HARMENSZOON V. R. REMBRANDT (Leiden 1606-1669 Amsterdam) The Angel Appearing to the Shepherds. Etching, engraving and drypoint. 1634. B. R. S. 44 III (of III). Hind 120. B.-B. 34-J. Wm.: Coat-of-Arms, similar to Heawood 485, Schieland (Holland) 1625. 26:22 cm. Slgn./Colls.: Wilhelm Koller, Wien, gest./died 1871 (L. 2632) James L. Claghorn, Philadelphia, gest./died 1882 (L. 555c). Seine Sammlung wurde von T. H. Garrett übernommen./ T. H. Garrett took the collection on. Thomas Harrison Garrett, Baltimore, 1849-1888 (kein Stempel/no stamp, L. 2435b): Seine ganze Graphiksammlung ging an das Kunstmuseum Baltimore. / His complete print collection went to the Art Museum of Baltimore. Seidlitz considers the print to be RembrandtÕs masterprint of the thirties. "For the first time, Rembrandt conciously works with tonal effects, building up the composition from dark to light", thus emphasizing the dramatic effects of the Baroque scenery. Of the first two states only five impressions are known. The III. state with the additional shades, especially due to hatching in the upper part of the tree-trunk in the middle or in the wings of the angel, is very balanced. Since the 16th century, night scenes have been a popular subject in art. The paintings by Elsheimer became very influential and widely known due to the prints by Goudt after Elsheimer, as well as by the engravings by Jan van der Velde. Apart from earlier painted examples "The Angel Appearing to the Shepherds" is Rembrandt's first etched night piece, a theme which fascinated the artist especially in his later work.