A clear and dark 18th century impression of Usticke's first state of two, Bartsch's second and final state, printed after the addition of the shading to the top of the easel and the addition of the small pot under the model's platform, showing the broken vertical scratch in the center of the easel but no wear in the dark areas of shadow, probably printed by Pierre Francois Basan.

In excellent condition, printed on a sheet with extraordinarily wide margins all around the platemark. Collections in which impressions of this state of this etching can be found: Rijkspretenkabinet, Rijksmuesum, Amsterdam; Kepferstichkabinett der Staatlichen Museen, Berlin-Dahlem; Fitzwilliam Museum, Cambridge; Teylers Stichting, Haarlem; Ermitage Museum, Leningrad; The British Museum, London; Bibliotheque Nationale, Paris; Collection Edmond de Rothschild, Musˇe du Louvre, Paris; Graphische Sammlung Albertina, Vienna. The fact that this etching about artistic creation was left unfinished is quite interesting. Areas of the print were etched to various stages of completion, clearly illustrating the steps Rembrandt used to draft an etching. It seems likely that the artist pictured is Rembrandt, as the features are similar to those seen in Rembrandt's self-portraits. Also, the model holds a palm frond - an object traditionally used to symbolize fame, indicating that the draftsman working on the portrait was a figure of some note. It is possible that in a moment of indulgence Rembrandt began an illustration of himself "drawing from a model" which he had second thoughts about and thus left unfinished.

Bartsch 192 ii/ii; Hind 231; Biorklund-Barnard 39-2; Usticke 192 i/ii

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