door which is before him, in an attitude as if fearful of hurting himself against any thing that may be in his way. This piece is very scarce.

310-210

Of this piece there are three impressions.

The first may be reckoned as presque-unique. It measures

37% 27. In it some parts of the drapery are less shaded, the slippers are quite white, as is also the upper part of the door. There are etchings in the background, between the feet, and from the stick to the garment, which were afterwards erased.

In the second impression, the size is reduced to that which has been first described. The upper part of the door is light, and it is extremely rare.

He is sitting in an elbow chair, turned to the right, at a table on which is a globe and many books. Over him appears an arch of stone-work. This piece is well executed, and is not common; but it is not the work of Rembrandt, the name Ferdinand Bol, being perceptible among the etchings in the back-ground, behind the chair.

5-31%

*148 TWO VENETIAN FIGURES.

They are seen in profile, walking side by side from left to right; they are covered with long cloaks, and have high caps on their heads in the Venetian fashion. The etching is rather hard. This piece is extremely rare.

310-210

*149 A LITTLE POLISH FIGURE.

He is seen in profile, turned to the right; on his head is a turban ornamented with a feather, his right hand is placed on his hip, and the left holds a cane. Towards the top of the print is written Rt. 1631. This piece may be esteemed as unique, being one of the rarities in Beringhen's collection.

213 - I

150 A PHYSICIAN FEELING THE PULSE OF HIS PA

TIENT.

The physician is a half-length, and is the same figure, as that in the Death of the Virgin, reversed. He is feeling the pulse of his patient, of whom only the back-part of the head, and part of the body are seen. It has been supposed that Rembrandt designed this piece as a study, to be introduced in that of the Death of the Virgin, which is one of his most capital performances; there are others however, who do not look upon it as the work of Rembrandt. It is extremely

This piece represents a man skating. He has on his head a flat bonnet, such as the Scotch wear, and he carries a staff on his right shoulder, which he holds with both hands. He is skating from the right towards the left. This piece is very lightly etched and full of spirit. Gersaint had never seen it, when he made his catalogue, and P. Yver says, that it is not only very scarce, as Gersaint stated it, but may be regarded as

presque-unique. It ought not however to be ranked as so very uncommon, though it is extremely rare. 21-23%

152 THE HOG.

The beast is lying in the fore-ground of the print, turned towards the left; his legs are coupled together, and he is tied to a stake. Over him appear five figures, all sketched with the outline only, viz. an old man with a basket on his arm; a boy who is teazing the hog with the grunting of a bladder under his arm; two young children looking at the hog with much compassion; and a figure seen in profile above them. In the right corner at the bottom is written Rembrandt f. 1643. This piece is well etched with a fine point, and is scarce.

510 - 710

153 THE LITTLE DOG SLEEPING.

The dog is represented lying asleep on the right side of the print, and is etched with a fine point, somewhat in the manner of Della Bella. He has a collar round his neck, to which a strap is fastened, which lies extended before the dog. This piece is very scarce, and is one of those, which on that account, are rated much above their value.

11% - 31%

There are two impressions of it.

The first is extremely rare, and is not mentioned either by Gersaint, or in the Supplement. In it the shadowing in the back-ground does not extend to the left side by about a quarter of an inch. It measures 1 by 31%

The second impression which is very scarce, is reduced nearly half an inch on the left side, and a little at the bottom.

154 THE SHell.

This is the representation of the shell known by the name of the Damier. The back-ground is deeply shaded. To the left in the margin is written Rembrandt f. 1650. This piece is finely executed, and is extremely rare. It is, however, another of those pieces which are rated at an exorbitant price, on account of their scarcity.

31% - 51%

There is an impression, in which the back-ground is left white, but it may be regarded as presque-unique.

VI. BEGGARS.

155

A

BEGGAR STANDING, SPIRITEDLY ETCHED.

This figure is etched with little more than an outline; he has on a large fur cap, and his clothes are very ragged; he leans with both his hands on a staff, and his body is a little bent forward. The back-ground is white, except a little bank on the left side. It is scarce. 6,2% 410

156 A BEGGAR, A PROFILE IN A CAP.

He is covered with rags, and girt round the waist with a belt he is walking towards the left, and has a staff in his right hand, and a pouch at his side. There is a light single stroke in the back-ground, near the top of the print, which touches the top of his cap in two places, and is carried behind him downwards opposite to his waist. This piece is well executed, and is very scarce.

157 TWO BEGGARS, A MAN AND A WOMAN, CON

VERSING.

They both appear to be old, and are standing op

posite to each other, in conversation; the man is on