By one estimate, 1.5 percent of the Netherlandish population-some 30,000 people-had portraits made in the seventeenth century. That number included an apothecary named Abraham Francen. This detailed print reflects Rembrandt's affection for his dear friend, who lived in the modest neighborhood where Rembrandt moved in 1658 after his insolvency. Francen helped the artist with his financial troubles and even became guardian to Cornelia, the child Rembrandt had with his housekeeper, Hendrickje Stoffels. As his surroundings and the album on his desk attest, Francen collected art of all kinds but had a special fondness for prints.