Etching. 1629.
Size: 174 x 155 mm. Surface: 270 cm2.
Signed in monogram and dated, in the upper left corner, in reverse: RHL 1629
Copper Plate
The plate was not part of any of the major, early 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-, Unobtainable, only two known
Description
On this unusually large plate for an early self-portrait, Rembrandt must have used a special double needle or a goose feather, leaving parallel lines (in the cloak and in the left background). Yver, in the description in the sales catalogue of De Burgy (1755, lot 91), suggested that it was actually Titus who is pictured here, but that would be in conflict with the early date on the etching, which De Claussin first deciphered correctly in 1824. Yver also suggested that Rembrandt may have used a plate made of pewter.
In the upper left corner there are vague lines of some figures visible, probably meant to be the supper at Emmaus (NH).
Related
As is the case for several self-portraits from this early period, this etching is closely related to some works created around 1628-1629 like paintings in the Rijksmuseum (Corpus A14, dated c. 1628), the Alte Pinakotek (Corps A19, dated 1629) and the National Museum in Nurnberg (Corpus A21 copy 1, dated c. 1629). And drawings in the British Museum (Benesch 53) and in brown ink in the Rijksmuseum (Benesch 54). There is also some similarity to a painted self-portrait he made in the same year (Corpus A20, now in the Isabella Stewart Gardner Museum in Boston) in which he looks much younger than in the etching and drawing. He may, at the time, just have lacked the experience in etching to be more ‘precise’ in his aging.
Copies
There is a copy in the same direction by S. della Bella (WB 1, not listed in NHD).
There is copy in reverse by Leopold Flameng, inscribed RHL 1627 in Blanc’s catalogue 1859-61, p. II 173 (1859-61, 174 x 151 mm, WB 2).
Attributions and reviews
The etching is considered as special by Singer.
States
All authors list one state only.
Prints and collections
The only two impressions of this print are in the Rijksmuseum and the British Museum.
Literature
H 4, BB 29-A, Y 133, M 7, Mz 3, RA 890, Cl 30, W 30, Bl 230, Du 30, CD 5 R creates R. p. 84; R. van Straten, Rembrandts Leidse tijd, 1606-1632, 2005, p. 128; White 1999, p. 16; Baas 2015, p. 28-29; Bikker 2019, p. 26;
