The Hundred Guilder Print is an etching with drypoint by Rembrandt, measuring 278 x 388 mm (platemark). The etching's popular name derives from the large sum of money supposedly charged for it. It is also called Christ healing the sick, Christ with the Sick around Him, Receiving Little Children, or Christ preaching, since the print depicts multiple events from Matthew 19 in the New Testament, including Christ healing the sick, debating with scholars and calling on children to come to him. The rich young man mentioned in the chapter is leaving through the gateway on the right.

Unusually, especially for such an ambitious work, Rembrandt did not sign it, and some parts of it seem "somewhat unresolved". The complexity of different techniques and "variety of styles" in the Hundred Guilder Print have suggested to some art historians that Rembrandt worked on it over a long period in the 1640s, and it was the "critical work in the middle of his career", from which his final etching style began to emerge. But a study of the watermarks suggests that the surviving impressions from Rembrandt's lifetime were only pulled "from around 1647-48". Although the exact date cannot be confirmed, the completion of the painting could be narrowed down to 1649.

Although the print only survives in two states, the first very rare, evidence of much reworking can be seen, and several drawings survive for elements of it. The differences between the two states are small, but different papers and inking can create a wide range of different effects between individual impressions (copies).

Wieseman describes the etching as a "technical tour de force, incorporating an enormous diversity of printmaking styles and techniques": the group of figures at the left side of the print, for example, is deftly indicated with a minimum of lightly bitten lines; in contrast, the evocative richness of the blacks and the depth of tone in the right half of the print represents Rembrandt's experimental competition with the newly discovered mezzotint technique.

Jesus occupies the central position; he is the centre around which everything revolves. In the background right above Jesus, there is a dark bell-shaped alcove that makes him stand out. The aureole around his head points to his divinity. His appearance radiates dignity, but also vulnerability and a certain fragility. He spreads out his arms in a welcoming gesture. His hands, however, also make the traditional gesture of Christ as judge that is often see in paintings of the Last Judgment. The hand pointing up sends people to heaven (usually his right hand), while the hand pointing down directs others to hell (usually his left hand). It is notable that the hands are reversed here. This means that the Hundred Guilder Print contains an allusion to the Last Judgment. The group of seven disciples (three barely visible) stands close to Jesus, at his own right hand.

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Three of them have their gaze fixed upon Jesus. They all look pensive, while their reaction to Jesus’ words and deeds in this chapter can be described as critical. The disciple closest to Jesus can be identified as Peter based on the way he is commonly portrayed. With his right hand he tries to stop the woman who is approaching Jesus with a baby in her arms. She takes the decisive step as she brings her baby up to Jesus. This may entail an allusion to child baptism, a point of contention also in Rembrandt’s time. Behind her a toddler is pulled along his mothers side. She carries another baby in her arms as well. This mother is still hesitating while the child points to Jesus, just as Jesus holds the child up as an example to the viewer. Behind the boy a dog is lying on the ground. In the 17th century a dog usually symbolized faithfulness. This may allude to the scripture by Matthew 15:26-28. One has a cap over his ears he does not want to hear Jesus's words. Another one has his cap not only over his ears but also over his eyes. At the front of this little group and placed farthest away from Jesus a man is standing prominently with his back to the viewer. He wears an over-sized beret. With his hands clasped behind his back and looking away even his foot points away, he seems arrogantly to avoid Jesus’ gaze. There is a young man in fancy garments who is located next to a woman of the same stature with a baby in her arms. His richly worked clothing, his well-groomed hair, and his stylish boots indicate a life of comfort. Dejected, he sits down, lost deep in thought. A camel entering the gate at the extreme right of the print parallel to the young man seems to link him directly to verse 24.

Underscoring this, a man seems to be trying to grab the beast in order hitch a ride on it. the meaning of this chapter is made manifest in how Jesus stands there. Perhaps the most striking reversal of all: Jesus’ hands are the opposite of their usual portrayal in the Last Judgment. The acquitting hand is on the left, significantly enough the side of the poor in spirit. The condemning hand is on the right, the side we might characterize as that of the rich in spirit. Yet it is also with this hand that Jesus pushes away Peter who wants to prevent the woman with child to come to him. Moreover, Jesus’ acquitting hand is placed in the very center of the composition. Grace is made central in this print.