“The Ground of Rinebrant of Rine: Take half an ounce of Expoltum burnt of Amber, one ounce of Virgin's was, half an ounce of Mastick, then take the Mastick and Expoltum, and beat them severally very fine in a Mortar; this being done, take a new earthen pot and set upon it a charcoal-fire, then shake into it the Mastick and Expoltum by degrees, stirring the Wax about till they be thoroughly mingled, then pour it forth into fair water and make a ball of it, and use it as before mentioned, but be sure you do not heat the plate too hot when you lay the ground upon it, this is the only way of Rinebrant.”
Rembrandt's etching recipe http://remdoc.huygens.knaw.nl/#/document/remdoc/e12885, in 'The Whole Art of Drawing', Alexander Browne, London 1660, p. 106 <br class="br">Strauss &amp; Van der Meulen 1979, p. 476, RD 1660/29: 'This recipe, specifically attributed to Rembrandt, for preparing the ground of a plate for etching is given by Alexander Brown in 'The Whole of Drawing' <br class="br">1640 - 1670
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Rembrandt van Rijn23
Dutch 17th century painter and etcher 1606–1669Related quotes
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Rembrandt van Rijn (1606–1669) Dutch 17th century painter and etcher
Rembrandt's 'recipe for a stopping-out varnish' on the verso of a drawing 'Landcape with a River and Trees', undated, c. 1654-55; (Benesch 1351) http://remdoc.huygens.knaw.nl/#/document/remdoc/e12886 <br class="br">It is evident that Rembrandt refers (alas fragmentarily) to a so-called 'stopping-out varnish', used to terminate the bite of acid in select areas of a plate that had already been exposed to the etching agent. Thus other portions will remain exposed to the acid to deepen the bite. Also Samuel van Hoogstraten, the first student of Rembrandt in Amsterdam, mentions the use of such a varnish in his 'Inleyding tot de Hooge Schoolde der Schilderkunst', Middelburg 1671 / Rotterdam 1678 <br class="br">1640 - 1670
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