The work of the Rembrandt Research Project since 1968 has shown that few of the questionable Rembrandts were forgeries or pastiches, but that many date from his time, and consequently have materials similar to those of accepted works. This led to an emphasis on connoisseurship as the final arbiter, as opposed to technical evidence. The self-portrait in question was first de-attributed during cleaning, and the reasons for the decision to describe it as 18th century are discussed. More recent examination and x-radiography has revealed that more of the surface is overpainted than had been thought at the time. Dendrochronology suggests a date of 1631 or later, and lead-tin yellow was discovered. Close study of the obscured version by means of x-radiography suggests that it may be Rembrandt's own face, and that the signature is in part original: the conclusion is that it originated in Rembrandt's workshop, bears his signature, but has been much reworked since, to an extent that makes attribution nearly impossible by examination of the surface alone.
