A single shell emerges from shadow. One end coils in a perfect spiral, while the other tapers to a point, creating the conical shape described by the genus Conus. The shell’s dark surface gleams with irregular white spots, marking the pattern that characterizes the species marmoreus, Latin for “marbled.” Rembrandt’s fascination with the marbled cone shell shines through in his delicate, accurate—almost brooding—portrayal. This complex, high-contrast form provided a prime subject for the black-and-white medium of etching. It also suited Rembrandt’s interest in direct observation from nature. He rendered the shell at about 2 1/2 inches, approximately life-size, though printing the etching plate reversed the image—in reality, the shell spirals in the opposite direction.
A carnivorous snail, the marbled cone preys upon tiny organisms by injecting paralyzing venom with a harpoon-like tooth. Endemic to the Indian Ocean and the western Pacific, it would have been an exotic prize in the Dutch Republic. Global trade exposed Dutch artists, scientists, and collectors to species of flora and fauna from the other side of the world. Among the many coveted treasures were seashells, which in turn showed up in still lifes, such as Balthasar van der Ast’s in the Taft Museum of Art’s collection (which includes a Conus marmoreus at bottom right).
These paintings served not only to demonstrate wealth, but also to remind viewers of their own mortality. Vanitas objects like skulls, wilting flowers, and watches all carried the warning: do not be too distracted by all these worldly possessions, because you too, will die. Rembrandt’s exquisite shell is, after all, the vacant hull of a once-vibrant marine creature.
Rembrandt himself amassed a sizeable collection of corals and shells, along with other rare items including antlers and horns, swords and spears, preserved animals, and classical sculptures. His possessions were recorded systematically when he went bankrupt in 1656, enabling the Rembrandt House Museum to recreate his curiosity cabinet. Rembrandt often used costumes, weapons, and other objects from his collection in his paintings, but his marbled cone shell is the only treasure he recorded in a pure still life.
The print also sheds light on Rembrandt’s etching practice. He frequently made alterations to a plate, printing it in multiple states. In the shell’s rare first state, Rembrandt rendered it entirely in drypoint, using a sharp needle to scratch directly into the copper plate’s surface. This resulted in an accurate depiction of the shell that floats on a creamy background. In the second state, however, he reworked the plate, etching thousands of fine, intersecting lines to build up a shadowy, recessed space. By pushing the dramatic contrasts of light and dark, Rembrandt went beyond a straightforward, scientific depiction, elevating the humble Conus marmoreus from a natural specimen to a transcendent object that evokes powerful emotion.
In 2025, the Taft Museum of Art accepted two copper etching plates and four etchings depicting the Taft home by Edward Timothy (E. T.) Hurley from friends of the museum David and Debra Hausrath. Learn about E.T. Hurley's history, and his love for the home from Research Fellow, Kobi Morgan.
Anyone who has had the opportunity to encounter one of the many Duncanson Artists-in-Residence over the years has been fortunate to witness firsthand the creativity, courage, and cultural depth that define each year’s artist-in-residence. In 2021, that artist was Asha Ama Bias-Daniels—learn more about her work, her residency at the Taft, and her impact in the community and beyond as we celebrate 40 years of the Duncanson Program.
In October 2025, during Cincinnati’s historic America’s River Roots Festival, spoken-word performances by Annie Ruth and Ajanaé Dawkins kicked off the 40th anniversary year of the Taft Museum of Art's Duncanson Program, which has now been expanded to year-round events and activities. Learn more about these artists and watch excerpts from their performances!