The plate was not part of any of the major, early collections or sales and is almost certainly not anymore in existence.

Around 1630 Rembrandt made a number of small self-portraits, including four paintings, in which he shows himself in a variation of moods, in this case ‘full of sorrow’. Other etchings in this series are B10, B13, B316 and B320. There are also four paintings (Bredius 1, 2, 5 and 6). It is generally assumed that Rembrandt experimented with facial expressions (affecten or emotions) as an exercise for the biblical and historical scenes he painted later. It was probably Rembrandts intention to portray the full body after the 1st state, given the large unused space (cut off in the 2nd state). By doing so, the etching became one of the smallest in his oeuvre.

According to Hinterding a painting of 1633, The raising of the crosses, now in the Alte Pinakothek in Munich (Corpus A69, Bredius 548) shows a similar facial expression.
Luijten suggested that Rembrandt used an etched self-portrait by Anthony van Dyck (1599-1640) as an example.

It is generally assumed (e.g. by Münz) that later states are by the hand of a pupil, probably Johannes van Vliet.
The plate is not by Rembrandt according to Coppier and Singer.

The many small changes have led to a large and confusing number of states. NH lists ten states of which the final three not by Rembrandt. The 3^rd till the 6^th state are ‘new’ ones. Most other authors list five or six (WB) states, Nowell-Usticke one trial proof and seven states.
The 1^st state (NH, WB, R33/NU trial proof A) is the large plate.
In the 2^nd state (NH, WB, R35/1^st state NU) the plate is cut and horizontal shading is added above the right eye.
In the 3^rd, 4^th and 5^th state (NH) there are additional hairs.
In the 6^th state (NH) the left nostril is more clearly defined with an upward curve. Various other changes.
In the 7^th state (NH/3^rd state WB, R36-37-38/2^nd state NU) the shadow on the right cheek is strengthened with vertical lines and the right eye with diagonal lines. Various other small changes. Possibly not by Rembrandt (NH).
In the 8^th state (NH/4^th state WB, R39-40/3^rd state NU) the plate is reworked with the burin. The long hairs falling over the collar are gone. Heavy horizontal shading is added in the dark shadow on the right side of the nose. Not by Rembrandt.
In the 9^th state (NH/5^th state WB/6^th state NU) vertical lines are added under the chin and above the right eye. The left contour of the face is redrawn. The shadow on the face is strengthened.
In the 10^th state (NH/6^th state WB) there is much additional shading on the forehead.

Of the 1st state only four impressions are known, in the Rijksmuseum (R33), in the Rembrandthuis, in the Rothschild Collection and in the Bibliothèque Nationale. Only the last one is uncut, showing the original size of the plate.

H 55, BB 31-9, G 9, M 50, Mz 15, RA 33-40, Cl 8, W 8, Bl 212, Du 8, CD 65
Rembrandt by himself 1999, p. 140; Hinterding 2008, p. 44-45; Baas 2015, p. 40;

NH: 8th state of X, WB: 4th state of VI
A very good impression. The long hairs of the 7th state nor the vertical lines under the chin of the 9th state are visible, confirming the 8th, somewhat later state.
Sheet 65 x 62 mm, thread margins of approx. 1 mm on all sides (+5%).
No watermark. Horizontal chain lines at ca 23 mm.

Rembrandt, fotograaf avant-la-lettre, Museum De Reede (Antwerp), January – May 2023;
Rembrandt, 17th century photographer, Daegu Art Museum (Korea), November 2023 – March 2024;
Rembrandt de Fotograaf, Westfries Museum (Hoorn), June 2024 – January 2025;