The centrally placed woman is almost certainly Rembrandt’s wife Saskia, the four surrounding heads probably too. At the time, two years after their marriage, Saskia was 24 years old. The various painted, drawn and etched portraits of Saskia are ample evidence that she was not just Rembrandt’s love but also his muse.
Catalogue #21, Rembrandt in black & white, Studies and sketches
Catalogue #21, Rembrandt in black & white, Studies and sketches
The portraits in the studies are all very easily painted, with full spontaneity. The two heads on the right and below are clearly portraits of Saskia, the third head is another person.
Catalogue #21, Rembrandt in black & white, Studies and sketches
Catalogue #21, Rembrandt in black & white, Studies and sketches
Catalogue #21, Rembrandt in black & white, Studies and sketches
The head on the right side has traditionally been regarded as a self-portrait, although only a small part of the face is visible, hardly enough for a proper identification. This part of the plate is clearly worked out in more detail than the tree and the man on the left side. The head was probably etched first. It is unclear why Rembrandt abandoned it, maybe because of the foul biting, left of the cap. The plate was called *Het Boompje met den halven kop* (the tree with the half head) in the sales catalogue of De Burgy in 1755.
Most authors date the print much earlier, around 1634, Middleton even 1628. Hinterding pointed at the fact that Rembrandt started using Oriental paper (on which all four known impressions are printed) in 1647.
Catalogue #21, Rembrandt in black & white, Studies and sketches
There has been much debate whether the model in this etching, one of four female nudes Rembrandt etched in 1658, is his then fiancée Hendrickje Stoffels. Hinterding has suggested that Rembrandt may have joined his former pupils Ferdinand Bol and Govert Flinck. They have made several pictures of nude models in the same year. In Röver’s inventory of 1731 the print was referred to as 2 zittende naakte Vrouwtjes naar ‘t leven (two sitting nude women from life) in combination with Woman bathing her feet at a brook (B200). In the de Burgy sale of 1755 it was listed as De naakte Joodse bruid (The naked Jewish bride). It is not clear whom this title referred to.
Catalogue #21, Rembrandt in black & white, Studies and sketches
A very peculiar print of which only three impressions are known. There is little doubt that the original, uncut plate is by Rembrandt. But the plate was later cut into five small ones. It is likely that these plates are worked over by other hands. It seems that the first version of this print showed a 6th head, but it was later erased.