Rembrandt, With a Complete List of His Etchings

GOLDSMITH AND SCULPTOR. 1656. B. 276. First state, before the addition of a window in the background

290, I. JAN LUTMA, THE ELDER

Pure etching is often combined with dry-point, the latter being used to give emphasis and strength to an etching of greater uniformity of tone. Rembrandt did not begin to use dry-point until about 1639, e.g. in the Death of the Virgin