The only etching actually known to have been executed in 1629 is the first of many portraits of himself (B. 338), very broadly and strongly etched, and worked upon in places with two needles fastened side by side, a useless device, to which he never again resorted. There are fifteen dated etchings of the year 1630. Among these are no less than six portraits or studies of himself, including an excellent "Portrait in a fur cap and light dress" (B. 24), and an admirably etched study of expression known as "Rembrandt with haggard eyes" (B. 320), which is, rather, a humorous sketch of amazed bewilderment. He also, for the first time, attempted a composition with several figures--"The Presentation in the Temple" (B. 51), distinguished as the one with the angel, which, however, was not altogether a success, owing to insufficient biting. A spirited note of "An Old Beggar Man conversing with a Woman" (B. 164), and various small heads, including two profiles of the same "Bald Man" (B. 292 and 294), which M. Michel has given sound reasons for believing to be Rembrandt's father, make up the number.
He was again his own model twice in 1631--one, with a broad hat and mantle (B. 7), being the most elaborately finished piece of work he had yet attempted. There are also two "Portraits of his Mother" (B. 348 and 349); one said to be "His Father" (B. 263) though made after his death; a brilliant little sketch of a "Blind Fiddler" (B. 138), and others. There are only three dated etchings of 1632--a little figure called "The Persian" (B. 152), the first of several pictures of "St Jerome" (B. 101), a subject which had a singular fascination for the artist, and the group of "The Rat-killer" (B. 121). Three also bear the date 1633, "An Old Woman" etched no lower than the chin (B. 351), very doubtfully identified as his mother; a badly overbitten "Portrait of Himself" with a scarf round his neck (B. 17); and one subject, "The Descent from the Cross" (B. 81), which came so utterly to grief in the biting, owing apparently to bad grounding, that it was at once abandoned, only three impressions being known, and a second undertaken, though not by himself, the work having been carried out under his supervision by some unknown pupil. Another equally important plate bearing this date, "The Good Samaritan" (B. 90), is included among the disputed etchings.