The copperplate was in the sale by Clement de Jonghe (1679) as 5 wandelende besjen. Around 1700 an unknown owner added two dots and a +sign. It later appeared in the sale by Pieter de Haan (1767, lot 49) 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 1424), 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 National Gallery of Scotland in Edinburgh.

In 1646 Rembrandt returns to the subject of beggars, of which he made so many etchings in the period between 1628 and 1631. But in this etching the expression is much finer and deeper. Rembrandt probably used edging pens with different sizes to achieve variety in the lines. Hinterding points at the technical problems Rembrandt faced, since the thin etching lines are ‘overshadowed’ by burr resulting from the drypoint rework.

It is assumed that Rembrandt was inspired by a series of beggars made by Callot in 1622 when he made a first series of beggars, around 1630. Rembrandt copied the long parallel lines Callot used to indicate shadows.

NH list three copies in the same direction. Copy C is anonymous, signed Rembdt. 1646 (68 x 50 mm, WB 3). Copy D is by David Deuchar (80 x 55 mm, WB 2 ). Copy E is by Ignace Joseph De Claussin (79 x 63 mm, WB 1).
There are four copies in reverse. Copy A has a background added. It signed P.Snyer (90 x 64 mm, WB 5). Copy B is signed Rembdt. 1646 (69 x 50 mm). Copy F is by Andrew Geddes (84 x 51 mm). Copy G is an anonymous one, signed SH (71 x 45 mm, WB 4).

The etching is considered as special by Bartsch, Coppier, De Claussin and Wilson.

NH list five states of which only the first two by Rembrandt. Most other authors list two states, White-Boon one, Nowell-Usticke six. From his 2nd state there are later impressions by P.Basan.
In the 1st state (NH, NU) the corners are almost square and the plate edges are rough and irregular.
In the 2nd state (NH, NU P.Basan/1st state WB final, R482-483) the corners are slightly rounded and the edges are evened. The round button below the woman’s chin has four verticals below it, instead of the two earlier ones. The lower portion of the ‘f’ in the signature is cut off.
In the 3rd state (NH only) a ‘+’ is added in the lower right corner and two dots in the upper right corner.
In the 4th state (NH/3rd state NU) the shadows on the ground left of the woman are extended in almost horizontal lines to the left edge. The left outline of the skirt is redrawnº. The shading on the hat seems even, front and back.
In the 5th state (NH/4th, 5th and 6th state NU Jean) the plate is retouched. There is a small scratch just left of the button under the chinº. The darker sections are strengthened with cross-hatching, like above the right hand and on the right shoulder*. Cross-hatching is added on the lower left portion of the cloak. Not mentioned by NH.
White-Boon do not consider the rough edges of early prints to represent a separate state.

Of the 1st state ten impressions are known. There is a counterproof of the 2nd state in the Bibliothèque Nationale.
Nowell-Usticke considers the impressions (unchanged) in the Recueil de Basan to be light.

In the 3rd state: Seven Provinces (> 1665).

H 219, BB 46-A, G 164, M 157, Mz 130, RA 482-483, Cl 167, W 167, Bl 134, Du 166, CD 176
Hinterding 2008, p. 317;

NH: 4th state of V/WB only state
A later impression, probably Basan. The redrawn line marking the left side of the skirt and the horizontal lines in the shadow on the ground, running to the left edge, indicate a 4th state (NHD). The blank space at the right side partly cut off, including the two dots and the + sign of the 3rd state. A brown stain in the middle of the sheet, mainly verso, visible recto.
Sheet 85/86 x 53/52 mm, margins of 1 mm at the top and bottom, cut approx. 10 mm at the right side (- 14%).
No watermark, vertical chain lines.

Rembrandt, 17th century photographer, Daegu Art Museum (Korea), November 2023 – March 2024;
Rembrandt, de fotograaf, Westfries Museum (Hoorn), June 2024 – January 2025;