Examines the circumstances through which the Canadian-born printmaker was given the opportunity to make new impressions from original Rembrandt plates which were owned ca.1907 by the Parisian art dealer and collector Alvin-Beaumont. Comments on the place of these impressions in the oeuvre of MacLaughlan, as well as on the variety of opinions voiced concerning the project to reprint from the 17th c. plates.
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