The copperplate was in the sale by Clement de Jonghe (1679) as 59 onvolmaackte vrouwtje bij de kachel. It later appeared in the sale by Pieter de Haan (1767, lot 52) and was sold via Fouquet to Claude-Henri Watelet (1718-1786). It then became part of the set of plates subsequently owned and used for printing Recueils by Pierre-François Basan (1723-1797), Henri-Louis Basan (his nr 1427), Auguste Jean (ca 1809), Veuve Jean, Auguste and Michel Bernard (1846) and Robert Lee Humber (1937). It was sold at the Artemis sale in London (1993) and is now in the Rembrandthuis (Amsterdam), on loan from a private collector.

A somewhat peculiar print, showing an artist picturing a model. It is unclear whether the model was intentionally left unfinished or that Rembrandt never came to complete the picture, despite the fact that more than sixty contemporary impressions were made.

There is a drawing in reverse in the British Museum (Benesch 423), dated the same year. F. Saxl suggested that the model is inspired by an engraving of Pygmalion by Pieter Feddes van Harlingen in 1615.

There is a copy (A) in the same direction, by Georg Leopold Hertel, his nr. 16 (254 x 198 mm, WB only).
Copy B, in reverse, is by Thomas Worlidge (184 x 137 mm).

The plate was made by a pupil according to Rovinsky.
The plate is not by Rembrandt according to Münz (Eeckhout), Michel and Singer.

NH lists four states, the final two not by Rembrandt. Most other authors list two states. Nowell-Usticke list one trial proof and two states. From his 1st state there are later impressions by P.Basan, Jean, Bernard and Beaumont.
In the 1st state (NH, WB, R534/NU trial proof A) the upper part of the easel is white*.
In the 2nd state (NH, WB final, R535/1st state NU) the upper part of the easel is shaded. A small pot is added beneath the platform. A large black hole appears between the artist and the model, the press on the canvas is removed. Early impressions show very fine vertical scratches over the easel. In intermediate impressions, probably by Basan, a strong vertical scratch runs down the centre of canvas on the easel (NU)○.
In the 3rd state (NH only) the transition of the shaded area into the blank area in the upper left corner is now clearly delineated by a line and cross-hatching○.
In the 4th state (NH/2nd state NU Bernard) the plate is entirely rebitten (by Bernard?). There is a diagonal scratch on the head of the model*. The face of the bust is darkened, the chimney at right is hardly visible.

Of the 1st state (NU trial proof A) only two impression are known, in the Albertina and in the British Museum.
Barnard reported a very fine impression of the 2nd state on coarse grey/brown paper, similar to oatmeal paper with a watermark around 1645.
Impressions on greenish paper are probably by Jean.
Nowell-Usticke considers the impressions (unchanged) in the Recueil of Basan to be fairly strong.

In the 2nd state: Basel crosier (c. 1639); Basilisk (c. 1640-47); Strasbourg lily (2 ed., one c. 1652); Countermark JB; Fleur-de-lis; Foolscap with seven-pointed collar (2 ed.); Lion.

H 231, BB 47-2, G 184, M 284, Mz 339, RA 534-535, Cl 189, W 189, Bl 157, Du 189, CD 186, S 77.
Rembrandt’s Women 2001, p. 157; Rohde 2005, p. 83; De grote Rembrandt, p. 113;

NHD: 2nd state of IV/WB: 2nd and final state.
A strong, early impression on thin laid paper, showing burr and delicate wiping marks.
Sheet 237 x 187/185 mm, thread margins of 1 to 2 mm, (+3%).
Watermark: countermark WK’ a.a, dated c. 1652 (Hinterding) vertical chain lines at approx. 22 mm.

Rembrandt, fotograaf avant-la-lettre, Museum De Reede (Antwerp), January – May 2023;
Rembrandt, 17th century photographer, Daegu Art Museum (Korea), November 2023 – March 2024;
Rembrandt, de fotograaf, Westfries Museum (Hoorn), June 2024 – January 2025;