The plate was not part of the early auctions or collections and is almost certainly not in existence.

After the experiments with expressions that Rembrandt made in earlier years, this etching is one of the first more formal portraits. Although signed RHL it is possible that he made this print after his move to Amsterdam in 1631. It is likely that the cap was added later, probably by Rembrandt, since hair can still be recognized through the cap. There may even have been a state without the cap, but so far no impressions were found to support this.

There are two copies in reverse. A is by G.L.Hertel, one impression inscribed Rembrandt f. (Two states, 91 x 78 mm) and B is an anonymous copy, inscribed R.L. (65 x 54 mm).

The plate was made by a pupil according to Singer.

Almost all authors list one state only.
Nowell-Usticke identified a 2nd state in which some tiny retouches are made. These seem to be the result of wear and/or inking.

Hinterding points at the heavy grain visible on most impressions, caused by the etching ground being porous during the etching process.
Probably some of the impressions listed in NH were printed by Pierre Mariette.

H 56, BB 31-L, G 21, M 45, Mz 17, RA 61, Cl 16, W 16, Bl 223, Du 16, CD 59
Rembrandt by himself 1999, p. 136; Hinterding 2008, p. 52; Baas 2015, p. 44;