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 etchings of beggars and street characters. In the later etchings of this series, the composition are more elaborate, including additional elements like in this one the wife of the beggar in the background. They are a transition to the genre-scenes Rembrandt made just a few years later.

This picture shows a beggar with a violin. The presence of the dog, leashed to the player, suggests that Rembrandt pictured a blind beggar. Already in the catalogue of the Van Huls sale in 1731 the plate was called de blindeman met het hondje (the blind man with the dog).

Rembrandt made a drawing of a wandering beggar in the same year (Benesch 43, now in the Kupferstichkabinett in Berlin).
The composition of a blind musician guided by a dog dates back to David Vinckbooms (1576-1629).

New Hollstein lists five copies of which one (copy E) in the same direction, by Leopold Flameng, in Blanc’s catalogue, (70 x 55 mm, WB 1).
There are four copies in reverse. Copy A is anonymous (68 x 55 mm). Copy B is anonymous signed Rembrandt fc (89 x 64 mm).
Copy C is anonymous, signed RL 1636 (78 x 53 mm, WB 3). Copy D is probably by Novelli (his nr 25) as a frontispiece for his publication Agli amatory e dilettanti (1791, 182 x 125 mm), signed Rembrandt Inu (three states, 182 x 125 mm, WB 2).

New Hollstein lists nine states, the final two not by Rembrandt. Most other authors list three states, Hind four, Nowell-Usticke one trial proof and three states.
In the 1^st state (NH) a curl emerges from the upper edge of the plate. There are trees above the dog leash. The tail of the dog does not curl. Rough plate edges.
In the 2^nd state (NH) the curl is removed. This is the trial proof (NU/R 399/H 1^st state) the plate edges are uneven and inky, the ‘v’ shaped scratch above the fiddler’s head is clearly visible. The plate is 2 mm larger at left. Some authors consider this an early impression of the 1^st state.
In the 3^rd state (NH/1^st state WB/2^nd state HR400) the trees are hardly visible. The edges are evened, making the plate slighter smaller.  The folds of the cloak are strengthened (WB). The V is almost invisible and in later impressions erased (WB).
In the 4^th, 5^th and 6^th state (NH) many small lines are added.
In the 7^th state (NH/2^nd state WB) the highlights on the garment hanging over the shoulder are shaded. The shadow on the back and right leg are reworked. There is additional shading on the neck.
In the 8^th state (NH/3^rd state WB, R402/4^th state H) the shadows on the figure are heavily reworked. The contours of the band in his hair are strengthened. The triangular seam at the top of the sleeve is removed. Probably not by Rembrandt.
In the 9^th state (NH) diagonal cross-hatching is added to the back of the man, to the shadow below his belt

Of the 1^st, 2^nd, 4^th and 5^th state only one impression is known, in resp. the Rijksmuseum, the Pushkin Museum in Moscow, the Kupferstich-Kabinett in Dresden and the Szépmüvészéti Museum in Budapest.

In the 9th state: Foolscap with five-pointed collar.

H 38, BB 31-A, G 137, M 78, Mz 122, RA 399-402, Cl 137, W 138, Bl 91, Du 136, CD 38
Rohde 2006, p. 9; Hinterding 2008, p. 278-279;

New Hollstein: 8th state of IX/White-Boon: 3rd and final state
Probably the 8th state, no additional cross-hatching on the top of the garment over the man’s shoulder, no additional shadow on the palm on the hands, both typical of the 9th state.
Sheet 70 x 49/50 mm, trimmed at or inside the platemark, the lower margin, including the signature, is cut off
(-15%).
No watermark, horizontal chain lines.

Rembrandt in Zwart-Wit, Westfries Museum (Hoorn), 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), Chateau des Penthes (Geneva), November 2015-September 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;