# List of paintings by Rembrandt

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.
| 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 | 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 | 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 | Leiden 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 | 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 | 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) | 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 |