The copperplate was not part of any early collection or sale and is probably not in existence.

One of the smallest of Rembrandt’s etchings was originally called ‘Polander standing with his arms folded’. Later research identified the man as a musical player. Careful observation shows an instrument in the hands of the player, as Filedt Kok has pointed out. It could well be the sheet that was referred to in the De Burgy sale in 1755 as Het liermannetje smal en in de hoogte (Hurdy-gurdy player narrow and tall). Gersaint, probably on the basis of the tall hat, called it a Polish person and that identification has survived. It was for a long time dated around 1635, but it is more likely that it belongs to the series of beggars Rembrandt etched around 1630-31.

Rembrandt made a drawing of a wandering beggar in the same year now in the Kupferstichkabinett in Berlin (Benesch 43).

New Hollstein lists three copies, of which one (copy A) in the same direction, by William James Smith, 1824 (51 x 47 mm, WB).
There are two copies in reverse. Copy B is by Jean Sauveur LeGros, signed and dated L.G. 1789 (59 x 52 mm). Copy C is anonymous (62 x 47 mm).

Most authors list one state, New Hollstein, Hind, Münz and Nowell-Usticke two, both contemporary.
In the 1^st state (NH, R405-406) the plate edges are irregular and inky. The corners are square. There is some sulphur tinting on the body. In later impressions a scratch runs downward from the left knee.
In the 2^nd state (NH, H, Mz, NU) the plate edges are trimmed, reducing the size by approx. 1 mm in height and width. The corners are rounded. Most authors do not consider this a separate state.

H 138, BB 35-7, G 139, M 102, Mz 125, RA 405-406, Cl 139, W 140, Bl 107, Du 138, CD 70
J.P.Filedt Kok, Etchings & drawings in the Rembrandt House (1972); Hinterding 2008, p. 281;

New Hollstein: 2nd and final state/White-Boon: only state
A very good, contemporary impression. The edges evened, the scratch no longer visible, indicating the 2nd state (NH).
Sheet 54 x 50 mm, thread margins, 1 mm on three sides, 3 mm at the bottom (+8%).
No watermark, no chain lines visible.

In the Kunstsammlungen des Landes, Darmstadt, their stamp and the word Doublette in purple ink verso. The mark is similar, but not equal to the marks in Lugt (nrs 1257 c, d and e). Through the mark the letters C (small) and D (large) are printed in purple ink. None of these marks are in Lugt. The same marks are visible in B&W 84.

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;