Question: When did Rembrandt produce etchings?
About the article "Rembrandt", section "Etchings".

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The Rembrandt House Museum is a house in the Jodenbreestraat in Amsterdam not far from the new townhall, where Rembrandt lived and painted for a number of years.
A few years ago the house was thoroughly reconstructed on the inside to show how the house would have looked in Rembrandt's days.
Adjoining (and linked to) the house is a modern building where work of Rembrandt is on display, mainly etchings and also a part of his collection of objects from all over the world.
Rembrandt purchased the house in 1639 and lived there until he went bankrupt in 1656, when all his belongings went on auction.
The auction list enabled the reconstructions of all his belongings which are also on display in the house. 
The Three Crosses is an etching and dry point painting created by Dutch artist Rembrandt van Rijn depicting the crucifixion of Jesus Christ.
The subject is Jesus Christ on the cross, flanked by the two thieves who were crucified with him.
The Virgin Mary is depicted weaping and being supported by the Evangelist.
Roman soldiers on horseback and grieving citizens are depicted around the crosses.
Professionals have speculated that the scene might be interpreted as the moment of Christ’s death.
The sky is very dark but pierced by a beam of light that surrounds the figure of Christ, representing God’s light from heaven.
The iconography in the piece is especially intricate.
According to Paul Crenshaw of the Kemper Art Museum, Rembrandt was inspired by the text from when Christ cried out, “My God, why hast thou forsaken me?” Rembrandt drew heavily on biblical sources in his work, as well as being influenced by other Baroque contemporaries.
Rembrandt created over 300 works that were inspired by the Bible.
The piece's etching does not allow for dramatic contrasts of light and shade, known as chiaroscuro.
Rembrandt produced the work in four stages, increasing in each the effects of these contrasts.
Etching and dry point are labor-intensive processes, and one of the early forms of printmaking.
Rembrandt chose these media based primarily on the fact that he was suffering from financial difficulties all the time.
He had to sell many of his etchings in order to be able to afford to print "The Three Crosses".
Rembrandt was able to make around sixty impressions from the plate in its first three stages, the darkest shadows on the piece being done in dry point, and Christ and the lighter figures being etched.
The nature of the media meant that it was possible for Rembrandt to make continuous alterations (which he did over a ten year period), adding further etching and dry point, changing the composition of the picture and making the final image darker and more chaotic: In the last stage, the Virgin Mary has become an almost disembodied head surrounded by darkness, and the figures that originally encircled her have, in consequence, been removed, as have been some of the soldiers on horseback.
A man in a large hat (also on horseback) has been added and is believed to be a figure from Rembrandt’s "The Conspiracy of Claudius Civilis."
The most dramatic alteration is to the "heavenly light" which has become considerably darkened, especially to the right of the picture, by which Rembrandt may be making a clear distinction between the 'good' and 'bad' thieves.
Each progressive change in the work increases the focal importance of the Christ figure.
In its fourth and fifth state, Rembrandt inked the plates in a different number of ways and with different qualities of ink.
One of the prints in the fourth stage is located at the Kemper Art Museum. 
During the century after Rembrandt's death the techniques of etching and drypoint brought to their highest point by him gradually declined.
By the late eighteenth century, with brilliant exceptions like Piranesi and Tiepolo, most etchings were reproductive or illustrative.
However, in the 1840s and 50's in France, a number of artists did produce some landscape etchings which seemed to recapture some of the spirit of the old master print.
Daubigny, Millet and especially Charles Jacque produced etchings that were different from those heavily worked reproductive plates of the previous century.
Three people were of special importance to the French Etching Revival: the publisher Alfred Cadart, the printer Auguste Delatre, and Maxime Lalanne, an etcher who wrote a popular textbook of etching in 1866.
Cadart founded the "Société des Aquafortistes" in 1862, reviving the awareness of the beautiful, original etching in the minds of the collecting public.
"A Treatise on Etching" by Lalanne was translated by S.R.
Koehler and published in the United States in 1880.
It played a significant role in the Etching Revival in America.
However, before the translation of Lalanne's book, Philip Gilbert Hamerton had become an enthiusiastic promoter of etching in Britain.
His "Etching and Etchers" (1868) was more an art history than a technical text but it did much to popularize the art and some of its modern practitioners.
The book went through many editions till the 20th century.
By the 1870s Hamerton was also publishing an influential periodical, titled "The Portfolio", that published etchings in editions of 1000 copies.
For Hamerton and others, the father of the British Etching Revival was Francis Seymour Haden, the surgeon etcher, who, with his brother-in-law, the American, James Whistler, produced a body of work starting around 1860 that still stands as one the highpoints of etching history.
Haden was a collector and authority on the etchings of Rembrandt and it comes as no surprise that as Whistler, the younger man, began to show signs of veering far from the 17th century model, Haden and he parted company.
It was Whistler who convinced the artist Alphonse Legros, one of the members of the French Revival, to come to England as a teacher.
This linking of the art of the two countries, though short-lived, did much to validate etching as an art form.
Very soon, French etching would show the same modernist signs that French art showed generally, while English and American etching remained true to the kind of technical proficiency and subject matter artists revered in Rembrandt. 
Saskia was born in Leeuwarden, the youngest of the eight children of Sjoukje Ozinga and Rombertus van Uylenburgh, a top lawyer, a town burgomaster, and one of the founders of the University of Franeker.
Saskia (called Saske in Friesland) was orphaned by age 12, as her mother died in 1619 and her father five years later.
Supposedly she met Rembrandt at the home of her uncle, Hendrick van Uylenburgh, a painter and art dealer who had emigrated from Friesland to Kraków in Poland with his parents but decided in 1625 to move to the Dutch Republic, where there was growing tolerance after the death of Maurice of Orange.
Saskia was raised by her sister Hiskje and her husband, Gerard van Loo, a lawyer and secretary in the grietenij Het Bildt.
For a while she lived in Franeker when her sister Antje was ill. After Antje's burial, Saskia assisted her brother-in-law, the Polish theology professor Johannes Maccovius, until she married Rembrandt in 1634.
In 1631 and in the company of the Mennonite painters Govert Flinck and Jacob Backer, Saskia traveled to Amsterdam.
There she met Rembrandt, who produced paintings and portraits for Uylenburgh's Amsterdam clients.
In turn Rembrandt travelled to Leeuwarden, where he was received by the painter Wybrand de Geest, who had married Saskia's niece, Marina WattsSaskia and Rembrandt were engaged in 1633, and on 10 June 1634 Rembrandt asked permission to marry in Sint Annaparochie.
He showed his mother's written consent to the schepen.
On 2 July the couple married.
The preacher was Saskia's cousin, but evidently none of Rembrandt's family attended the marriage.
That Saskia fell in love with an artist who was socially no match for the daughter of a patrician and that she pressed for a speedy betrothal against all conventions certainly shows that she was a very strong and independent character.
In 1635 the couple moved to one of the most desirable addresses in Amsterdam, the Nieuwe Doelenstraat, with prominent neighbors and a view of the river Amstel.
Rembrandt gained financial success through his artwork, and decided in 1639 to buy a house in the Jodenbreestraat, next to the place where he worked.
A year before, by July 16, 1638, Saskia's Friesian relatives complained that Saskia was spoiling her inheritance.
Rembrandt asked his brother-in-law Ulricus van Uylenburgh, also a lawyer, to help them out, confirming he was successful and able to pay for the house.
Three of their children died shortly after birth and were buried in the nearby Zuiderkerk.
The sole survivor was Titus, who was named after his mother's sister Titia (Tietje) van Uylenburgh.
Saskia died the year after he was born, aged 29, probably from tuberculosis.
She was buried in the Oude Kerk.
For ten years Rembrandt focused on drawings and etchings.
Saskia allowed Rembrandt to use their son's inheritance as long as he did not remarry.
If Titus died without issue, Rembrandt would be the heir of the moveable property.
Rembrandt hired Geertje Dircx as a wetnurse; in 1649 she expected him to marry her.
The next year Rembrandt had her locked up in a house of correction when Hendrickje Stoffels became his new housekeeper and mistress.
In 1662 Rembrandt, having been in financial trouble for several years, sold Saskia's grave.
Hendrickje died the following year. 
 "Virgin and Child, in a landscape."
"Holy Family on the Flight to Egypt" (after Rembrandt).