Original etching printed in black ink on laid paper.
Signed with the artist’s monogram and dated in the plate lower right RHL 1631.
A fine 17th century/lifetime impression of Bartsch’s second state of three, Usticke's third state of four, of this scarce etching printed after the addition of the pattern to the tail of the headdress and the reworking of the right sleeve.
Catalog: Bartsch 348 ii/iii; Hind 50; Biorklund-Barnard 31-9; Usticke 349 iii/iv
5 3/4 x 5 1/8 inches
In excellent condition, trimmed down to but not inside the platemark all around.
Provenance: ex-collection Pierre Mariette II (French, 1634-1716), a member of the wellÄknown family of Paris book and print dealers who became one of the earliest dealers in the etchings of Rembrandt, bearing his penned signature [Lugt1788] verso.
Collections in which impressions of this state this etching can be found: Rijksprentenkabinet, Rijksmuseum, Amsterdam; Kupferstichkabinett der Staatlichen Museen, Berlin-Dahlem; Fitzwilliam Museum, Cambridge; St?delsches Kunstinstitut, Frankfurt-on-Main; Teylers Stichting, Haarlem; Ermitage Museum, Leningrad; The British Museum, London; Bibliotheque Nationale, Paris; Duthuit Collection, Petit Palais, Paris; Graphische Sammlung Albertina, Vienna.
Rembrandt's mother, Neeltgen Willemsdochter Zuytbrouck, daughter of a baker, was the mother of nine children, of whom Rembrandt was the eighth. She died in 1640. Rembrandt seems to have recorded her features in a number of etchings, this one included. However, there is no documentary evidence that the old lady in these works is indeed Rembrandt's mother. It was during the 1679 inventory of Clement de Jonghe's estate that these images were assumed to be depictions of the artist's mother.5