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

It is generally assumed that the man pictured here is indeed Rembrandt. Other than in most other self-portraits of this period, the sitter is not looking at the etcher (or viewer). Rembrandt seems to be in a reflective mood. This may explain why this print has never been a popular one.

There are two copies in reverse. A is probably by Danckerts (81 x 73 mm, WB 1), B is an anonymous one (75 x 73 mm, not traced by NH, WB 2).

Almost all authors, including Hind, Seidlitz, Campbell Dodgson, Münz, Singer, White-Boon and Hinterding, think that Rembrandt may have drawn the original version, but that the plate has later been reworked by a pupil, probably Johannes van Vliet. The plate is not by Rembrandt according to Coppier, Michel and Biörklund.

NH lists seven states with minor differences, all contemporary. Most authors list three states, Rovinsky, Hind and Münz two.
In the 1^st state (NH, WB, R54) there is a failure in biting on the right cheek.
In the 2^nd state (NH) the false biting is partially covered by diagonal lines. Shading is added on the right cheek between the nose and mouth. Horizontal shading in the cap (NU). This state or the next one may already be by Van Vliet.
In the 3^rd state (NH/2^nd state WB, R55) the remaining part of the false biting, on the shoulder, is repaired.
In the 4^th state (NH/3^rd state WB final, NU) there is much extra horizontal shading on the left of the cap and vertical shading on the right cheek. The right shoulder is covered with strong, nearly vertical lines.
In the 5^th state (NH) diagonal lines are added to the forehead and to the upper lip.
In the 6^th state (NH) some short strokes are added to the shadows under both corners of the mouth.
In the 7^th state (NH) a few strokes are added near the tip of the nose.

H 62, BB Rej-2, G 19, M 44, Mz 293, RA 54-55, Cl 14, W 14, Bl 225, Du 14, CD 277
Rembrandt & Van Vliet 1996, p. 67; Baas 2015, p. 60-61;