The plate was not part of any of the early sales or collections and is probably not in existence.

Around 1630 Rembrandt made a number of small self-portraits in which he shows himself in a variation of moods. Other etchings in this series are B8, B10, B316 and B320. There are also four paintings (Bredius 1, 2, 5 and 6). Probably Rembrandt experimented with facial expressions (affecten or emotions) as an exercise for the biblical and historical scenes he painted later. This particular one has always been very popular, probably because one can almost ‘hear’ him shouting. Because of anguish or of fear? Given the black spot on his nose, which fades slightly in later impressions, could it be that he had recently suffered some injury? As in B10, the loose hair is adding to the emotions.

In a painting of 1631, Christ on the cross, (Corpus A35) now in the church of St. Vincent in Le Mas d’Agenais (80 km south-east of Bordeaux) the same emotion is displayed.
Münz points at a drawing in reverse, dated somewhat earlier (Benesch 53, British Museum).

Biörklund points at the striking similarity between this print and B174, Beggar seated on a bank, which is in reverse and was initially not recognized as a self-portrait. He also points at a painting in reverse, dated 1629 (Corpus A19, now in the Alte Pinakothek).

The plate was made by a pupil according to Singer.
The plate is not by Rembrandt according to Coppier.

All authors list three states. According to NH, the 3rd state may not be by Rembrandt, but it is unclear on what grounds.
The 1st state (NH, WB, R51) is the large plate (83 x 72 mm) with rough plate edges. In later impressions a diagonal scratch appears in the upper right corner.
In the 2nd state (NH, WB, R52) the plate is cut at the bottom and at left, touching the signature. The diagonal stroke is still visible.
In the 3rd state (NH, WB, R53) the inky edges are evened off. The diagonal stroke is erased as is a hair at the upper right side of the head (NH). There is additional work on the right cheek (BB). In several impressions of this state a clear black spot is visible on the nose, but it is not mentioned by any author.

Of the 1st state eight impressions are known, a.o. in the Rijksmuseum, the British Museum, the Bibliothèque Nationale and the Albertina.

In the 1st state: Serpent A.a (1630). In the 2nd and 3rd state: Basilisk C’.a (c. 1632).

H 31, BB 30-N, G 18, M 22, Mz 7, RA 51-53, Cl 13, W 13, Bl 219, Du 13, CD 33
Rembrandt by himself 1999, p. 128; Hinterding 2008, p. 50-51; Baas 2015, p. 38; Bikker 2019, p. 25;

NH 3rd state of III, WB 3rd state of III.
Although NH considers this state as ‘probably not by Rembrandt’, it is almost certainly a contemporary impression, since the same watermark (Basilisk) appears in both the 2nd and 3rd state. An unrepaired tear at the lower platemark.
Sheet 93/92 x 80/79 mm, very broad margins of 8 to 9 mm all around (+64%).
No watermark, vertical chain lines at approx. 25 mm.

In the collection of Hermann Weber (Bonn, 1817-1854, Lugt 1383), his collector’s mark in black ink verso.
Sold to the Hermitage at the auction with Rudolf Wiegel, Leipzig 28 April 1856, lot nr 17, where qualified as ‘avec beaucoup de marge’. Their duplicate stamp (Lugt 5184) and two de-accession stamps (Lugt 5185 and 2681a) in black ink verso.
Sold by the Hermitage at the sale with C.G.Boerner. Leipzig 11-13 November 1930, catalogue nr. 868. There qualified as vorzüglich.

Rembrandt in Zwart-Wit, Westfries Museum (Hoorn), Het Markiezenhof (Bergen op Zoom), Stedelijk Museum Zutphen, Het Hannemahuis (Harlingen), Museum Gouda, Jan ten Horne Museum (Weert), Stadsmuseum Harderwijk, March 2013-August 2015; Stedelijk Museum Vianen, October 2017- January 2018;
Rembrandt in Black & White, Schloß Britz (Berlin), Bozar Expo (Brussels), Chateau des Penthes (Geneva), November 2015- October 2016;
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;