The inventory of Clement de Jonghe (1679) included a plate called schipr Gerbrandts soontjen (Captain Gerbrandt’s son). Several authors think that this entry refers to this etching, although nothing is known about this captain or his relationship with Rembrandt. This view is not supported in the New Hollstein.

A travelling salesman shows a spectacle in his left hand. The long item dangling at his right hip is probably a leather sheet, used to sharpen knifes. Rembrandt made several etchings of beggars in the years 1629-1630. After four years he returns to the subject, but this time with a somewhat larger, more ‘mature’ versions.

This etching is used as illustration in a book by Elias Herckmans (1596-1644), Der Zee-vaert Lof, published by Jacob Pieterszn. Wachter in Amsterdam in 1634. Many scholars have expressed their opinion on what is represented in the picture. Even more difficult to determine is the meaning of it. Chapter III of the book, of which this plate is the prefix, deals with the Roman Empire, starting in 27 BC with the reign of August and ending with the conquest of Constantinople in 1453. It could be, as often suggested, that the horseman is Mark Anthony defeated in the battle of Actium (31 BC) by August. It could also be an allegory of the Roman Empire. In that case both beginning and end of the Empire is shown, in line with the book. The prominent presence of a statute of Janus and the closing of the doors of his Temple, a sign of peace being restored. The naked woman is probably Fortuna, the goddess of fortune and misfortune. She is often shown nude, in the presence of boats, full blown sails and a globe. The man on the wheel is then probably Neptune. It is possible that Rembrandt referred to both the historical context as well as to the contemporary peace-negotiations between the Spanish and Dutch. They were resumed after the battle near Slaak on 13 September 1631. If successful, it would certainly help the traders in the Dutch Republic. Another interpretation is that the horsemen is in fact St.Paul, in his military costume. Although Paul is mentioned in the book, there are many reasons to reject this hypothesis. Like the fact that the same chapter contains an engraving by Willem Base of the shipwreck in which Paul is involved.

Hunting scenes were very popular in the 16th century, well-known through the prints by Philips Galle and Adriaan Collaert. The free style that Rembrandt uses in various etchings of this period (see also B 115 and B 117) is typical for this stage of development in which he had just acquired his own printing press and was experimenting, in particular with a new, softer coating.

Around 1630 Rembrandt etched a series of beggars. It is generally assumed that he was inspired by a series of beggars made by Callot in 1622. 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’.

Despite the fact that several authors, starting with Blanc, noticed that the face of the ‘student’ looks suspiciously similar to that of Rembrandt himself, neither the subject, nor the scenery are the most debated aspects of this etching, The real debate is about a very deceptive copy included in a 17th century book on the Bible by Schabaelje Many authors assumed this to be a new state of the original. Some authors even described up to eight new states. Finally, in 1935, O.H.Barnard made clear how the Rembrandt original could be recognized by some saw traces in the left margin and by ‘little balls’ under the candlestick. The copy can also be identified with the lower outline of the chin which is exactly equidistant from the top and lower margins, whereas in the original the chin is 2 mm above the centreline.