At the center of the composition, Jesus Christ stands with his arms extended, surrounded by a radiating glow that sets him apart from the crowd. A dark, bell-shaped alcove rises behind him, emphasizing his figure and casting much of the background into shadow, while an aureole around his head marks his divinity. To his left, a group of seven disciples gathers closely; three of them are easily visible and gaze intently at Jesus, while others blend into the shadows.

Children press forward at the lower left, some reaching toward Jesus, while adults kneel or stand in gestures of supplication or awe. A woman kneels in the foreground, her hands lifted in prayer, as a child clings to her side. Figures in the lower left corner include a man supporting a frail child and another figure lying on the ground, suggesting the presence of the sick and needy.

The entire scene is rendered in a dramatic play of light and dark, with Rembrandt using a range of printmaking techniques: delicate, lightly bitten lines for the figures on the left, and deep, velvety blacks with rich tonal effects on the right. The composition is densely populated, with each figure individualized through gesture, clothing, and expression, creating a sense of narrative complexity and emotional depth. Rembrandt made this work in 1647, and it is known as Christ Healing the Sick (‘Hundred Guilder Print’). The etching takes its popular name from the large sum it was said to command, and it is also known as Christ with the Sick around Him, Receiving Little Children, or Christ preaching.

The gestures of Jesus recall traditional images of the Last Judgment, with one hand raised and the other lowered, though here the hands are reversed, alluding to themes of mercy and judgment. Rembrandt did not sign this ambitious print, and some areas appear less resolved, suggesting a lengthy process of development and reworking. Art historians have noted the technical virtuosity and variety of styles within the print, describing it as a turning point in Rembrandt’s career, where his mature etching style began to emerge.

Impressions from Rembrandt’s lifetime are believed to date from around 1647–48, with only two states of the print surviving, though the differences between them are slight.