No painting by Rembrandt van Rijn titled Suffer little children to come unto me from 1620 is known to exist, and the medium remains undocumented—an uncertainty that has long puzzled art historians. The subject, drawn from the Gospel of Matthew, was a favorite among Dutch Golden Age artists, yet no securely attributed Rembrandt version is extant. Some scholars have speculated about lost or misattributed works, while others point to the many copies and imitations produced by his followers.

The absence of a definitive painting has led to lively debate in catalogues and exhibitions, as researchers sift through attributions and workshop pieces in search of a genuine Rembrandt. The scene, as described in the biblical account, captures the moment when Jesus welcomes children despite the objections of his disciples. In typical depictions, Christ sits at the center, his arms open, as mothers present their children to him—a gesture symbolizing innocence and the openness of faith. Artists often use light to single out the faces of the children or the compassionate gaze of Christ, underscoring the theme of spiritual acceptance.

If Rembrandt treated this subject, he would likely have employed his signature chiaroscuro, as seen in works like The Return of the Prodigal Son, to heighten the emotional intimacy of the scene. Compared to the more formal compositions by artists such as Nicolaes Maes, a Rembrandt version would be expected to dwell on psychological depth rather than narrative clarity. As no confirmed Suffer little children to come unto me by Rembrandt has surfaced, its supposed history remains a matter of conjecture. The attribution of similar works to Rembrandt or his circle has shifted over the centuries, reflecting changing standards in connoisseurship and technical analysis.

Today, paintings of this subject attributed to his school are found in collections across Europe, but none can be securely linked to the master himself. This uncertainty highlights both the prolific nature of Rembrandt's workshop and the enduring fascination with his approach to biblical themes. The search for an authentic version continues, a testament to the allure of both the subject and the artist.