Sheet of Studies: Head of the Artist, a Beggar Couple, Heads of an Old Man and Old Woman, etc.

The first of Rembrandt’s etched ‘study sheets’, this plate features a self-portrait of the artist surrounded by a beggar couple, a women’s head and two men’s heads etched at varying orientations. It has been debated whether this combination of motifs is significant. Perry Chapman offered one of the most compelling interpretations, suggesting that Rembrandt’s decision to place his own image amongst beggars reflects his fear of failure and of being unsuccessful. While the meaning behind his choice of subjects remains uncertain, the sketch-like appearance of the composition is certainly deliberate, since the present etching and others in this manner (see also lot 87) were printed in considerable numbers. Already in the 17th century, drawn study sheets were appreciated by art critics and highly sought-after by collectors, but Rembrandt was one of the first artists to create such images in the print medium.

The various study prints Rembrandt went on to create throughout his career (New Holl. 33, 59, 157, 161, 162, 177, 219, 260, 261) suggest that the concept of the unfinished, serving as a record of the artist’s ideas and ways of working, was popular. Offering an insight into Rembrandt’s creative process, they also proved influential to later artists. This particular impression once belonged to the Scottish painter and printmaker James McBey (1883-1959), who was greatly inspired by Rembrandt and his printing processes, and a protagonist of the 'etching revival' of the early 20th century.