The Plate MarkRembrandt · Bartsch 20

Canonical record · NP-RMB-001

Self-Portrait in a Velvet Cap with Plume

One impression of Rembrandt's 1638 etched self-portrait, held in a private collection and published here as an open research record. It was bought at auction in New York in 2023 and is catalogued as New Hollstein 170, state III of IV — a state the catalogue describes as rebitten and reworked by a hand that was not Rembrandt's. It has still not been examined by a conservator or by a specialist in Old Master prints. This page states what is known, what is reported, and what is unknown, and marks each with its evidence.

Plate worked

1638

Well established for this composition

This sheet printed

Unknown

Follows from the state, which is unconfirmed. No date is asserted.

Ownership before 2023

Unknown

c. 1846 – before 2023

134 mm103 mmNo image publishedphotographed, not yet published
Plate dimensions as recorded by the Rijksmuseum for its impression of this composition. This sheet has not been measured under a conservation protocol.

Identification

Identification

Artist

Rembrandt Harmenszoon van Rijn (1606–1669)

Strongly supported

The composition is securely Rembrandt's: the catalogue raisonné entry for no. 170 is in hand. What that does not settle is who did the work visible in this particular impression — see the state claim below, where the catalogue is explicit that the third state is not Rembrandt's work.

What would change thisAn examination by a specialist in Old Master prints concluding that the sheet is a later restrike from Rembrandt's plate, a reproduction after the composition, or a copy by another hand. Any of these would keep the composition and change the object.

CL-ARTISTStated by Bonhams, as cataloguer, citing New Hollstein 170Added 2026-08-12Verified 2026-08-12

Title

Self-Portrait in a Velvet Cap with Plume

Confirmed

The title used by the catalogue raisonné, and by the Rijksmuseum, the Met, the National Gallery of Art and the Art Institute. The census still records each institution's own wording verbatim.

  • 3Institutional recordNew Hollstein Dutch & Flemish, Rembrandt, no. 170, pp. 31–32 and plates 84–87 · Erik Hinterding and Jaco Rutgers · 2013on request

CL-TITLEStated by New Hollstein 170Added 2026-08-12Verified 2026-08-12

Date of the plate

1638

Confirmed

New Hollstein dates the plate 1638 and records it signed and dated in the plate, upper left: Rembrandt f 1638. This is the date Rembrandt worked the copper. It is not the date this sheet was printed, and the two are now known to be far apart.

  • 3Institutional recordNew Hollstein Dutch & Flemish, Rembrandt, no. 170, pp. 31–32 and plates 84–87 · Erik Hinterding and Jaco Rutgers · 2013on request

CL-DATEStated by New Hollstein 170Added 2026-08-12Verified 2026-08-12

Date of printing of this sheet

Unknown. Later than Rembrandt's lifetime only if the state III attribution holds

Unknown

No date is asserted. The catalogue establishes that the work visible in state III is not Rembrandt's, so an impression in that state was pulled after the plate had been reworked — but it does not establish that this sheet is in state III, and a conditional does not become a date. The copper plate's own descent, which is documented, bounds where a later impression could have been printed; that is on the provenance timeline.

What would change thisA specialist's state determination. If state II, the sheet is from the plate as Rembrandt left it. If state III, it is a later pull from a reworked plate.

CL-PRINTING-DATEAdded 2026-08-12Verified 2026-08-12

Catalogue reference (Bartsch)

Bartsch 20

Confirmed

Confirmed against the catalogue's own concordance, which gives B. 20 alongside G. 25, M. 134, H. 156, Mz. 22, BB. 38-B and W-B. 20.

CL-CATREF-BARTSCHAdded 2026-08-12Verified 2026-08-12

Catalogue reference (New Hollstein)

New Hollstein 170

Confirmed

Verified against the catalogue entry itself, which the project now holds in photographic form.

CL-CATREF-NHAdded 2026-08-12Verified 2026-08-12

Material and technique

Recorded from documentation, not from examination. No conservator has seen the sheet.

Material and technique

Medium

Drypoint etching, on laid paper

Strongly supported

New Hollstein calls the plate an etching; the auction cataloguer calls this sheet a drypoint etching; the Rijksmuseum records its impressions as etching and drypoint. All three can be true of the same plate. Whether burr survives in this particular impression is untested, and in a late state it is unlikely.

What would change thisExamination under magnification of this impression, to establish whether any drypoint burr survives in it — which is a different question from whether the plate carries drypoint work.

CL-MEDIUMStated by New Hollstein 170; Bonhams, as cataloguerAdded 2026-08-12Verified 2026-08-12

Support

Laid paper

Strongly supported

Recorded as laid paper by both the catalogue and the auction cataloguer. Transmitted light would confirm it directly and would also give chain-line spacing, which no source supplies.

What would change thisTransmitted-light examination showing chain and laid lines, which would confirm laid paper and give measurable chain-line spacing.

CL-SUPPORTAdded 2026-08-12Verified 2026-08-12

Watermark

Not examined; the catalogue records no watermarks for this state

Unknown

New Hollstein lists watermark editions for states I and II — Strasbourg lily, Arms of Bristol, Arms of Ravensburg, Basel crosier, Basilisk, Foolscap and variants — and lists none at all for states III and IV. So even a clear watermark here would have nothing in the catalogue to be matched against, and would be new information rather than a confirmation.

  • 1Physical observationNo conservator examination has taken place · 2026-08-12
  • 3Institutional recordNew Hollstein Dutch & Flemish, Rembrandt, no. 170, pp. 31–32 and plates 84–87 · Erik Hinterding and Jaco Rutgers · 2013on request

What would change thisTransmitted-light imaging of the sheet.

CL-WATERMARKAdded 2026-08-12Verified 2026-08-12

State

State

State

Catalogued by the auction house as New Hollstein 170, state III of IV; state II not excluded

Possible

The cataloguer's determination reads: “New Hollstein 170, state III (of IV, without signature, diagonal scratch in plate at upper left only slightly visible).” Two grounds are given and one of them does not discriminate: the catalogue's reproduction of state II does not show the signature clearly either, so an absent signature narrows the sheet to state II or III and no further. What remains is the scratch and the cataloguer's reading of the line-work, neither of which anyone else has checked. State II is the most numerous state of this plate and the only one White & Boon recognised; it has not been excluded. The record carries the house's determination, attributed to the house, at the confidence a single unreviewed reading supports.

What would change thisA specialist in Old Master prints examining the sheet against the catalogue's diagnostic features for states II and III — the cross-hatching at the base of the feather and along the brim of the cap, the curved lines on the forehead carried over the brim, the horizontal shading on the right ear.

CL-STATEStated by Bonhams, as cataloguer, citing New Hollstein 170Added 2026-08-12Verified 2026-08-12

Why this field is harder than it looks

How many states this plate has depends on which catalogue you read. Bartsch, Hollstein and White & Boon each recognise one. The New Hollstein recognises four — and the National Gallery of Art cites that same catalogue as having three. A record reading state III of IV is therefore only intelligible once the catalogue is named.

The state atlas, with every source

Dimensions

Dimensions

Dimensions

Sheet approximately 137 × 104 mm; plate 134 × 103 mm

Probable

The apparent impossibility in the first version of this record — a trimmed sheet larger than the plate — was an artefact of comparing two different measurements. New Hollstein gives the plate as 13.4 × 10.3 cm. The auction cataloguer measured the sheet, at 137 × 104 mm. A sheet a few millimetres larger than the plate, trimmed hard on one edge and retaining a margin on the others, is exactly what the photographs show.

What would change thisRemeasurement under a conservation protocol, recording plate mark and sheet separately and noting which edges retain a plate mark.

CL-DIMENSIONSAdded 2026-08-12Verified 2026-08-12

Inscriptions and marks

Inscriptions and marks

Collector marks and inscriptions

No collector's mark, stamp or inscription visible on either side

Probable

The verso has now been seen. It is blank apart from a diagonal tideline and general handling marks — no stamp, no pencil annotation, no dealer's code, no mount or hinge remnant. That is a genuine negative finding and it closes the most likely route into the sheet's earlier ownership.

  • 5Auction catalogueCondition-report photographs of the sheet, recto and verso, supplied by the auction house · Bonhams · 2023-05-03on request

What would change thisExamination under ultraviolet or raking light, which can reveal a faded stamp or an erased inscription that a hand-held photograph will not show.

CL-MARKSAdded 2026-08-12Verified 2026-08-12

Condition

Condition

Condition summary

Trimmed at the left margin; wrinkling and dampstaining at lower left, extending partly into the image; unmounted at purchase

Strongly supported

The catalogue's wording, verbatim: “Left margin roughly trimmed, some wrinkling, dampstaining to lower left corner, including part of image. Unmounted.” The photographs corroborate all four observations and add a diagonal tideline across the lower half of the sheet, visible from the verso. It remains a sale description rather than a conservator's report, and it will be superseded by one.

What would change thisA condition report by a paper conservator, which would replace this summary field by field and add severity, extent and stability assessments this record cannot make.

CL-CONDITION-SUMMARYStated by Bonhams, as cataloguerAdded 2026-08-12Verified 2026-08-12

Trimming

Left margin

The sheet is described as roughly trimmed at the left margin. Trimming is irreversible and removes evidence: margins can carry plate marks, inscriptions, dealer codes and collector marks, and their loss narrows what can later be established about the sheet's history.

Strongly supportedAuction cataloguer's description, corroborated by the house's own condition photographs. Not a conservator's assessment.

Dampstaining

Lower left

Staining consistent with historic water exposure at the lower left, reported as extending partly into the printed image. Extent, tideline definition and whether the staining is active or stable have not been assessed.

Strongly supportedAuction cataloguer's description, corroborated by the house's own condition photographs. Not a conservator's assessment.

Cockling / wrinkling

Lower left

Planar distortion of the sheet in the same area as the staining, which is what one would expect if the two share a cause. Whether the distortion is stable at current relative humidity is unknown.

Strongly supportedAuction cataloguer's description, corroborated by the house's own condition photographs. Not a conservator's assessment.

Housing

Whole sheet

Unmounted at purchase. An unmounted sheet is easier to examine and to image, and carries no risk from an old adhesive or an acidic backing board — but it is also less protected in handling and storage, and appropriate archival housing is the first thing a conservator will address.

ProbableOwner's observation, not a conservator's

Not yet assessed

Whole sheet

No assessment exists of foxing, tears, losses, abrasion, thinning, skinning, surface dirt, media stability, or the pH of the support. The auction house's photographs show scattered spotting in the upper right of the recto and a diagonal tideline running across the lower half of the sheet, neither of which is described in the catalogue entry; both need a conservator's eye rather than a reader's.

UnknownUnattributed

Provenance

Provenance

Current custody

Private collection, Dubai, United Arab Emirates

Confirmed

Stated at city level by policy. Storage location, address, security arrangements and insurance values are not published and are not held in this database. See the security and privacy policy.

  • 2Primary documentBonhams payment receipt, 17 May 2023, transaction 1246701, sale 28358 lot 182 · Bonhams & Butterfields Auctioneers Corp. · 2023-05-17on request

CL-CUSTODYStated by OwnerAdded 2026-08-12Verified 2026-08-12

Ownership before 2023

Private collection, Germany, consigned through a European antiquarian dealer; nothing documented before that

Probable

The auction house's specialist named the consignment route in correspondence but declined to identify the collection. How long the sheet was in Germany, and where it was before, remain unknown. The verso carries no collector's mark to work back from.

  • 6Specialist opinionCorrespondence with Darren Sutherland, Senior Specialist, Fine Books and Manuscripts, Bonhams, 23 May 2023 · Darren Sutherland, Bonhams · 2023-05-23on request

What would change thisThe house or the dealer agreeing to name the collection, or a mark or document that places the sheet earlier.

CL-EARLIER-PROVENANCEStated by Darren Sutherland, Senior Specialist, BonhamsAdded 2026-08-12Verified 2026-08-12

Acquisition

Acquisition

Acquisition

Bonhams, Fine Books and Manuscripts, sale 28358, lot 182, New York, 24 April – 4 May 2023

Confirmed

Transcribed from the payment receipt and confirmed against the published lot page. The sale was online only; the department's specialists were Ian Ehling, Darren Sutherland and Tim Tezer. The consignor is not named in the catalogue and is not known to the project.

CL-ACQUISITIONStated by OwnerAdded 2026-08-12Verified 2026-08-12

Rights

Rights

Metadata rights

CC0 1.0 Universal — no rights reserved over the descriptive metadata

Confirmed

Metadata is released without restriction so that it can be reused, aggregated and corrected by anyone. The written text of the site is CC BY 4.0.

CL-RIGHTS-METADATAStated by ProjectAdded 2026-08-12Verified 2026-08-12

Image rights

No image of this impression is published

Confirmed

The underlying work is in the public domain. Photographs of this sheet do exist — the auction house made two for a condition report in 2023 and the project holds them — but their copyright is the house's, not the owner's, and it has not been established. They are therefore not published, and can be shown to a scholar or institution on request. No documentary imaging to a photographic standard has been made.

What would change thisWritten confirmation from the auction house that its condition photographs may be published with credit, or documentary imaging of the sheet.

CL-RIGHTS-IMAGESStated by ProjectAdded 2026-08-12Verified 2026-08-12

External identifiers

Identifiers for the artist, the composition, the technique and the support, so this record can be joined to others. Each was resolved at the issuing authority; the two marked unverified could not be, and are carried as reported rather than asserted.
SchemeIdentifierRefers toApplies toChecked
ULAN500011051Rembrandt van Rijnartistresolved
WikidataQ5598Rembrandt van Rijnartistresolved
RKDartists66219Rembrandt van Rijnartistresolved
LCNAFn79142935Rembrandt Harmenszoon van Rijn, 1606–1669artistresolved
ISNI0000000121363802Rembrandt van Rijnartistunverified
GND11859964XRembrandt van Rijnartistunverified
WikidataQ65024742Self-Portrait in a Velvet Cap with Plumework conceptresolved
AAT300041365etchings (prints) — the object typetechniqueresolved
AAT300053241etching (printing process)techniqueresolved
AAT300053228drypoint (printing process)techniqueresolved
AAT300014184laid papermaterialresolved
AAT300124534self-portraitswork conceptresolved

There is no identifier here for this sheet in any external authority, because none exists. NP-RMB-001 is the identifier this project assigns, and this page is its stable location.

What is unresolved

7 open questions attach to this record. Several need nothing more than a photograph.
  1. RQ-02Is this impression New Hollstein 170, state III?medium difficulty · suits a student project
  2. RQ-04Does the sheet carry a watermark, and can it narrow the period in which this impression was printed?high difficulty
  3. RQ-05What is the chain-line spacing, and does it match any impression already recorded in the census?medium difficulty · suits a student project
  4. RQ-09Does any drypoint burr survive in this impression, and what does the plate wear indicate?medium difficulty
  5. RQ-10What caused the dampstaining, and is it stable?medium difficulty
  6. RQ-11Can any owner of this sheet before 2023 be identified?high difficulty
  7. RQ-12Which institutional impressions are the right comparators for assessing wear in this one?medium difficulty · suits a student project

How to read the confidence marks

Every field above carries one. They describe the evidence, not the object's importance.

How confidence is recorded

Confirmed
Established by direct primary evidence that has been examined, with no competing evidence outstanding.
Strongly supported
Supported by more than one independent source of good quality; no source contradicts it.
Probable
Supported by a single good source, or by convergent weaker sources; a competing reading is possible but not currently evidenced.
Possible
Consistent with the available evidence but not demonstrated. Held as a working hypothesis.
Disputed
Competing claims are supported by sources of comparable weight, and the conflict is unresolved.
Rejected
Evidence has been examined and the claim does not hold. Retained so the dead end is not repeated.
Unknown
Not yet investigated, or investigated without result.

Confidence describes the quality of the evidence and nothing else. It is not a measure of how much the project would like a claim to be true, and it cannot be raised without adding a source — the build refuses a claim that outranks the evidence under it.

Elsewhere in the record