DISCUSSION:
Created in c.1649, this work is a remarkably large and stunning Nowell-Usticke early/intermediate State II (of V); Hind State II (of III); Biörklund State II (of II); Boon & White State II (of II) lifetime impression. Printed on pale fibrous Japan paper, this work is stated by Nowell-Usticke to be a very uncommon large piece with approximately 125-225 known impressions (Usticke 12, B 164), Nowell-Usticke further notes, that "fine impressions are much sought after." The plate was cut into four parts in 1776 by Capt. Baille, making complete impressions in excellent condition an extreme rarity. This work is documented as B. 74, H. 236, BB 49-I, B&W 74.

Described by noted Rembrandt scholar, Christopher White as "the apotheosis of Rembrandt's activity in etching in the 1640's, and according to popular opinion of his whole career, is the large etching known as 'The Hundred Guilder Print.'" (White, Rembrandt as an Etcher, 57) White traces the origin of the title to a print seller named Mariette, who sold an impression of this print to Rembrandt himself, for 100 guilders. The print has also been called Christ Healing the Sick, and Christ Healing the Sick with Small Children. The figures present in the composition reflect several characters from the New Testament, including Jesus, the Pharisees, and St. Peter. This scene, which is said to reflect elements from the Book of Matthew, is also said to reflect the essential Christian teaching: "Blessed are the poor in spirit; for theirs is the kingdom of heaven."

The ability to depict an abundance of Christian iconography, coupled with the beautiful prose associated with the work-combine to make this a landmark piece in the canon of Rembrandt's religious works. In fact, it seems a fair assertion that the Hundred Guilder Print remains Rembrandt's most famous and desirable etched work. This is a marvelous, large-scale impression with rich and velvety areas-it is in wonderful condition and an essential addition to any Rembrandt collection.