The copperplate may have been in the sale by Clement De Jonghe (1679 as 15 speelders an de deur). It was in the sale by Jean de Bary (1759, lot 51) and sold to Kleinhems. It then appeared in the collections of Claude-Henri Watelet and became part of the set of plates subsequently owned and used for printing Recueils by Pierre-François Basan, Henri-Louis Basan (his nr 1409), Auguste Jean (ca 1809), Veuve Jean, Auguste and Michel Bernard (1846), Alvin-Beaumont (1906) and Robert Lee Humber (1937). It was sold at the Artemis sale in London (1993) and is now in the Museum Huis ten Bosch in Nagasaki.

Two musicians, the front one playing the hurdy-gurdy, the other the bagpipe, are clearly amusing the man and woman standing in the doorway. The baby seems to be happy as well. On the other hand the leashed dog looks dreary. It may have heard the tune just too often. The bagpipe player is probably wearing a Polish hat, suggesting that he is one of the many Jews that had fled from Poland to Amsterdam in that period.

Rembrandt made several drawings and etchings showing musicians in some way or form, like The blind fiddler (B 138) and A blind hurdy-gurdy player receiving alms at the door (B119). Quite often including a leashed dog, which may indicate the player is blind. The subject of musicians playing the hurdy-gurdy, bagpipe or violin was a popular one for many artists, like David Vinckboons and Adriaan van Ostade. In this case Rembrandt may have been inspired by an engraving by Claes Janszn Visscher, De liereboom, after a painting by David Vinckbooms.

The New Hollstein lists eight copies, of which three in the same direction, all anonymous. Copy D is signed Rembrandt fecit (138 x 140 mm). Copy F is signed Rembrandt f. (140 x 115 mm, WB 4). Copy G is a large version, signed Rembrandt fecit 1625 (240 x 187 mm). There are five copies in reverse. Copy A is signed by Johann George Hertel (his number 23, 139 x 107 mm, WB 3). Copy B is anonymous, signed AVN delt (158 x 107, WB 2). Copy C is with aquatint and signed by Jean Claude Richard de Saint-Non (162 x138 mm). Copy E is signed by J.Orr (1807, 139 x 109 mm). Copy H is anonymous, inscribed Rembrandt (138 x 109 mm, WB 1).

Several authors, like Münz, Hind, Coppier and Seidlitz, read the small lines on the hurdy-gurdy as the signature of Gerard Dou.
In 1956 Karel Boon has convincingly argued against that hypothesis, confirmed by later watermark research.
The plate is not by Rembrandt according to Middleton, Michel, Campbell Dodgson and Singer.

The New Hollstein lists three states, only the 1st by Rembrandt. Most other authors list two states, Nowell-Usticke three states. From his 2nd state there are later impressions by P. Basan, Jean, Bernard and Beaumont.
The 1^st state (NH, WB, R353, NU) is before the rework. Early impression show scratches at the base of the woman’s neck.
In the 2^nd state (NH, WB final, R354, NU P. Basan, Jean) there is fine horizontal shading below the baby’s neck°. Shading is added to the headgear of the beggar, the boy and the woman.
In the 3^rd state (NH, NU, Bernard, Beaumont) the plate is reworked, leaving good impressions. The shadows under the player’s right hand and the hurdy-gurdy are retouched with vertical lines.

Counterproofs of the 1^st state are in the Rijksmuseum and in the British museum.
Of the 1^st state there are impressions on silk in the British Museum and on Chinese paper in the Albertina
Hinterding considers these to be later reprints, probably not by Rembrandt.
There are impressions of the 1st state by Mariette (1671) and Jean de Bary.
All impressions of the 2nd state are 18th century or later.

The etching appears in the Recueil de Basan, impressions strong (NU).
Recueil de H.L. Basan – Page 4                  NH: 2^nd state of III/WB: 2^nd and final state.
A strong impression, the added shading to the headgears and the breast of the baby clearly visible.

 Recueil de A. Beaumont –  Sheet 40        NH: 3^rd and final state/WB: 2^nd and final state.
A good impression, the shadow to the breast of the baby, added in the 2^nd state, is weak.

In the 1st state: Arms of Amsterdam (2 ed); Foolscap with seven-pointed collar; Countermark LAK; Various later marks.

H 142, BB 35-8, G 115, M 263, Mz 317, RA 353-354, Cl 121, W 123, Bl 90, Du 120, CD 262
Hinterding 2006, p. 283; Rohde 2006, p. 8; Hinterding 2008, p. 250-251; Rembrandts Radierungen 2011, p. 56-57; Rijke traditie (2015), p. 78;

New Hollstein: 1st state of III/White-Boon: 1st state of II
A very good, contemporary impression. There is no shading on the baby’s breast, typical for the 1st state. The scratches in the base of the woman’s neck, typical for early impressions, are well visible.
Sheet 142/140 x 117 mm, trimmed to the platemark on three sides, thread margins at the top (+4%).
Partial watermark of a Strasbourg Lily (the top of the crown, probably Hinterding C-c, but not listed in the New Hollstein), horizontal chain lines.

In the collection of the Belgian Dukes of Arenbergh (Lugt 567) their collector’s mark in blue ink verso;
It was probably in the sale of the collection with Christie’s London in July 1902, when approx. 40.000 prints were sold. A large number of these print were bought by Gutekunst in Stuttgart for their sale in May 1903.
In the collection of the English solicitor Peter Gellatly (1831-1912, London, Lugt 1185), his collector’s mark in purple ink verso.
His collection was again sold by H.G.Gutekunst in May 1911.
In the collection of Henry Harper Benedict, owner of the Remington Typewriter Company (1844-1935, New York, Lugt 2936). His collector’s mark in black ink verso; The print remained in the family and was probably sold after the death of his widow in one of the two posthumous sales.
With Sotheby’s London in May 1963 or with Sotheby’s New York in May 1973.
In the collection of Eric Franck, a Belgian art dealer in Geneva and London (b. Antwerp 1936, Lugt 4205). His collectors mark in purple ink verso.
It is not clear whether he bought or sold the print with Sotheby’s London on 26 April 1978 (lot 110), hammer price £ 1.700.
In the collection of Mr. Jiles (Jelle) Boon (1916-2009, Rhoon, Lugt 3355).

Rembrandt in Zwart-Wit, Westfries Museum (Hoorn), Museum Gouda, March 2013-October 2014; Stedelijk Museum Vianen, October 2017 – January 2018;
Rembrandt in Black & White, Bozar Expo (Brussels), February-May 2016;
Rembrandt, 17th century photographer, Daegu Art Museum (Korea), November 2023 – March 2024;
Rembrandt, de fotograaf, Westfries Museum (Hoorn), June 2024 – January 2025;