Old beggar woman with a gourd.

During his lifetime, Rembrandt's extraordinary skills as a printmaker were the main source of his international fame. Unlike his oil paintings, prints travelled light and were relatively cheap. For this reason, they soon became very popular with collectors not only within, but also beyond the borders of the Netherlands. It also explains why, in later centuries, they were affordable for Bishop Ditlev Monrad, who donated this example to the Colonial Museum in 1869, and Sir John Ilott.

 

This etching is one of several in Te Papa's collection that depict beggars. These mostly date from the late 1620s or early 1630s, very early in Rembrandt's career, and before his studies of contemplative elderly men.

 

This is an etching that looks like a drawing. Enveloped in partial darkness and clad in ragged clothes, the old beggar woman turns away from the viewer. Rembrandt's striking use of black against white denies the viewer a glimpse at the woman's face while allowing the viewer to notice the unusual gourd attached to her back, providing a container for water. The viewer cannot discern where the woman is or what she is doing, but she appears alone and somewhat helpless, a subject worthy of compassion.

 

This impression is the second of two states (both by Rembrandt), with the plate trimmed, cross-hatching added on and around the feet, and a horizontal line near the bottom of the plate. According to the New Hollstein Rembrandt catalogue, ‘Early impressions have slightly rough plate edges’, which are not evident here.

 

References: New Hollstein Dutch 40, 2nd of 2 states; Hollstein Dutch 168, 2nd of 2 states

 

See: Masterworks Fine Art, https://www.masterworksfineart.com/artist/harmensz-van-rijn-rembrandt/old-beggar-woman-with-gourd-c-1630/

 

Dr Mark Stocker   Curator, Historical International Art    September 2017