Throughout his career, Rembrandt presented gifts of his art to patrons, collectors, and familiars. Beginning in the 1630s, as he was actively courting prominent patrons in The Hague and Amsterdam, Rembrandt's gifts adhered to the protocols of gift giving at the stadholder's court and among Dutch urban elites. But in the later 1640s through the 1660s – when his audience was largely comprised of art lovers, gentlemen-dealers, and poets of the well-to-do burgher class with whom he maintained close relations – Rembrandt creatively engaged the symbolic economy of the gift in the design and distribution of his art, even creating distinctive works to function within a context of gift exchange. This chapter charts the changing pattern of Rembrandt's gifts of art and elucidates the interrelationships of his gifts, his documented obstinacy with patrons, and his demand for elevated compensation as demonstrations of the artistic persona he fashioned for himself. Rembrandt’s increasing focus on gift transactions in later years and his creative adaptation of the gift system for his artistic purposes reveal how this aestheticized form of exchange became an alternate means of promoting his work's artistic and social value. While gift giving served as one of the multiple strategies available to Dutch artists to market and distribute their work, for Rembrandt the symbolic power of the gift also functioned as a resource to cultivate a privileged status for both himself and his art. The unusual intimacy of address characteristic of Rembrandt's later prints also evolved partly through his engagement of the gift economy to nurture an audience of liefhebbers, endowing his art in the process with compelling agency to mediate cultural and social identities.