Self-portrait in a cap, wide-eyed and open-mouthed
French title:
Tête d’homme avec bonnet coupé
German title:
Rembrandt mit aufgerissen Augen
Dutch title:
Zelfportret met verbaasde blik
New Hollstein:
69
Etching and drypoint. 1630.
Size: 52 x 46, later 44 mm. Surface: 24, later 23 cm2.
Signed in monogram and dated in the lower centre: RHL 1630 (only the last two digits legible)
Copper Plate
The plate was not part of any of the early sales or collections and is probably not in existence anymore.
Rarity of impressions
In auctions (2000-2025): very rare Early: 12 ⦿⦿⦿⦿⊙⊙
In collections (New Hollstein – 2013): very rare Early: 41 ⦿⦿⦿⦿⦿⊙
Catalogue Nowell-Usticke (1967): RRR, a very rare little plate ⦿⦿⦿⦿⦿⊙
Description
One of the most striking of Rembrandt’s small self-portraits was initially not recognised as a self-portrait until De Claussin identified it as such. It is clearly one of the experiments in facial expressions Rembrandt started around 1630. In this particular print, the impression of a snapshot is strengthened by the turned head and the cut-off head. Its popularity is visible in the number of copies made after it.
Related
Around 1630 Rembrandt made a number of small self-portraits in which he shows himself in a variation of moods. Other etchings in this series are B8, B10, B13 and B316. There are also four paintings (Bredius 1, 2, 5 and 6). Probably Rembrandt experimented with facial expressions (affecten or emotions) as an exercise for the biblical and historical scenes he painted later. He used the same expression in one of the figures in the painting The raising of Lazarus (Corpus A30, County Museum of Art, Los Angeles) and in his own etching of the same subject (B 73 – NHD 113).
Copies
NH lists seven copies of which one (copy G) in the same direction, by Freer Los, inscribed R. (50 x 44 mm).
There are six copies in reverse. Copy A is a large anonymous copy (90 x 118, WB 5). Copy B is signed and dated 1758 by Thomas Worlidge (80 x 62 mm, WB 2). Copy C is by Johann Busch, signed J.B. (56 x 51 mm, WB 4). Copy D is signed by Costantino Cumano, inscribed Rt.Inv. (51 x 45 mm, WB 1).
Copies E and F are anonymous (resp. 55 x 40 mm, WB 3 and 49 x 44 mm).
Attributions and reviews
The etching is considered as special by De Claussin and Wilson.
The plate is not by Rembrandt according to Singer.
States
Most authors list one state only, of which the earliest impressions show irregular edges.
NH and Nowell-Usticke consider the slightly cut plate and rounded corners to be a separate, 2nd state.
Prints and collections
NH lists six impressions of the 1st state and thirty-five of the 2nd.
Literature
H 32, BB 30-O, G298 , M 24, Mz 11, RA 854, Cl 33, W 33, Bl 217, Du 33, CD 35, S 133. Rembrandt by himself 1999, p. 125; Schapelhouman 2006, p. 44; Baas 2015, p. 38-39; Bikker 2019, p. 25
