The copperplate may have been in the sale by Clement de Jonghe (1679, as 69 een oudwijfs tronitjen), but it was not part of any of the early collections or sales and is probably not in existence anymore.

Although there is no certainty about her identity, it seems that Rembrandt has pictured this model in at least six etchings and several paintings. The reference to Rembrandt’s mother dates to the inventory-list of Clemens de Jonghe of 1679, ten years after Rembrandt’s death. Since the same model appears in several works by Jan Lievens, Rembrandt’s companion during his early years in Leiden, it has been suggested that she could also be Lievens’ grandmother, who was around sixty at that time.

Rembrandt’s mother, Neeltgen van Zuytbrouck, was born c. 1568 in Noordwijk. She married to Harmen Gerritzn van Rijn on 8 October 1589. She got ten children, of which Rembrandt was the youngest. She died in 1640 in Leiden.

From the only impression of the 1st state we know that Rembrandt has first drawn the head of his mother, using very short lines and dots. He then added the torso, using the veil as the connection between head and body. As he did in Bust of an old woman in furred cloak and heavy headdress (B 355/NH 25).

A paintings in reverse, An old woman in prayer, is closely related to this etching (Corpus A27, in the Residenzgalerie in Salzburg).

The large number of copies (NH lists eleven) proves the early popularity of the print. There are three copies in the same direction. Copy I is signed J.De Claussin fc 1800 (102 x 105 mm, WB 2). Copy J is signed by J.Orr, inscribed Rt 1625 (1808, 91 x 88 mm). Copy K is by Leopold Flameng, in the Blanc catalogue 1859-61 (68 x 62 mm, WB 1).
There are eight copies in reverse. Copy A is signed by Jan Both (66 x 56 mm, WB 5). Copy B is by Vivares, inscribed Rembrandt 1628 (82 x 67 mm, WB 3). Copy C is by Honoré Cousin, inscribed in the 2nd state rembran h.c.f (two states, 115 x 81 mm). Copy D is signed and dated Bock, fec 1777 (66 x 52 mm). Copy G is signed Christian Ludolph Reinhold (80 x 62 mm). Copy H is by Francesco Novelli, signed FN.in (four states, his number 21, 1790, 92 x 80 mm, WB 4). Copy J is signed Orr 1808 and inscribed Rt 1625 (91 x 88 mm, in NHD erroneously listed as ‘same direction’). Copies D and F are anonymous (resp. 66 x 53 mm and 80 x 62 mm).

The etching is considered as special by Seidlitz, Coppier, Wilson, Blanc, Singer and Hamerton.

NH lists four states, the final one not by Rembrandt. The 3rd and 4th state are ‘new’. All other authors list two states, Nowell-Usticke considers the 1st state to be a trial proof.
In the 1st state (NH, WB, R926/NU trial state A) with head and veil only, the bust is only very lightly sketched. The edges are irregular and slightly inked.
In the 2nd state (NH, WB, R927/1st state NU) the bust and the signature are added. The plate is trimmed on the sides to 65 mm. Early impressions have very light scratches above the left eye and on the sleeve, left (WB).
In the 3rd state (NH only) vertical lines are added to the back of the head at the level of her eyes.
In the 4th state (NH only) the plate is completely reworked, not by Rembrandt. The face is completely changed.

Of the 1st state only one impression is known, in the British Museum.
There are later impressions in the Petit Cahier, but not in the Recueils.

In the 2nd state: Arms of Württemberg (c. 1634-36); Strasbourg lily with BA (1635).

H 1, BB 28-A G 321, M 5, Mz 82, RA 926-928, Cl 343, W 348, Bl 193, Du 341, CD Hamerton 1894, p. 14; Rembrandt’s Women 2001, p. 67; Hinterding 2006, p. 329; Hinterding 2008, p. 593-594; Baas 2015, p. 74-75;

NH 2nd state of IV/WB: 2nd and final state.
A good contemporary impression with inky edges. Some irregularities in the paper. The thin scratch above the left eye, mentioned by White-Boon, is well visible.The vertical lines at the back of the head (3rd state NH) are not visible. Consequently it is probably an early impression of the 2nd state.
Sheet 68/69 x 67 mm, margins of 1 to 2 mm all around (+11%).
No watermark, sheet glued to the (old) passe-partout.

Rembrandt in Zwart-Wit, Westfries Museum (Hoorn), Het Markiezenhof (Bergen op Zoom), Stedelijk Museum Zutphen, Het Hannemahuis (Harlingen), Museum Gouda, Jan ten Horne Museum (Weert), Stadsmuseum Harderwijk, March 2013-August 2015;
Rembrandt in Black & White, Schloß Britz (Berlin), Chateau des Penthes (Geneva), November 2015-September 2016;
Rembrandt, fotograaf avant-la-lettre, Museum De Reede (Antwerp), January – May 2023;
Rembrandt, 17th century photographer, Daegu Art Museum (Korea), November 2023 – March 2024;