem. Pen and wash in bistre, white body color, in the shape of a lunette.
180 x 283 mm. About 1655–60.
28. ST. PETER'S PRAYER BEFORE THE RAISING OF TABITHA.
B949. Musée, Bayonne. Reed pen and wash, white body color.
190 x 200 mm. About 1655–60.
29. THE LIBERATION OF ST. PETER FROM PRISON.
B616. Städelsches Kunstinstitut, Frankfurt am Main. Pen and wash in bistre.
195 x 221 mm. About 1648–49.
30. ST. JEROME.
B18. Louvre, Paris. Red and black chalk.
Shown original size: 206 x 161 mm. About 1630.
31. STUDY FOR ST. PETER.
B12. Kupferstichkabinett, Dresden. Black chalk.
254 x 190 mm. About 1629.
32. ST. JEROME READING IN A LANDSCAPE.
B886. Kunsthalle, Hamburg. Reed pen and wash.
250 x 207 mm. About 1652.
33. STUDY OF AN ORIENTAL STANDING.
B207. British Museum, London. Pen and bistre, wash, white body color.
Shown original size: 221 x 169 mm. About 1633.
34. LIFE STUDY OF A YOUTH PULLING AT A ROPE.
B311. Rijksprentenkabinet, Amsterdam. Brush, quill and reed pen, wash, heightened with white.
290 x 178 mm. About 1656–58.
35. A MAN PULLING A ROPE.
B5. Staatliche Graphische Sammlung, Munich. Red chalk.
273 x 176 mm. About 1627–28.
36. SEATED OLD MAN.
B37. National Gallery of Art (Rosenwald Collection), Washington. Red chalk.
Shown original size: 157 x 147 mm. Signed with a monogram and dated 1630.
37. BEARDED OLD MAN SEATED IN AN ARMCHAIR, TURNED TO THE RIGHT, FULL- LENGTH.
B40. Teyler Museum, Haarlem. Red and black chalk. Shown original size: 225 x 145 mm.
Signed with a monogram and dated 1631.
38. MAN IN A FLAT CAP SEATED ON A STEP.
B324. Metropolitan Museum of Art, New York. Pen and wash in bistre.
Shown original size: 146 x 138 mm. About 1637.
(Continues...)
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Table of Contents
FrontispieceSelf-portrait in Studio Attire, Full-length
Bible Drawings and Saints
1. Adam and Eve After the Fall
2. Esau Selling His Birthright to Jacob
3. Jacob's Dream
4. The Angel Appearing to Hagar in the Desert
5. Moses and the Burning Bush
6. Jael Driving a Nail into the Head of Sisera
7. The Angel Disappearing Before Manoah and His Wife
8. Boaz Pours Six Measures of Barley into Ruth's Veil
9. Daniel in the Lion's Den
10. Nathan Admonishing David
11. The Blind Tobit and Anna with the Goat
12. The Healing of Tobit
13. The Angel Departing from the Family of Tobit
14. The Virgin and Child Seated near a Window
15. The Naming of St. John the Baptist
16. Christ and His Disciples
17. Christ and the Woman Taken in Adultery
18. The Parable of the Talents
19. The Return of the Prodigal Son
20. Christ Healing a Leper
21. Christ Walking on the Waves
22. Christ Washing the Feet of the Disciples
23. Christ Finding the Apostles Asleep in Gethsemane
24. The Arrest of Christ
25. The Mocking of Christ
26. Christ Carrying the Cross
27. The Entombment of Christ
28. St. Peter's Prayer Before the Raising of Tabitha
29. The Liberation of St. Peter from Prison
30. St. Jerome
31. Study for St. Peter
32. St. Jerome Reading in a Landscape
Single Figure Studies
33. Study of an Oriental Standing
34. Life Study of a Youth Pulling at a Rope
35. A Man Pulling a Rope
36. Seated Old Man
37. Bearded Old Man Seated in an Armchair, Turned to the Right, Full-length
38. Man in a Flat Cap Seated on a Step
39. A Man Seated at a Table Covered with Books
40. Oriental Seen from Behind, Another Head Above on the Right
41. A Mounted Officer
42. Old Man with a Wide-brimmed Hat, Seated
43. A Woman (Hendrickje Stoffels?) Sleeping
44. Seated Old Woman, in a Large Head-dress, Half-length, Turned to the Right
45. Woman Wearing a Costume of North Holland, Seen from the Back
46. Woman Seated, in an Oriental Costume
Studies of Groups of Figures
47. An Old Man with His Hands Leaning on a Book and a Study of a Man Wearing a Turban
48. Study of a Group of Figures
49. Studies of Heads and Figures
50. Studies of Nine Figures
51. Three Full-length Studies of an Old Man on Crutches, and of a Woman Seen in Half-length
52. Two Studies of a Woman Reading
53. Sheet of Studies of Listeners
Nudes
54. Seated Male Nude
55. Standing Male Nude
56. Female Nude Seated and Bending Forward
57. Seated Female Nude with Her Arms Raised, Supported by a Sling
58. Female Nude Seated on a Chair, Seen from Behind
59. Female Nude Asleep
Self-portraits and Portraits
60. Self-portrait
61. Self-portrait
62. Self-portrait
63. Saskia van Uylenburch
64. Saskia Seated in an Armchair
65. Saskia Looking Out of a Window
66. Saskia Lying in Bed, a Woman Sitting at Her Feet
67. Portrait of Cornelis Claesz Anslo
68. Portrait of Jan Cornelisz Sylvius
69. Portrait of a Man in an Armchair, Seen Through a Frame
70. A Boy (Titus?) Drawing at a Desk
71. Jan Six with a Dog, Standing by an Open Window
72. A Man (Jan Six?) Writing
73. Portrait of a Young Man
74. Study of a Syndic
75. Portrait of a Scholar
76. Young Man (Titus?) Holding a Flower
77. Portrait of a Man
78. Portrait of Titia van Uylenburch
79. A Woman (Hendrickje Stoffels?) Looking Out of a Window
80. Portrait of a Seated Old Woman with an Open Book on Her Knees
81. Portrait Bust of a Lady in a Cap Plumed with an Ostrich Feather
82. Woman (Saskia?) Carrying a Child (Rombartus?) Downstairs
83. The Screaming Boy
84. Young Woman (Saskia?) at Her Toilet
85. An Old Woman Holding a Child in Leading Strings; on the Left a Separate Study of the Bust of the Child
Genre and Miscellaneous Drawings
86. Saskia's Lying-in Room
87. Diana and Actaeon
88. The Conspiracy of Julius Civilis
89. The Eye Operation (?)
90. A Quack Addressing a Crowd at a Fair
91. Interior of a House with a Winding Staircase
92. Copy after an Unidentified Indian Miniature
93. Four Orientals Seated Beneath a Tree
94. Study after Leonardo's "Last Supper"
Animals
95. An Elephant
96. A Recumbent Lion, Turned to the Right
97. Lion Resting, Turned to the Left
98. A Study of Two Pigs
99. Two Studies of a Bird of Paradise
Landscapes and Views
100. View of London with Old St. Paul's, Seen from the North
101. The Bend in the Amstel River, with Kostverloren Castle and Two Men on Horseback
102. The Ruins of Kostverloren Castle
103. The Montelbaanstoren in Amsterdam
104. The Westpoort at Rhenen
105. The Rijnpoort at Rhenen
106. View over the Amstel from the Blauwbrug in Amsterdam
107. A Hayrick near a Farm
108. Cottages Amongst High Trees
109. A Group of Large Trees on the Edge of a Pond
110. Cottage near the Entrance to a Wood
111. Peasant Courtyard
112. A Farmhouse Among Trees Beside a Canal with a Man in a Rowboat
113. A Farmstead with a Hayrick and Weirs Beside a Stream
114. Cottage Beside a Canal
115. A Thatched Cottage by a Tree