etching, watermark
circa 1630-1631
7.1 x 4.3 cm
Bartsch 143; Hollstein 41C; The New Hollstein 33a, seventh and final state [1]
A good impression, some signs of wear in the hat and coat, but otherwise printing clearly, trimmed just within the platemark, and lower left in the image, there is some discolouration along the edges, there is a tiny foxmark at the upper right, otherwise in good condition

Provenance:
Frederik Carel Theodoor, baron van Isendoorn à Blois van de Cannenborch (1784-1865), Kasteel Cannenburgh, Vaassen (L. 2610).

This etching was once part of the fabled Isendoorn à Blois collection, brought together by Frederik Carel Theodoor, baron van Isendoorn à Blois van de Cannenborch who kept it in his Cannenburgh Castle – the family seat for over 400 years – in Vaassen. Over the years, Baron Isendoorn à Blois brought together a collection of over 400 drawings, including sheets by Paulus Potter, Willem Buytewech, Albert Cuyp and Rembrandt as well as over 1400 prints, including many fine etchings by Rembrandt. This print is from circa 1630-1631, the beginning of Rembrandt’s career as a printmaker. During this period, he produced many etchings of beggars, tramps and street musicians. By doing so, Rembrandt stood in a tradition of artists depicting these less fortunate members of society. While some authors have argued that these prints should ‘be seen as a warm-hearted observation of social inequality’, later authors, such as Suzanne Stratton, have suggested that these more likely ‘fitted into the existing satirical and moralistic tradition’, although she also has suggested that in Rembrandt’s later work ‘he may have been portraying this section of society with more sympathy’.

Interestingly, this print demonstrates Rembrandt’s innovative approach to etching; it was once part of a larger plate, showing several beggars and beggar’s heads, which Rembrandt subsequently cut to publish the prints as individual sheets. Unlike some other prints showing several sketches on one plate, Rembrandt apparently preferred to sell these individually.


[1] E. Hinterding and J. Rutgers, The New Hollstein. Dutch & Flemish Etchings, Engravings and
Woodcuts, 1450-1700. Rembrandt, Text I, 1625-1635 Ouderkerk aan den IJssel, 2013, pp. 222-224.