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

This very rare etching clearly shows that Rembrandt was inspired by a series of beggars made by Jacques Callot in 1622. Rembrandt had various albums with works by Callot in his possession. Typical elements of his works are the long parallel lines to indicate shadows. Callot made a very similar etching of a beggar, Standing beggar with stick, which Rembrandt may have used as an example. It is by far the largest of all beggar-etchings made by Rembrandt.

In the same period Rembrandt made various chalk drawings of beggars, like Benesch 30, 31, 32 (in the Rijksmuseum) and Benesch 22 and 27 (both in private collections). Benesch 43, generally dated in 1630, shows a similar posture in reverse and the same high cap, but no stick (Kupferstichkabinett in Berlin).

There are two copies in reverse. Copy A is by Marguerite le Comte (1753, 193 x 142, WB 2). Copy B is by Giuseppe Sardi signed Rembrandt inv. Sardi inc. 1791 (the two numbers in reverse, 147 x 95 mm, WB 1).

The plate is not by Rembrandt according to Singer.

NH, Hind and Münz list two states, both contemporary. Other authors list only one state, Nowell-Usticke one trial proof and one state. The only difference being that in the 1st state (NU trial proof A) the plate edges are uneven and inky and the corners are square.
In the 2nd state (NH, H, Mz, R457/1st state NU) the corners are rounded.

Of the 1st state (NH/NU trial proof a) only three impressions are known. Hinterding states that the plate has been reprinted repeatedly, from 1630 onwards to at least 1648. He identified at least ten editions of which six could be dated.
Despite this large number of contemporary prints, impressions of this etching are quite rare.

In the 1st state: Strasbourg bend (c. 1629-31); Posthorn (1631).
In the 2nd state: Basel crosier (c. 1634-35); Foolscap with five-pointed collar (4 ed., 1639-40, 1643 and 1645); Foolscap with seven-pointed collar; Strasbourg lily; Countermark ISI.

H 15, BB 31-1, G 155, M 33, Mz 111, RA 457, Cl 159, W 159, Bl 125, Du 158, CD 13
Hinterding 2006, p. 288; Hinterding 2008, p. 303ff; Rembrandts Radierungen 2011, p. 22-23

NH: 2nd and final state/WB: only state.
A good, early impression, on laid paper. Some pale scattered foxing, a pale stain and remains of adhesive in the corners, verso.
Sheet 160 x 123 mm, margins of 2 to 3 mm all around (+ 5%).
No watermark, vertical chain lines at approx. 23 mm.

In the collection of the University Library, Cambridge (Lugt 2475), their stamp with A.D. 12.39_200 in black ink verso;
Probably sold at the auction of their doubles when the collection was transferred to the Fitzwilliam’s Museum, April 1878, Sotheby’s London.
Possibly to the London Regional Art and Historical Museum. It was in their collection according to a sticker on the backside of the frame with the mark 94.A.15 and handwritten in graphite 030.SB8.

Rembrandt in Zwart-Wit, Westfries Museum (Hoorn), Het Markiezenhof (Bergen op Zoom), Museum Gouda, Jan ten Horne Museum (Weert), Stadsmuseum Harderwijk, March 2013-August 2015; Rembrandt in Black & White: Schloss Britz (Berlin), Bozar Expo (Brussels), Chateau de 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;