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List of paintings by Rembrandt

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The following is a list of paintings by Rembrandt that are accepted as autograph by the Rembrandt Research Project. For other catalogues raisonnés of Rembrandt, see the "Rembrandt" navigation box below.

Image Title Year Technique Dimensions (cm) Gallery Number Commentary
The Spectacles-pedlar (Sight) c. 1624 Oil on panel 21 x 17.8 Stedelijk Museum De Lakenhal, Leiden 1 Hypothetical; one of the series The Senses
The Three Singers (Hearing) c. 1624 Oil on panel 21.6 x 17.8 Leiden Collection 2 Hypothetical; one of the series The Senses
The Operation (Touch) c. 1624 Oil on panel 21.5 x 17.7 Leiden Collection 3 Hypothetical; one of the series The Senses
The Unconscious Patient (Smell) c. 1624 Oil on panel 21.5 x 17.7 Leiden Collection 3A Hypothetical; one of the series The Senses
Christ Driving the Money-changers from the Temple 1626 Oil on panel 43.1 x 32 Pushkin Museum, Moscow 4
The Stoning of St. Stephen 1625 Oil on panel 89.5 x 123.6 Musée des beaux-arts de Lyon 5
Bust of a Man Wearing a Gorget and Plumed Beret 1626 Oil on panel 40 x 29.4 Private collection 6
History Painting 1626 Oil on panel 90 x 122 Stedelijk Museum De Lakenhal, Leiden 7 Subject still under discussion
David with the Head of Goliath before Saul 1626/1627 Oil on panel 27.2 x 39.6 Kunstmuseum Basel 8
The Baptism of the Eunuch 1626 Oil on panel 63.5 x 48 Museum Catharijneconvent, Utrecht 9 The abraded face of Philip has been unsatisfactorily retouched
Balaam and the Ass 1626 Oil on panel 63.2 x 46.5 Musée Cognacq-Jay, Paris 10
Musical Allegory 1626 Oil on panel 63.4 x 47.6 Rijksmuseum Amsterdam 11
Tobit Accusing Anna of Stealing the Kid 1626 Oil on panel 40.1 x 29.9 Rijksmuseum Amsterdam 12
The Flight into Egypt 1627 Oil on panel 27.5 x 24.7 Musée des Beaux-Arts de Tours 13
The Rich Man from the Parable 1627 Oil on panel 31.7 x 42.5 Gemäldegalerie, Berlin 14
The apostle Paul in Prison 1627 Oil on panel 72.8 x 60.2 Staatsgalerie Stuttgart 15 There are darkened overpaintings on both sides of the seams of the panel
Simeon in the Temple c. 1628 Oil on panel 55.4 x 43.7 Kunsthalle Hamburg 16 Mary’s cloak has been overpainted by another hand later; it was probably a lighter blue-grey in the original
The Foot Operation 1628 Oil on panel 31.8 x 24.4 Private collection, on permanent loan at Kunstmuseum Winterthur[1] 17
Rembrandt Laughing c. 1628 Oil on copper 22.2 x 17.1 J. Paul Getty Museum, Los Angeles 18
Self-Portrait Study in the Mirror (the Human Skin) c. 1627/1628 Oil on panel 42.8 x 33 Indianapolis Museum of Art 19
Lighting Study in the Mirror c. 1628 Oil on panel 22.6 x 18.7 Rijksmuseum Amsterdam 20
Bust of a Man Wearing a Turban c. 1628 Oil on panel 26.7 x 20.3 The Kremer collection 21
Interior with figures, called La main chaude c. 1628 Oil on panel 21 x 27 National Gallery of Ireland, Dublin 22
Judas Repentant, Returning the Pieces of Silver 1629 Oil on panel 79 x 102.3 Private collection 23
The Painter in his Studio (‘Idea’) c. 1628 Oil on panel 24.8 x 31.7 Museum of Fine Arts, Boston 24
The Supper at Emmaus 1629 Oil on panel 37.4 x 42.3 Musée Jacquemart-André, Paris 25
An Old Man Asleep by the Fire (perhaps typifying ‘Sloth’) 1629 Oil on panel 51.9 x 40.8 Sabauda Gallery, Turin 26
Two Old Men Disputing (St. Peter and St. Paul) 1628 Oil on panel 72.3 x 59.5 National Gallery of Victoria, Melbourne 27
The apostle Paul at his Writing Desk c. 1629/1630 Oil on panel 47.2 x 38 Germanisches Nationalmuseum, Nuremberg 28 The painting is covered with a thick layer of yellowed varnish
Self-portrait with Plumed Beret 1629 Oil on panel 89.7 x 73.5 Isabella Stewart Gardner Museum, Boston 29
Self-portrait with a Gorget c. 1629 Oil on panel 38.2 x 31 Germanisches Nationalmuseum, Nuremberg 30 The painting is covered by a layer of yellowed varnish and shows darkened retouches
Self-portrait Lit from the Left 1629 Oil on panel 15.5 x 12.7 Alte Pinakothek, Munich 31
Self-portrait with Beret and Gathered Shirt (‘stilus mediocris’) 1630 Oil on copper 15 x 12.2 Nationalmuseum, Stockholm 33
Bust of an Old Woman at Prayer (‘stilus gravis’) c. 1630 Oil on copper 15.5 x 12.2 Residenzgalerie, Salzburg 34
Laughing Soldier (‘stilus humilis’) c. 1630 Oil on copper 15.3 x 12.2 Mauritshuis, The Hague 35
Bust of an Old Man 1630 Oil on panel 18.2 x 17.4 Private collection 36 Reduced to an oval form, subsequently made into a rectangle by additions
Samson Betrayed by Delilah c. 1628–1630 Oil on panel 61.3 x 50.1 Gemäldegalerie, Berlin 37
David Playing the Harp for King Saul c. 1630 Oil on panel 62 x 50 Städel, Frankfurt am Main 38 The painting is poorly preserved in the thinner areas
Jeremiah Lamenting the Destruction of Jerusalem 1630 Oil on panel 58.3 x 46.6 Rijksmuseum Amsterdam 39
St. Peter in Prison 1631 Oil on panel 59.1 x 47.8 Israel Museum, Jerusalem 40
Andromeda Chained to the Rocks c. 1630 Oil on panel 34.5 x 25 Mauritshuis, The Hague 41 The painting has been cropped on all sides
The Good Samaritan 1630 Oil on panel 24.2 x 19.8 Wallace Collection, London 42
Bust of an Old Man Wearing a Fur Cap 1629 Oil on panel 22.2 x 17.7 Tyrolean State Museum, Innsbruck 43
Oil Study of an Old Man 1630 Oil on panel 24.3 x 20.3 Agnes Etherington Art Centre, Kingston 44
Oil Study of an Old Man c. 1630 Oil on panel 19.5 x 16 Statens Museum for Kunst, Copenhagen 45
Bust of an Old Man c. 1630 Oil on panel 46.9 x 38.8 Mauritshuis, The Hague 46
Simeon in the Temple 1631 Oil on panel 60.9 x 47.9 Mauritshuis, The Hague 47
The Raising of Lazarus c. 1630–1632 Oil on panel 96.2 x 81.5 Los Angeles County Museum of Art 48 The panel was originally taller
The Abduction of Proserpina c. 1631 Oil on panel 84.8 x 79.7 Gemäldegalerie, Berlin 49 The panel, which was originally taller, must have been cropped at top and bottom. An ultramarine blue sky was discovered under a greyish overpainting and taken to be the original sky
The Abduction of Europa 1632 Oil on panel 62.2 x 77 J. Paul Getty Museum, Los Angeles 50
An Old Woman Reading, probably the Prophetess Anna 1631 Oil on panel 59.8 x 47.7 Rijksmuseum Amsterdam 51
Christ on the Cross 1631 Oil, transferred from panel to canvas and then stuck on to panel 99.9 x 72.6 Parish Church, Le Mas d'Agenais 52
The Artist in an Oriental Costume, with a Poodle at his Feet 1631 Oil on panel 66.5 x 52 Petit Palais, Paris 53 The dog added in late 1632 or early 1633
Minerva in her Study c. 1631 Oil on panel 60.5 x 49 Gemäldegalerie, Berlin 54
Bust of an Old Man with a Cap and Gold Chain c. 1631 Oil on panel 59.9 x 51.1 Private collection 55
A Man Wearing a Gorget and Plumed Cap c. 1631 Oil on panel 66 x 50.8 J. Paul Getty Museum, Los Angeles 56
Bust of a Young Man Wearing a Plumed Cap 1631 – c. 1635 Oil on canvas 80.3 x 64.8 Toledo Museum of Art 57
Half-figure of a Man Wearing a Gorget and Plumed Hat 1631 Oil on panel 83.5 x 75.6 Art Institute of Chicago 58 The painting was originally 7 cm taller
Portrait of Nicolaes Ruts 1631 Oil on panel 116 x 87 Frick Collection, New York 59
Portrait of a Man at a Writing Desk, possibly Jacob Bruyningh 1631 Oil on canvas 104.4 x 91.8 Hermitage Museum, Saint Petersburg 60 The painting originally seems to have been 9 cm taller
A Lady and Gentleman in Black 1632 Oil on canvas 131.5 x 109 Stolen from the Isabella Stewart Gardner Museum, Boston 61 The painting must have been substantially reduced on the left, now showing only part of the original composition; the chair on the left is probably a later addition, apparently intended to balance the composition on this side when the canvas was reduced
Portrait of a Man 1632 Oil on panel 90.8 x 68.57 Kunsthistorisches Museum, Vienna 62a Companion piece to 62b
Portrait of a Woman 1632 Oil on panel 90 x 68 Kunsthistorisches Museum, Vienna 62b Rembrandt and (mainly) workshop. Companion piece to 62a
Portrait of a Man, probably a Member of the Van Beresteyn Family 1632 Oil on canvas 112 x 89 Metropolitan Museum of Art, New York 63a Companion piece to 63b
Portrait of a Woman, probably a Member of the Van Beresteyn Family 1632 Oil on canvas 112.5 x 88.8 Metropolitan Museum of Art, New York 63b Rembrandt and (mainly) workshop. Companion piece to 63a. The woman’s left hand, which originally hung in a lower position, and the table on which it now rests, are probably executed by Rembrandt himself
Portrait of a Man Trimming his Quill 1632 Oil on canvas 101.5 x 81.5 Schloss Wilhelmshöhe, Kassel 64a Companion piece to 64b
Portrait of a Woman Seated 1632 Oil on canvas 92 x 71 Academy of Fine Arts Vienna 64b Rembrandt (and workshop?) Companion piece to 64a. The painting was cropped on all sides
Portrait of Princess Amalia van Solms 1632 Oil on canvas 69.5 x 54.4 Musée Jacquemart-André, Paris 65b Companion piece to 65a: G. van Honthorst, Portrait of Prince Frederik Hendrik of Orange, 1631. The Hague, Huis ten Bosch (Dutch Royal Collection). The two paintings must originally have had identical surrounds. At a later stage 65b was cropped on all sides. The face has suffered from surface wear
Self-portrait as a Burger 1632 Oil on panel 64.4 x 47.6 Burrell Collection, Glasgow 66
Portrait of Maurits Huygens 1632 Oil on panel 31.1 x 24.5 Hamburger Kunsthalle 67
Portrait of Jacques de Gheyn III 1632 Oil on panel 29.9 x 24.9 Dulwich Picture Gallery, London 68
Self-portrait 1632 Oil on panel 21.8 x 16.3 Sold at auction (Sotheby's, July 28, 2020), buyer unknown[2] 69
Portrait of Joris de Caullery 1632 Oil, canvas on panel 102.5 x 83.8 Fine Arts Museums of San Francisco 70
Portrait of a Young Man 1632 Oil on panel 63 x 46 Suermondt-Ludwig-Museum, Aachen 71
Portrait of Marten Looten 1632 Oil on panel 92.8 x 74.9 Los Angeles County Museum of Art 72
Portrait of a 40-year-old Man 1632 Oil on panel 75.6 x 52.1 Metropolitan Museum of Art, New York 73
Portrait of a 39-year-old Woman 1632 Oil on panel 74.5 x 55 Nivaagaards Malerisamling 74 The hand and the booklet were added by another painter
Portrait of a 62-year-old Woman, possibly Aeltje Pietersdr Uylenburgh 1632 Oil on panel 73.5 x 55 Museum of Fine Arts, Boston 75
The Anatomy Lesson of Dr. Tulp 1632 Oil on canvas 169.5 x 216.5 Mauritshuis, The Hague 76
Portraits of Jean Pellicorne and his Son Casper 1632 Oil on canvas 155 x 123 Wallace Collection, London 77a Rembrandt and (almost entirely) workshop. Companion piece to 77b
Portraits of Susanna van Collen and her Daughter Anna 1632 Oil on canvas 153 x 121 Wallace Collection, London 77b Rembrandt and (in the main parts) workshop. Companion piece to 77a
Bust of a Young Woman 1632 Oil on panel 60.6 x 45 Leiden Collection 78
Bust of a Young Woman in a Cap 1632 Oil on canvas mounted on panel 60.6 x 45 Private collection 79 Originally rectangular and larger on all sides
Half-figure of a Young Woman in Profile with a Fan 1632 Oil on canvas 72.5 x 54.8 Nationalmuseum, Stockholm 80 Reduced on all sides
Bearded Old Man 1632 Oil on panel 66.5 x 51 Fogg Museum, Cambridge, Massachusetts 81
Study of an Old Man with a Gold Chain 1632 Oil on panel 59 x 46.5 Schloss Wilhelmshöhe, Kassel 82
The Apostle Peter 1632 Oil on canvas 81.3 x 66.2 Nationalmuseum, Stockholm 83
Knee-length Figure of a Man in an Oriental Dress (‘The Noble Slav’) 1632 Oil on panel 152.7 x 111.1 Metropolitan Museum of Art, New York 84
A Scholar Near a Window (a study in ‘kamerlicht’) 1631 Oil on panel 60.8 x 47.3 Nationalmuseum, Stockholm 85 An engraved reproduction from c. 1650 by Pieter de Baillu is captioned "S. Anastasius"
Philosopher in Meditation 1632 Oil on panel 28.2 x 34.4 Musée du Louvre, Paris 86 Possibly a scene from the Book of Tobit. The figure of a woman on the stairs is practically invisible today
Portrait of a Man 1638 Oil on panel 63.5 x 47.3 Herzog Anton Ulrich Museum, Braunschweig 87a Companion piece to 87b
Portrait of a Woman 1638 Oil on panel 63 x 48 Herzog Anton Ulrich Museum, Braunschweig 87b Companion piece to 87a
Portrait of a Man Rising from his Chair 1633 Oil on canvas 124 x 98.5 Taft Museum of Art, Cincinnati 88a Rembrandt and (perhaps) workshop. Companion piece to 88b
Portrait of a Young Woman with a Fan 1633 Oil on canvas 126.2 x 100.5 Metropolitan Museum of Art, New York 88b Companion piece to 88a
Portrait of Jan Rijcksen and his Wife Griet Jans 1633 Oil on canvas 111 x 166 Royal Collection 89
Portrait of Johannes Wtenbogaert 1633 Oil on canvas 123 x 105 Rijksmuseum Amsterdam 90 Rembrandt and workshop. The hands seem to be painted by a member of the workshop
Portrait of Man 1633 Oil on canvas 128.5 x 100.5 Schloss Wilhelmshöhe, Kassel 91 Rembrandt and/or workshop? Originally this portrait was probably full size
Portrait of a Man Wearing a Red Doublet 1633 Oil on panel 63.5 x 50.5 Leiden Collection 92
Portrait of a Young Woman 1633 Oil on panel 63.5 x 47.5 Museum of Fine Arts, Houston 93
Bust of Saskia Smiling 1633 Oil on panel 52.5 x 44 Staatliche Kunstsammlungen Dresden 94
Half-length Portrait of Saskia van Uylenburgh c. 1633–1642 Oil on panel 99.5 x 78.8 Schloss Wilhelmshöhe, Kassel 95 An 18th-century document provides evidence that the painting originally measured c. 128 x 104.5 cm and was rounded above
Self-portrait with Gold Chain 1633 Oil on panel 61 x 48.1 Musée du Louvre, Paris 96
Self-portrait with Beret and Gold Chain 1633 Oil on panel 70.4 x 54 Musée du Louvre, Paris 97
Bust of Young Woman 1633 Oil on panel 65 x 48 Rijksmuseum Amsterdam 98
Man in Oriental Costume c. 1633–1634 Oil on canvas 98 x 74 National Gallery of Art, Washington 99 Rembrandt and pupil(?). This work was probably larger on all sides
A Young Woman (Esther? Judith?) at her Toilet 1633 Oil on canvas 110.5 x 94.3 National Gallery of Canada, Ottawa 100
Bellona 1633 Oil on canvas 127 x 97.5 Metropolitan Museum of Art, New York 101
Daniel Refuses to Worship the Idol Baal 1633 Oil on panel 23.4 x 30.1 J. Paul Getty Museum, Los Angeles 102
A Bust of an Old Man 1633 Grisaille, paper on panel 10.6 x 7.2 Private collection 103
Bust of a Man in Oriental Dress 1633 Oil on panel 85.8 x 63.8 Alte Pinakothek, Munich 104
The Storm on the Sea of Galilee 1633 Oil on canvas 160 x 128 Stolen from the Isabella Stewart Gardner Museum, Boston 105
The Raising of the Cross 1633 Oil on canvas 95.7 x 72.2 Alte Pinakothek, Munich 106 Part of the Passion series for Frederik Hendrik
The Descent from the Cross 1632/1633 Oil on panel 89.6 x 65 Alte Pinakothek, Munich 107 Part of the Passion series for Frederik Hendrik
Joseph Telling his Dreams 1634 Grisaille, paper stuck on card 55.8 x 39.7 Rijksmuseum Amsterdam 108 Made in preparation for an unfinished printed Passion series
The Adoration of the Magi 1633 Grisaille, paper stuck on card(?) 44.8 x 39.1 Hermitage Museum, Saint Petersburg 109 Made in preparation for an unfinished printed Passion series
John the Baptist Preaching c. 1633/1634 Grisaille, canvas (enlarged) stuck on panel 62.7 x 81.1 Gemäldegalerie, Berlin 110
Christ and his Disciples in Gethsemane 1634 Drawing on paper. Pen and brown ink with brown and other washes and red and black chalk 35.7 x 48.8 Teylers Museum, Haarlem 111 Although executed with drawing materials on paper, in view of its presumed function this work is counted here among Rembrandt’s grisailles in preparation for an unfinished printed Passion series
Ecce Homo 1634 Grisaille, paper on canvas 54.5 x 44.5 National Gallery, London 112 Grisaille in preparation for an unfinished printed Passion series
The Lamentation c. 1633/1634 Grisaille, paper on canvas; enlarged by another hand on a panel measuring 31.9 x 26.7 cm 31.9 x 26.7 National Gallery, London 113 Grisaille may be fragment of the planned Passion series
The Entombment 1633/1634 Grisaille, panel 32.1 x 40.3 Hunterian Museum and Art Gallery, Glasgow 114 Grisaille may be fragment of the planned Passion series
Portrait of a Young Bachelor 1634 Oil on panel 70 x 52 Hermitage Museum, Saint Petersburg 115 The painting is covered by a layer of yellowed varnish
Portrait of an 83-year Old Woman (possibly Aechje Claesdr, mother of Dirck Jansz Pesser) 1634 Oil on panel 68.7 x 53.8 National Gallery, London 116
Portrait of Dirck Jansz Pesser 1634 Oil on panel 71 x 53 Los Angeles County Museum of Art 117a Companion piece to 117b
Portret of van Haesje Jacobsdr van Cleyburgh 1634 Oil on panel 71 x 53 Rijksmuseum Amsterdam 117b Companion piece to 117a
Portrait of a Man in a Broad-brimmed Hat 1634 Oil on panel 70 x 53 Museum of Fine Arts, Boston 118a Rembrandt and mainly workshop. Companion piece to 118b
Portrait of a Woman 1634 Oil on panel 69.5 x 53 Museum of Fine Arts, Boston 118b Companion piece to 118a
Portrait of a 41-year-old Man, possibly Pieter Sijen 1633 Oil on panel 69.3 x 54.8 Norton Simon Museum, Pasadena 119a Companion piece to 119b
Portrait of a 40-year-old Woman, possibly Marretje Cornelisdr van Grotewal 1634 Oil on panel 69 x 55 Speed Art Museum, Louisville 119b Companion piece to 119a
Portrait of Maerten Soolmans 1634 Oil on canvas 207 x 132.5 Joint ownership by Rijksmuseum and The Louvre 120a Companion piece to 120b
Portrait of Oopjen Coppit 1634 Oil on canvas 207 x 132 Joint ownership between The Louvre and Rijksmuseum 120b Companion piece to 120a
Portrait of Reverend Johannes Elison 1634 Oil on canvas 173 x 123 Museum of Fine Arts, Boston 121a Companion piece to 121b
Portrait of Maria Bockenolle 1634 Oil on canvas 174.5 x 123 Museum of Fine Arts, Boston 121b Companion piece to 121a
Oval Self-portrait with Shaded Eyes 1634 Oil on panel 70.8 x 55.2 Leiden Collection, New York 122
Self-portrait in a Cap and Fur-trimmed Cloak 1634 Oil on panel 58.3 x 47.5 Gemäldegalerie, Berlin 123 The painting is covered by a layer of yellowed varnish
Cupid Blowing a Soap Bubble 1634 Oil on canvas 75 x 92.62 Liechtenstein Museum, Vienna 124
Flora 1634 Oil on canvas 125 x 101 Hermitage Museum, Saint Petersburg 125
The Descent from the Cross 1634 Oil on canvas 159.3 x 116.4 Hermitage Museum, Saint Petersburg 126
The Incredulity of Thomas 1634 Oil on panel 53 x 50 Pushkin Museum, Moscow 127
Sophonisba Receiving the Poisoned Cup 1634 Oil on canvas 142 x 153 Museo del Prado, Madrid 128
A Scholar, Seated at a Table with Books 1634 Oil on canvas 145 x 134 National Gallery in Prague 129
Diana Bathing with her Nymphs, with the Stories of Actaeon and Callisto 1634 Oil on panel 73.5 x 93.5 Museum Wasserburg, Anholt 130
The Flight into Egypt 1634 Oil on panel 52 x 40.1 Private collection 130A
The Holy Family 1634 Oil on canvas 195 x 132 Alte Pinakothek, Munich 131 The painting was originally probably wider than it is today
Portrait of Philips Lucasz 1635 Oil on panel 79.5 x 58.9 National Gallery, London 132a Rembrandt and workshop. Companion piece to 132b
Portrait of Petronella Buys 1635 Oil on panel 78.8 x 65.3 Leiden Collection, New York 132b Rembrandt and workshop. Companion piece to 132a
Portrait of a Man in a Slouched Hat and Bandoleer 1635 Oil on canvas 78.5 x 65.7 Kawamura Memorial DIC Museum of Art, Sakura 133a Rembrandt and/or workshop. Companion piece to 133b. The painting suffered severely when it was transferred from panel to canvas in 1929 and also from overcleaning. Originally rectangular and possibly also larger below
Portrait of a Young Woman 1635 Oil on panel 78 x 65 Cleveland Museum of Art 133b Rembrandt and mainly workshop. Companion piece to 133a. The painting has suffered severely from overcleaning. Originally rectangular and possibly also larger below
Self-portrait wearing a white feathered bonnet 1635 Oil on canvas 90.5 x 71.8 Buckland Abbey 134 Rembrandt (and workshop?)
Self-portrait as the Prodigal Son in the Tavern 1635 Oil on canvas 161 x 131 Staatliche Kunstsammlungen Dresden 135 The reconstruction of the stretcher on the basis of the X-ray shows just how much the painting was reduced in size. The paint surface of the lower part of the remaining fragment suffered badly, such that it had to be repainted
Abraham's Sacrifice 1635 Oil on canvas 193.5 x 132.8 Hermitage Museum, Saint Petersburg 136 The painting is covered by a layer of yellowed varnish
The Rape of Ganymede 1635 Oil on canvas 177 x 130 Staatliche Kunstsammlungen Dresden 137
Flora 1635 Oil on canvas 123.5 x 97.5 National Gallery, London 138
Minerva 1635 Oil on canvas 137 x 116 Leiden Collection, New York 139
Samson Threatening his Father-in-law c. 1635 Oil on canvas 159 x 131 Gemäldegalerie, Berlin 140
Bust of a Man in Oriental Dress 1635 Oil on panel 72 x 54.5 Rijksmuseum Amsterdam 141
Bust of a Bearded Old man in Fanciful Costume 1635 Oil on panel 72.5 x 62.1 Royal Collection 142
Belshazzar’s Feast 1635 Oil on canvas 167.6 x 209.2 National Gallery, London 143 On the basis of the pattern of cusping, it may be concluded that the painting was tilted to the left by later hands and cut to shape accordingly. This is also apparent from the edge of the table and the stream of wine poured from the jug by the woman on the right
Susanna Bathing 1636 Oil on panel 47.2 x 38.6 Mauritshuis, The Hague 144
The Ascension 1636 Oil on canvas 93 x 68.7 Alte Pinakothek, Munich 145 Part of the Passion series for Frederik Hendrik
Self-portrait Transformed into a ‘tronie’ c. 1633–1636 Oil on panel 56 x 47 Gemäldegalerie, Berlin 146
The Standard-Bearer 1636 Oil on canvas 118.8 x 96.8 Rijksmuseum Amsterdam[3] 147
The Blinding of Samson 1636 Oil on canvas 205 x 272 Städel, Frankfurt am Main 148
Danaë c. 1636 – c. 1643 Oil on canvas 185 x 203 Hermitage Museum, Saint Petersburg 149 The painting was very badly damaged in 1985
The Angel Raphael Leaving Tobit and his Family 1637 Oil on panel 66 x 52 Musée du Louvre, Paris 150
The Parable of the Labourers in the Vineyard 1637 Oil on panel 31 x 42 Hermitage Museum, Saint Petersburg 151 The paint of the figures to the right have suffered from blanching
River Landscape with Ruins c. 1637 – c. 1645 Oil on panel 67 x 87.5 Schloss Wilhelmshöhe, Kassel 152 The mill together with its immediate surroundings was originally placed in a flat Dutch landscape. Rembrandt transformed it into classical mountainous landscape around 1645
The Concord of the State 1637 Oil on panel 74.6 x 101 Museum Boijmans Van Beuningen, Rotterdam 153 Grisaille serving as a design for a political print which was never realized
Self-portrait 1637 Oil on panel 64 x 49 Wallace Collection, London 154 The painting originally was larger (c. 75 x 55 cm) and rectangular. The upper corners of the background are digitally reconstructed
A Polish Nobleman 1637 Oil on panel 96.7 x 66.1 National Gallery of Art, Washington 155
Portrait of the Preacher Eleazar Swalmius 1637 Oil on canvas 132 x 109 Royal Museum of Fine Arts Antwerp 156
Bust of a Man with Plumed Cap 1637 Oil on panel 62.5 x 47 Mauritshuis, The Hague 157
The Risen Christ Appearing to Mary Magdalene 1638 Oil on panel 61 x 49.5 Royal Collection 158
Landscape with the Good Samaritan 1638 Oil on panel 46.5 x 66 Czartoryski Museum, Kraków 159
The Wedding of Samson 1638 Oil on canvas 126 x 175 Staatliche Kunstsammlungen Dresden 160
Woman with a Mirror 1638 Oil on panel 23.9 x 32.5 Hermitage Museum, Saint Petersburg 161
The Entombment 1635–1639 Oil on canvas 92.6 x 68.9 Alte Pinakothek, Munich 162 Part of the Passion series for Frederik Hendrik
The Resurrection 1639 Oil on canvas 92.9 x 67 Alte Pinakothek, Munich 163 Part of the Passion series for Frederik Hendrik
King Uzziah Stricken with Leprosy c. 1639/1640 Oil on panel 102.8 x 78.8 Chatsworth House 164 Covered with a disturbing layer of yellowed varnish. The dark patches in Uzziah’s face are probably painted indications of his leprosy
Two Dead Peacocks and a Girl 1639 Oil on canvas 145 x 135.5 Rijksmuseum Amsterdam 165
A Dead Bittern 1639 Oil on panel 120.7 x 88.3 Staatliche Kunstsammlungen Dresden 166 The painting is covered by a layer of yellowed varnish
Portrait of a Man Holding a Hat c. 1640 Oil on panel 81.4 x 71.4 Hammer Museum, Los Angeles 167 The panel has been trimmed on all sides. It belonged to a batch of equally large poplar panels, which makes it possible to speculate about the original size of the painting
Portrait of a Man Standing, possibly Andries de Graeff 1639 Oil on canvas 200 x 124.2 Schloss Wilhelmshöhe, Kassel 168
Portrait of Aletta Adriaensdr 1639 Oil on panel 64.7 x 55.3 Museum Boijmans Van Beuningen, Rotterdam 169 The heavily damaged fingers were reconstructed during a restoration in the 1960s
Self-portrait 1640 Oil on panel 80.5 x 62.8 Musée du Louvre, Paris 170 Rembrandt and workshop? Adaption of an earlier self-portrait
Bust of Young Woman c. 1640 Oil on panel 60.5 x 49 National Gallery of Art, Washington 171
Self-portrait c. 1639 Oil on panel 63 x 50.1 Norton Simon Museum, Pasadena 172
The Holy Family with St Anne 1640 Oil on panel 40.6 x 34 Musée du Louvre, Paris 173 The painting is covered by a layer of yellowed varnish
The Visitation 1640 Oil on panel 56.5 x 47.8 Detroit Institute of Arts 174
Landscape with Arched Bridge c. 1637/1638 Oil on canvas 29 x 40 Gemäldegalerie, Berlin
Landscape with a Stone Bridge c. 1638/1640 Oil on canvas 29.5 x 42.5 Rijksmuseum Amsterdam 175
Mountain Landscape with Approaching Storm 1640 Oil on panel 52 x 72 Herzog Anton Ulrich Museum, Braunschweig 176
Portrait of Herman Doomer 1640 Oil on panel 75.2 x 55.3 Metropolitan Museum of Art, New York 177a Companion piece to 177b
Portrait of Baertje Martens 1640 Oil on panel 75.1 x 55.9 Hermitage Museum, Saint Petersburg 177b Companion piece to 177a
Self-portrait c. 1640 Oil on panel 72.2 x 58.3 Thyssen-Bornemisza Museum, Madrid 178 The panel was slightly cropped later; the roughly blocked out hand was revealed during a restoration. Originally it must have been painted out by Rembrandt himself
Self-Portrait at the Age of 34 1640 Oil on canvas 93 x 80 National Gallery, London 179
Portrait of a Woman, possibly Anna Wijmer 1641 Oil on panel 99.5 x 81.5 Six Foundation, Amsterdam 180
Saskia as Flora 1641 Oil on panel 98.5 x 82.5 Staatliche Kunstsammlungen Dresden 181 The paint is covered by a disturbing yellowed layer of varnish
Oil Study of a Woman Lit Obliquely from Behind 1640 Oil on panel 46.5 x 37.5 Leiden Collection, New York 182
Portrait of the Mennonite Preacher Cornelius Claesz Anslo and his Wife Aaltje Gerritsdr Shouten 1641 Oil on canvas 176 x 210 Gemäldegalerie, Berlin 183
Portrait of Maria Trip 1641(?) Oil on canvas 107 x 82 Rijksmuseum Amsterdam 184b Rembrandt and the painter of 184a. Companion piece to 184a: Rembrandt workshop, Portrait of a man (Balthasar Coymans?). 1641 (?). Private collection
A Scholar at a Writing Desk 1641 Oil on panel 104 x 76 Royal Castle, Warsaw 185
Girl in Fanciful Costume in a Picture Frame 1641 Oil on panel 104 x 76 Royal Castle, Warsaw 186
Portrait of Nicolas van Bambeeck in a Picture Frame 1641 Oil on canvas 108.8 x 83.3 Royal Museums of Fine Arts of Belgium, Brussels 187a Companion piece to 187b
Portrait of Agatha Bas in a Picture Frame 1641 Oil on canvas 104 x 82 Royal Collection 187b Companion piece to 187a
David’s Parting from Jonathan 1642 Oil on panel 73 x 61 Hermitage Museum, Saint Petersburg 188
Self-Portrait 1642 Oil on panel 69.9 x 58.4 Royal Collection 189 The costume and the hand are largely overpainted by a much later hand
The Company of Captain Frans Banning Cocq and Lieutenant Willem van Ruytenburch (Night Watch) 1642 Oil on canvas 363 x 438 Rijksmuseum Amsterdam 190 Actually: ‘The painting in the great hall of the Kloveniers Doelen in which the young Lord of Purmerland [Frans Banninck Cocq] as Captain, gives the order to his Lieutenant, the Lord of Vlaerdingen [Willem van Ruytenburgh] to march off his Company of Citizens’, as the painting is called in the family album of Frans Banninck Cocq. The painting has been cropped on all four sides
Portrait of a Man with a Hawk 1643 Oil on canvas 114 x 97.3 Private collection 191a Rembrandt and workshop. Companion piece to 191b
Portrait of a Woman with a Fan 1643 Oil on canvas 114.5 x 98 Private collection 191b Rembrandt and (mainly) workshop. Companion piece to 191a
An Old Man in Rich Costume (Boaz?) 1643 Oil on panel 72.5 x 58.5 Woburn Abbey 192 Possibly companion piece to 193. The series of curved cracks in the panel and paintlayer are typical for paintings on mahogany panels
Bust of a Woman (Ruth?) 1643 Oil on panel 72 x 59 Gemäldegalerie, Berlin 193 Possibly companion piece to 192. The darker parts of the costume were originally lighter and more colourful
Sarah Waiting for Tobias 1643 Oil on canvas 81.2 x 67.9 National Gallery of Scotland, Edinburgh 194
Portrait of a Man with a Steel Gorget 1644 Oil on canvas 94.3 x 77.8 Metropolitan Museum of Art, New York 195 Cropped along the bottom edge
Christ and the Woman Taken in Adultery 1644 Oil on panel 83.8 x 65.4 National Gallery, London 196
A Weeping Woman c. 1644 Oil on panel 21.3 x 16.8 Detroit Institute of Arts 197 Oil sketch in preparation for 196
The Holy Family with Angels 1645 Oil on canvas 117 x 91 Hermitage Museum, Saint Petersburg 198 Strips of canvas of considerable width are missing on the side and top edges
Self-portrait with Beret and Red Cloak c. 1645/1648 Oil on panel 73.5 x 59.6 Staatliche Kunsthalle Karlsruhe 199 The size of this painting has been altered several times, as has its format (from rectangular to oval to rectangular to oval again)
Girl Leaning on a Stone Window Sill 1645 Oil on canvas 81.6 x 66 Dulwich Picture Gallery, London 200
Tobit and Anna 1645 Oil on panel 20 x 27 Gemäldegalerie, Berlin 201
Joseph's Dream in the Stable at Bethlehem 1645 Oil on panel 20.7 x 27.8 Gemäldegalerie, Berlin 202
Old Man with Fur Coat 1645 Oil on panel 110 x 82 Gemäldegalerie, Berlin 203 The painting was probably cropped on all sides. It may well have had the same size as 204
Old Man with a Stick 1645 Oil on canvas 128 x 112 Museu Calouste Gulbenkian, Lisbon 204
Landscape with a Castle 1645 Oil on panel 44.5 x 70 Musée du Louvre, Paris 205 Unfinished
The Mill c. 1645 Oil on canvas 87.6 x 105.6 National Gallery of Art, Washington 206 In the painting in its present state the mill is tilted forward
Winter Landscape 1646 Oil on panel 17 x 23 Schloss Wilhelmshöhe, Kassel 207
Abraham Serving the Three Angels 1646 Oil on panel 16 x 21 Private Collection 208
The Holy Family with Painted Frame and Curtain 1646 Oil on panel 46.8 x 68.4 Schloss Wilhelmshöhe, Kassel 209 Rembrandt or pupil. The painting is covered by a layer of yellowed varnish
The Prophetess Anna in the Temple 1650 or c. 1646 Oil on panel 40.5 x 31.5 National Gallery of Scotland, Edinburgh 210 The painting is covered by a layer of yellowed varnish
The Nativity 1646 Oil on canvas 92 x 71 Alte Pinakothek, Munich 211a Part of the Passion series for Frederik Hendrik. 211b. Studio copy after a lost Circumcision (which was part of the Passion series for Frederik Hendrik), in or after 1646. Braunschweig, Herzog Anton Ulrich Museum
Saul and David c. 1645 and c. 1652 Oil on canvas 130 x 164.5 Mauritshuis, The Hague 212 The painting originally was considerable larger. A vertical strip, wide c. 20 cm is missing to the left of David’s harp. Along the bottom the painting was c. 18 cm larger. The top right square piece of canvas above David was replaced by a fragment of a seventeenth-century painting and overpainted
Susanna and the Elders c. 1638–1647 Oil on panel 76.6 x 92.8 Gemäldegalerie, Berlin 213 The painting is covered by a layer of yellowed varnish
Nocturnal Landscape with the Holy Family 1647 Oil on panel 33.8 x 47.8 National Gallery of Ireland, Dublin 214
Preparatory Oil Sketch for the Etched Portrait of Dr Ephraim Bueno c. 1647 Oil on panel 19 x 15 Rijksmuseum Amsterdam 215
Portrait of a Man Reading by Candlelight 1648 Oil on canvas 66.5 x 58 Clark Art Institute, Williamstown 216
Oil Study of Christ c. 1648 Oil on panel 25 x 20 Gemäldegalerie, Berlin 217a The only surviving copy of Head of Christ by the master's hand.
Oil Study of Christ 1648 Oil on panel 25.5 x 20.1 Louvre Abu Dhabi, United Arab Emirates[4] 217b Rembrandt or workshop. Companion piece to 217a
The Supper at Emmaus 1648 Oil on panel 68 x 65 Musée du Louvre, Paris 218 The panel, whose grain runs horizontally, may have extended further on the left where there could have been a window
Christ Appearing to Mary Magdalene, ‘Noli me tangere’ 1650 or slightly later Oil on canvas 65 x 79 Herzog Anton Ulrich Museum, Braunschweig 219 The painting is in an extremely bad condition and shows disturbing blanching in places
Girl at a Window 1651 Oil on canvas 78 x 63 Nationalmuseum, Stockholm 220
An Old Man in an Armchair 1652 Oil on canvas 111 x 88 National Gallery, London 221 Probably by Rembrandt
An Old Man in Fanciful Costume 1651 Oil on canvas 78.5 x 67.5 Chatsworth House 222 The painting was originally taller. It is covered by a disturbing layer of yellowed varnish
Hendrickje with Fur Wrap c. 1652 Oil on canvas 103.3 x 86.5 National Gallery, London 223
The So-called Large Vienna Self-portrait with Beret 1652 Oil on canvas 112.1 x 81 Kunsthistorisches Museum, Vienna 224 The painting has been cropped both at top left and bottom. It is covered by a disturbing layer of yellowed varnish
Portrait of a Man c. 1651 Oil on canvas 92.5 x 73.5 Faringdon Collection, Oxfordshire 225
Portrait of Nicolaes Bruyningh 1652 Oil on canvas 106.8 x 91.5 Schloss Wilhelmshöhe, Kassel 226 The painting is covered by a layer of yellowed varnish
Half-figure of a Bearded Man with Beret c. 1653 Oil on canvas 78 x 66.5 National Gallery, London 227
Aristotle with a Bust of Homer 1653 Oil on canvas 141.8 x 134.4 Metropolitan Museum of Art, New York 228 The painting was larger at both top and bottom. The original proportions of the canvas were 4:3
A Woman Wading in a Pool (Callisto in the Wilderness) 1654 Oil on panel 61.8 x 47 National Gallery, London 229
Oil Study of an Old Man with a Red Hat c. 1654 Oil on canvas 52.4 x 37 Gemäldegalerie, Berlin 230 The painting is covered by a disturbing layer of darkened varnish
Bathsheba at her Toilet 1654 Oil on canvas 142 x 142 Musée du Louvre, Paris 231 The canvas was originally considerably higher and wider at the left. Strips are missing from the bottom and right. In the process of changing the format of the painting the remaining part with the figures was slightly tilted to the left
Woman at an Open Half-door c. 1654 Oil on canvas 88.5 x 67 Gemäldegalerie, Berlin 232 The painting is covered by a disturbing layer of yellowed varnish
Portrait of Jan Six 1654 Oil on canvas 112 x 102 Six Foundation, Amsterdam 233
The Standard-Bearer (Floris Soop) 1654 Oil on canvas 138 x 113 Metropolitan Museum of Art, New York 234
Self-portrait 1654 Oil on canvas 72 x 58.5 Schloss Wilhelmshöhe, Kassel 235a Companion piece to 235b
Portrait of Hendrickje Stoffels c. 1654 Oil on canvas 72 x 60 Musée du Louvre, Paris 235b Companion piece to 235a
The Polish Rider c. 1655 Oil on canvas 116.8 x 134.9 Frick Collection, New York 236 Partly unfinished, locally completed by later hand. At least 8–10 cm of the canvas are missing at the right. Along the bottom a strip of c. 10 cm was lost at some stage and subsequently replaced by a reconstruction painted by the restorer William Suhr
Joseph Accused by Potiphar’s Wife 1655 Oil on canvas 110 x 87 Gemäldegalerie, Berlin 237 With possible additions by another hand. The figure of Joseph and the left part of the pillow seem to have been added by a later hand on the basis of a rough underpainting by Rembrandt
Oil Sketch of an Old Man c. 1655 Oil on panel 23 x 18 Private collection 238
Man in Armour c. 1655 Oil on canvas 137.5 x 104.5 Kelvingrove Art Gallery and Museum, Glasgow 239 The canvas has been enlarged on all four sides
Slaughtered Ox 1655 Oil on panel 95.5 x 69 Musée du Louvre, Paris 240
Old Woman Reading (Study in Lighting Effects) 1655 Oil on canvas 79 x 65 Drumlanrig Castle, Thornhill 241
Titus at a Desk 1655(?) Oil on canvas 77 x 63 Museum Boijmans Van Beuningen, Rotterdam 242
Unfinished Portrait of a Boy c. 1656 Oil on canvas 65 x 56 Norton Simon Museum, Pasadena 243
Man with Beret and Tabard (a Falconer?) 1656 Oil on canvas 115 x 88.3 Toledo Museum of Art 244 The painting must originally have extended considerably further to the right
Jacob Blessing the Sons of Joseph 1656 Oil on canvas 175 x 210.5 Schloss Wilhelmshöhe, Kassel 245
The Anatomy Lesson of Dr. Jan Deyman 1656 Oil on canvas 100 x 134 Amsterdam Museum 246 Fragment that survived a fire. Blisters and traces of other fire-damage are still visible along the upper edge and in the hands of the dissector, Dr Deyman
Young Man Seated at a Table c. 1656 Oil on canvas 109.9 x 89.5 National Gallery of Art, Washington 247
Portrait of a Gentleman with a Pair of Gloves c. 1656 Oil on canvas 99.5 x 82.5 National Gallery of Art, Washington 248a Companion piece to 248b. The painting (and its companion piece) seems to be a fragment of a full-size portrait
Portrait of a Lady with an Ostrich Feather Fan c. 1656 Oil on canvas 99.5 x 83 National Gallery of Art, Washington 248b Companion piece to 248a
Portrait of a Man, possibly Arnout Tholincx 1656 Oil on canvas 76 x 63 Musée Jacquemart-André, Paris 249
Portrait of poet Jeremias de Decker 1656 Oil on panel 71 x 56 Hermitage Museum, Saint Petersburg 250
Venus and Cupid c. 1657 Oil on canvas 110 x 88 Musée du Louvre, Paris 251 Possibly part of a tripartite series with 252 and 253. The canvas has been cropped on all sides
Juno c. 1657–1665 Oil on canvas 127 x 106 Hammer Museum, Los Angeles 252 Possibly part of a tripartite series with 251 and 253
Pallas Athene c. 1657 Oil on canvas 118 x 91 Museu Calouste Gulbenkian, Lisbon 253 Rembrandt and pupil. Possibly part of a tripartite series with 251 and 252. The canvas has been reduced at the left and bottom
The Apostle Paul at his Writing Desk 1657 Oil on canvas 129 x 102 National Gallery of Art, Washington 254 Rembrandt and workshop
The Apostle Bartholomew 1657 Oil on canvas 122.7 x 99.5 Timken Museum of Art, San Diego 255
The So-called Small Vienna Self-portrait c. 1657 Oil on panel 48.9 x 40.2 Kunsthistorisches Museum, Vienna 256 Serious overcleaning and related overpaintings are evident in the shaded part of the face and in the costume. The painting appears to be a fragment of a considerably larger self-portrait
Portrait of Titus van Rijn 1657 Oil on canvas 67.3 x 55.2 Wallace Collection, London 257 The figure may have been placed before a larger, rather lively background
Portrait of Catharina Hooghsaet 1657 Oil on canvas 123.5 x 95 National Museum, Cardiff 258
Portrait of an Unknown Scholar (also known as ‘The Auctioneer’) 1658 Oil on canvas 108 x 85 Metropolitan Museum of Art, New York 259
Preparatory Oil Sketch for the Etched Portrait of Lieven Willemsz van Coppenol In or before 1658 Oil on panel 35.6 x 28 Metropolitan Museum of Art, New York 260 See etching B283
Portrait of a Man with Arms Akimbo 1658 Oil on canvas 107.4 x 87 Agnes Etherington Art Centre, Kingston 261
The Risen Christ c. 1658 Oil on canvas 81 x 64 Alte Pinakothek, Munich 262 The painting was not originally oval
Portrait of Dirck van Os c. 1658 Oil on canvas 113.5 x 88.7 Joslyn Art Museum, Omaha 263
Self-portrait 1658 Oil on canvas 131 x 102 Frick Collection, New York 264
Philemon and Baucis 1658 Oil, transferred from panel to gauze and then stuck on a new panel 54.5 x 68.5 National Gallery of Art, Washington 265
Tobit and Anna 1659 Oil on canvas 41.8 x 54.6 Museum Boijmans Van Beuningen, Rotterdam 266
Moses Smashes the Stone Tablets with the Covenant 1659 Oil on canvas 168.5 x 136.5 Gemäldegalerie, Berlin 267 Unfinished
Jacob Wrestling with the Angel c. 1659 Oil on canvas 137 x 116 Gemäldegalerie, Berlin 268 The painting must have been cropped on all sides. A piece of the same canvas bearing Rembrandt’s signature is stuck on the lower right corner. Many of the contours have been strengthened by a later hand
Posthumous Portrait of Saskia van Uylenburgh as Flora c. 1660 Oil on canvas 100 x 91.8 Metropolitan Museum of Art, New York 269 Rembrandt (and workshop?)
Portrait of a Man as the Apostle Paul 1659 Oil on canvas 102 x 85.5 National Gallery, London 270
Oil Sketch for 272 c. 1659 Oil on canvas 68.5 x 55.5 Statens Museum for Kunst, Copenhagen 271
The Knight with the Falcon 1660s Oil on canvas 98.5 x 79 Gothenburg Museum of Art 272
Self-portrait 1657/1659 Oil on canvas 50 x 42.5 National Gallery of Scotland, Edinburgh 273
Self Portrait with Beret and Turned-Up Collar 1659 Oil on canvas 84.4 x 66 National Gallery of Art, Washington 274
Self-portrait c. 1659 Oil on canvas 30.7 x 24.3 Musée Granet, Aix-en-Provence 275 Unfinished
Lighting Study with an Old Man as a Model 1659 Oil on panel 38.1 x 26.8 Agnes Etherington Art Centre, Kingston 276
Lighting Study with Hendrickje Stoffels in a Silk Gown as a Model c. 1659 Oil on panel 72.5 x 51.5 Städel, Frankfurt am Main 277 A narrow strip is missing along the left side, a consequence of woodworm attack. The painting is covered with a yellowed varnish
Hendrickje Stoffels c. 1660 Oil on canvas 78.4 x 68.9 Metropolitan Museum of Art, New York 278 The painting is in a badly overcleaned and abraded condition
Titus van Rijn as St Francis c. 1660 Oil on canvas 79.5 x 67.5 Rijksmuseum Amsterdam 279
A Smiling Young Man (Titus) 1660 Oil on canvas 81.5 x 78.5 Baltimore Museum of Art 280
Self-portrait at an Easel 1660 Oil on canvas 110.9 x 90.6 Musée du Louvre, Paris 281
Rembrandt: Self Portrait 1660 Oil on canvas 81 x 67.6 Metropolitan Museum of Art, New York 282
Assuerus, Haman, and Esther Between c. 1655 and 1665 Oil on canvas 71.5 x 93 Pushkin Museum, Moscow 283
The Denial of Peter 1660 Oil on canvas 154 x 169 Dordrechts Museum, Dordrecht (on loan from Rijksmuseum Amsterdam[5]) 284 The canvas was reduced on the right. 286 was painted on part of the trimmed piece
Lighting Study of an Old Man in Profile c. 1661 Oil on panel 24.8 x 19.1 Agnes Etherington Art Centre, Kingston 285 Probably painted in preparation for 286
The Circumcision in the Stable 1661 Oil on canvas 56.5 x 75 National Gallery of Art, Washington 286
The Virgin of Sorrow 1661 Oil on canvas 107 x 81 Musée départemental d'Art ancien et contemporain, Epinal 287
Titus Posing for a Study of an Angel c. 1661 Oil on panel 40.6 x 34.9 Detroit Institute of Arts 288 Possibly painted in preparation for 289
Saint Matthew and the Angel 1661 Oil on canvas 96 x 81 Musée du Louvre, Paris 289 Part of a series with 290–294
The Apostle Bartholomew 1661 Oil on canvas 87.5 x 75 J. Paul Getty Museum, Los Angeles 290 Part of a series with 289, 291–294
The Apostle Simon 1661 Oil on canvas 98.5 x 79 Kunsthaus Zürich 291 Part of a series with 289, 290 and 292–294
The Apostle James the Greater 1661 Oil on canvas 92.1 x 74.9 Whereabouts unknown 292 Part of a series with 289–291 and 293, 294
The Apostle James the Less, or Christ with a Staff 1661 Oil on canvas 94.5 x 81.5 Metropolitan Museum of Art, New York 293 Part of a series with 289–292 and 294
Self-portrait as the Apostle Paul 1661 Oil on canvas 93.2 x 79.1 Rijksmuseum Amsterdam 294 Part of a series with 289–293
Two Moors 1661 Oil on canvas 77.8 x 64.5 Mauritshuis, The Hague 295 The paint surface is severely worn. The painting has been cropped to the right and bottom
The Small Margaretha de Geer 1661 Oil on canvas 73.5 x 60.7 National Gallery, London 296 Sketch for 297b
Portrait of Jacob Trip c. 1661 Oil on canvas 130.5 x 97 National Gallery, London 297a Companion piece to 297b
Portrait of Margaretha de Geer c. 1661 Oil on canvas 130.5 x 97 National Gallery, London 297b Companion piece to 297a
The Conspiracy of the Batavians under Claudius Civilis c. 1661–1662 Oil on canvas 196 x 309 Nationalmuseum, Stockholm 298 Fragment
Portrait of the Syndics of the Amsterdam Clothmakers’ Guild, known as the ‘Staalmeesters’ 1662 Oil on canvas 191.5 x 279 Rijksmuseum Amsterdam 299
Portrait of a Young Man c. 1662 Oil on canvas 80 x 64.7 Nelson-Atkins Museum of Art, Kansas City 300
Homer Dictating his Verses 1663 Oil on canvas 108 x 82.4 Mauritshuis, The Hague 301 Made as part of a tripartite series with 228 and a lost Alexander the Great. In the right lower corner part of the manuscript, fingertips with pen and rim of the inkwell of a scribe
Self-portrait as the Laughing Zeuxis while Painting an Old Woman 1663 Oil on canvas 82.5 x 65 Wallraf-Richartz Museum, Cologne 302 Cropped on all four sides; the upper left and right corners are later additions
Equestrian Portrait of Frederick Rihel 1663 Oil on canvas 294.5 x 241 National Gallery, London 303 Rembrandt and workshop. The horse is painted by a different painter, possibly Titus van Rijn
Bust of a Bearded Young Man with a Skullcap 1663 Oil on canvas 65.8 x 57.5 Kimbell Art Museum, Fort Worth 304
Portrait of a Woman with a Lapdog c. 1665 Oil on canvas 81 x 64 Art Gallery of Ontario, Toronto 305 The originally more differentiated background is overpainted with black
Old Man in an Armchair, possibly a portrait of Jan Amos Comenius c. 1665 Oil on canvas 104 x 86 Uffizi, Florence 306 Covered with remnants of darkened varnish
Titus Reading (study in direct and reflected light) c. 1660/1665 Oil on canvas 70.5 x 64 Kunsthistorisches Museum, Vienna 307
Portrait of Gerard de Lairesse 1665 Oil on canvas 112 x 87 Metropolitan Museum of Art, New York 308
Portrait of Jan Boursse, Sitting by a Stove c. 1666 Oil on panel 47 x 40.5 Museum Oskar Reinhart ‘Am Römerholz’, Winterthur 309 Probably painted in preparation of an unrealized etched portrait. The painting has suffered heavily from overcleaning and wear and is covered with a thick layer of yellowed varnish
A Presumed Sketch for the Male Sitter in the ‘Jewish Bride’ mid-1660s Oil on panel 38.4 x 31.1 Metropolitan Museum of Art, New York 310
Portrait of a Man with a Magnifying Glass, possibly Pieter Haaringh 1665 Oil on canvas 91.4 x 74.3 Metropolitan Museum of Art, New York 311a Companion piece to 311b
Portrait of a Woman with a Carnation, possibly Lysbet Jansdr Delft 1665 Oil on canvas 92.1 x 74.6 Metropolitan Museum of Art, New York 311b Companion piece to 311a
‘Portrait Historié’ of a Couple as Isaac and Rebecca (known as ‘The Jewish Bride’) c. 1665 Oil on canvas 121.5 x 166.5 Rijksmuseum Amsterdam 312 Originally the painting was larger
Family Portrait c. 1665 Oil on canvas 126 x 167 Herzog Anton Ulrich Museum, Braunschweig 313
Lucretia 1666 Oil on canvas 111 x 95 Minneapolis Institute of Arts 314 Both hands have been (clumsily) overpainted by a later painter
Portrait of a White-haired Man 1667 Oil on canvas 108.9 x 92.7 National Gallery of Victoria, Melbourne 315
Portrait of an Elderly Man Seated, possibly Pieter de la Tombe 1667 Oil on canvas 81.9 x 67.7 Mauritshuis, The Hague 316
Portrait of Titus van Rijn 1668 Oil on canvas 72 x 56 Musée du Louvre, Paris 317 Companion piece to 318?
Portrait of a Young Woman, possibly Magdalena van Loo 1668 Oil on canvas 56 x 47 Montreal Museum of Fine Arts 318 Companion piece to 317? Cropped on all four sides
Self Portrait with Two Circles c. 1665/1669 Oil on canvas 114.3 x 94 Kenwood House, London 319 Unfinished
The Return of the Prodigal Son c. 1660/1665 Oil on canvas 262 x 206 Hermitage Museum, Saint Petersburg 320 Rembrandt and other hand(s). A 10 cm wide strip has been added or replaced along the right edge
Self-Portrait at the Age of 63 1669 Oil on canvas 86 x 70.5 National Gallery, London 321
Self-portrait with Beret 1669 Oil on canvas 71 x 54 Uffizi, Florence 322 Strips of c. 15 cm may have been removed on all four sides as early as the seventeenth century to accommodate the painting in an assemblage of self-portraits owned by the Medici family. The painting is now almost hidden behind a strongly discoloured or tinted layer of varnish under which there also seem to be extensive overpaintings
Self-portrait 1669 Oil on canvas 63.5 x 57.8 Mauritshuis, The Hague 323 A strip of c. 10 cm is missing from the bottom
Simeon in the Temple 1669 Oil on canvas 98.5 x 79.5 Nationalmuseum, Stockholm 324 This painting remained unfinished in his studio after Rembrandt’s death. The woman (Mary?) was probably added later by another hand. Still later, the painting was so crudely treated that it is now a ruin

See also

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Sources

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Wikimedia Commons has media related to A Corpus of Rembrandt Paintings VI.
  • A Corpus of Rembrandt Paintings I (1625–1631). Bruyn, J., Haak, B., Levie, S.H., van Thiel, P.J.J. 1982. ISBN 978-90-247-2614-1.
  • A Corpus of Rembrandt Paintings II (1631–1634). Bruyn, J., Haak, B., Levie, S.H., van Thiel, P.J.J. 1986. ISBN 978-90-247-3339-2.
  • A Corpus of Rembrandt Paintings III (1635–1642). Bruyn, J., Haak, B., Levie, S.H., van Thiel, P.J.J., van de Wetering, E. (Ed.). 1990. ISBN 978-90-247-3781-9.
  • A Corpus of Rembrandt Paintings IV (Self-Portraits). van de Wetering, Ernst (Ed.). Springer. 2005. ISBN 978-1-4020-3280-6.
  • A Corpus of Rembrandt Paintings V (The Small-Scale History Paintings). van de Wetering, Ernst (Ed.). Springer. 2010. ISBN 978-1-4020-4607-0.
  • A Corpus of Rembrandt Paintings VI: Rembrandt’s Paintings Revisited – A Complete Survey. Ernst van de Wetering. Springer. 2014. ISBN 978-9-4017-9173-1.

References

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  1. ^ "Rembrandt Operates".
  2. ^ Record-Breaking Rembrandt to Richter Sale Reinvents the Auction
  3. ^ "De Vaandeldrager in heel Nederland te zien - Rijksmuseum".
  4. ^ Laudel, Wallace (12 February 2019). "The Louvre Abu Dhabi acquired a $12 million Rembrandt painting".
  5. ^ "Rembrandt en Dordrecht".
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