Rembrandt van Rijn, 'Christ Presented to the People'

Rembrandt van Rijn, 'Christ Presented to the People', 1655. Museum no. CAI 636

Rembrandt van Rijn (1606-69)
'Christ Presented to the People'
1655
Etching (Bartsch 76, State V)
Museum no. CAI 636
Bequeathed by Constantine Alexander Ionides

This is a good impression of the late fifth state of the print, taken after Rembrandt reduced the plate at the top. He did this so as to print the image on a single sheet of his expensive Japanese paper. But the alteration also had the effect of placing the figures of Christ and Pilate right in the centre of the composition.

Rembrandt van Rijn, 'The Three Trees'

Rembrandt van Rijn, 'The Three Trees', 1630. Museum no. CAI 610

Rembrandt van Rijn (1606-69)
'The Three Trees'
1643
Etching with drypoint and burin (Bartsch 212, only state)
Museum no. CAI 610
Bequeathed by Constantine Alexander Ionides

This is the largest and finest of Rembrandt's landscape etchings, confidently worked largely with direct needle and burin lines. He took the view near the Diemerdijk, in the vicinity of Amsterdam. The brilliant lights and darks of a sky filled with storm clouds bring a feeling of dramatic intensity to the flat landscape.

Rembrandt van Rijn, 'Our Lord Crucified between Two Thieves

Rembrandt van Rijn, 'Our Lord Crucified between Two Thieves, 'The Three Crosses', Begun 1653, reworked about 1660. Museum no. CAI 637

Rembrandt van Rijn (1606-69)
'Our Lord Crucified between Two Thieves, 'The Three Crosses'

Begun 1653, reworked about 1660
Etching (Bartsch 78, State IV)
Museum no. CAI 637
Bequeathed by Constantine Alexander Ionides

About 1660 Rembrandt made extensive changes to this important plate, increasing the darkness and drama of the scene. In this richly worked fourth state he introduced the dominant figure of a mounted soldier, taking it from a Renaissance medal by Pisanello. This detail would have appealed to Ionides, who was collecting such medals around the time he acquired this print.

Rembrandt van Rijn, 'The Hundred Guilder Print (Christ Healing the Sick)'

Rembrandt van Rijn, 'The Hundred Guilder Print (Christ Healing the Sick)', Completed about 1649. Museum no. CAI 638

Rembrandt van Rijn (1606-69)
'The Hundred Guilder Print (Christ Healing the Sick)'
Completed about 1649
Etching (Bartsch 74, State II), impression on Japanese paper
Museum no. CAI 638
Bequeathed by Constantine Alexander Ionides

This print, valued by the artist himself at a hundred guilders, is one of the greatest achievements of European printmaking. It has been a prize sought by all Rembrandt collectors. Ionides bought this choice impression on Japanese paper from his trusted dealer, Thibaudau. He paid £300 for it, as much as he paid for many of his oil paintings.

Rembrandt van Rijn, 'The Presentation in the Temple in the Dark Manner'

Rembrandt van Rijn, 'The Presentation in the Temple in the Dark Manner', About 1654. Museum no. CAI 650

Rembrandt van Rijn (1606-69)
'The Presentation in the Temple in the Dark Manner'
About 1654
Etching (Bartsch 50, only state, unique variant)
Museum no. CAI 650
Bequeathed by Constantine Alexander Ionides

Ionides secured this important print at a Paris sale of Rembrandt etchings in 1882. The impression, which is apparently unique, shows signs of the artist having vigorously scraped the plate to create an area of light at the top right, thereby heightening the drama of the scene.

Rembrandt van Rijn, 'Self-portrait

Rembrandt van Rijn, 'Self-portrait, Drawing at a Window', 1648. Museum no. CAI 713

Rembrandt van Rijn (1606-69)
Self-portrait, Drawing at a Window
1648
Etching (Bartsch 22, State II)
Museum no. CAI 713
Bequeathed by Constantine Alexander Ionide

Rembrandt painted and drew a great many records of his own features, now highly prized for their penetrating introspection. This sombre, low-key representation is almost the last of his etched self-portraits. It contrasts strongly with the flamboyant self-image created in the 'fancy-dress' study of almost a decade earlier.