Dimensions: 111 x 79 mm. 4 3/8 x 3 ¼ in. Reference: Hind 154; Hollstein 342, only state; New Hollstein 169, only state Inscriptions: Signed and dated in the plate top right, “Rembrandt 1638” (in reverse) Provenance: Viscount Downe (1903-1965), L. 719a; Sotheby’s London, 7 December 1972, Viscount Downe sale, lot 214; to David Tunick, Inc., New York; 1978 to Private collection, New York Early scholars believed that this etching was a bridal portrait of the daughter of Ephraim Bonus (1599-1665), the Jewish physician and friend of Rembrandt, whom the artist etched in 1647. Later authors said that Rembrandt modeled his portrayal after his first wife, Saskia, who also may have been the model for the artist’s etching of The Great Jewish Bride, executed three years later. In this etching the pristine white background allows the brilliance of the artist’s free, deft lines to shine, lending the portrait a sense of intimacy. The intimacy is augmented by the scale of the plate, reduced in size from that of The Great Jewish Bride and simplified when contrasted with the dense cross-hatching and shadows of the larger plate. This particular impression was part of the collection of Richard Dawnay (1903-1965), 10th Viscount Downe and Baron Dawnay of Danby. From 1942 to 1963, the Viscount and his dealer-advisor, Osbert Barnard, assembled what was one of the largest collections and probably the finest private collection of Rembrandt etchings of its time. Several years after the Viscount’s death, the remarkable collection was dispersed in two sales by Sotheby’s London in 1970 and 1972. Some scholars have suggested that the subject is St. Catherine.