Etching. Ca. 1629. Size: 127 x 85 mm. Surface: 108 cm2.
Not signed, not dated. Münz and van Straten assume 1629 as the date, Middleton 1631.
Copper Plate
The copperplate was not part of any of the early sales or collections and is probably not in existence.
Rarity of impressions
In auctions (2000-2025): not seen in auctions ⦿⦿⦿⦿⦿⦿
In collections (New Hollstein – 2013): extremely rare Early: 2 ⦿⦿⦿⦿⦿⦿
Catalogue Nowell-Usticke (1967): O-, an unobtainable rarity ⦿⦿⦿⦿⦿⦿
Description
Around 1630 Rembrandt etched a series of beggars. It is generally assumed that he was inspired by a series of beggars made around 1622 by Jacques Callot (1592-1635). He copied the long parallel lines Callot used to indicate shadows. In turn, Rembrandt’s work has inspired many others, like Quast, Savery, van Vliet, van Schendel and Bloemaert, to produce series of beggars and other ‘street types’. Rembrandt probably used an old plate for this etching since many small spots and scratches are visible.
Related
This print shows remarkable likeness to the Callot print Beggar with a Brazier and a Stick.
Stylistically it resembles two of his own, earlier etchings, Beggar with stretched hand (B 150) and The blindness of Tobit (B 42).
There are two drawings, both in red and black chalk and dated 1631, which may have served as a study, in the Teylers Museum in Haarlem (Benesch 40) and in the Kupferstichkabinett in Berlin (Benesch 50).
Van Straten points at a study in pen and brown bistre in the Louvre (Benesch 49, Rothschild Collection).
Copies
There is a copy in the same direction by Leopold Flameng in Blanc’s catalogue (1859-61, p. 357 I, 131 x 87 mm).
Attributions and reviews
The plate is not by Rembrandt according to Coppier and Singer.
States
One state only.
Prints and collections
Only two impressions are known, in the Rijksmuseum and in the British Museum (cut and printed from a dirty plate).
Literature
H 10, BB 30-3, Y 62, M 76, Mz 108, RA 455, Cl 157, W 157, Bl 124, Du 156, CD 22 Dat kan beter! 2013, p. 14-15;
