The copperplate was in the auction by Pieter de Haan (1767, lot 59), where sold to J.Sluyter. It later came in the possession of John M’Creary who used it for the 200 etchings (1816) and was then used by Lewis (1822) and Kay (1826). It has not been seen since and is probably lost.

Middleton has suggested that the print is a pendant of The artist’s mother seated at a table (B 343) because of the similarities in size, style and signature. This assumption is supported by watermark research (HD). The sitter could therefore be Rembrandt’s father, although he died in 1630, whereas this plate is dated by most experts in 1632.

The clumsy way in which the hand is drawn indicates an early work.

NH lists nine copies of which two in the same direction. Copy E is an anonymous copy of the head only (81 x 61 mm). Copy I is anonymous (174 x 147 mm, not traced by NH, WB 2).
There seven copies in reverse. Copy A is by Jerome David, published by Langlois,inscribed F.L.D. Ciartes excud. (222 x 187 mm). Copy B is anonymous, inscribed RL inv. (144 x 127 mm, WB 1). Copy C is published by Balthasar Moncornet, inscribed Rembrant in (150 x 109 mm). Copy D is an anonymous, oval copy (136 x 105 mm). Copy F is by George Bickham, the Younger, signed 1758 Bickham ou. (158 x 131 mm). Copy G is a copy of the head only by Honore Coussin, inscribed rembran | h.c.f. (two states, 95 x 72 mm). Copy H is by Costantino Cumino (161 x 125 mm).

The plate was made by a pupil according to Coppier.

As most authors, NH lists three states, the final one not by Rembrandt. Biörklund lists four states, Nowell-Usticke one trial print and three states.
In the 1st state (NH, WB, R672/NU trial proof A) the area below the hand is only lightly shaded and there is a strip of foul biting in the left margin.
In the 2nd state (NH, WB, R673/NU 1st state) shading is added to the space beneath the hand. There are additional lines with the burin on the chest. In later impressions the strip of foul biting has disappeared.
In the 3rd state (NH, WB/4th state BB, R674/2nd state NU) the plate is heavily reworked with the burin, almost certainly not by Rembrandt. Five short diagonals are added to the shading at the right edge, 30 mm from the bottom. Rough, irregular shading is added to the hand.
In the 3rd state (NU) there is further rework. This state is included in the 200 etchings. Biörklund mentions an intermediate state between the 2nd and the 3rd in which the lower triangular part of the space beneath the hand has been outlined, making the folds of the cloak meet higher up. NH has not found any evidence of this.

Of the 1st state only three impressions are known, in the Rijksmuseum (reworked, probably by Rembrandt), in the Bibliothèque Nationale and in the Herzog Anton Ulrich Museum in Braunsweig.
Of the 2nd state there are at least eight editions. NH lists more than fifty impressions of the 2nd state.

In the 1st state: Arms (c. 1631-32).
In the 2nd state: Posthorn (c. 1632); Basilisk (c. 1632); Arms of Württemberg (c. 1634-36); Basel crosier (c. 1634-35); Double-headed eagle (c. 1632-34); Foolscap with five-pointed collar (1632-34, 1643 and 1650-51); Arms of Ravensburg; A total of ten editions.

H 92, BB 32-2, G 242, M 90, Mz 42, RA 671-674, Cl 259, W 264, Bl 270, Du 278, CD 60
Hinterding 2008, p. 459-461;

NH, WB: 2nd state of III.
A very good early impression, clearly before the heavy rework of the 3rd state.
Sheet 161/162 x 141/143 mm, margins of approx. 5 mm all around (+19%).
Watermark: Foolscap with five-pointed collar, vertical chain lines.

In the collection of Peter Birmann und Söhne (1758-1844, Basel, Lugt 414c), their collector’s mark in black ink in the lower right corner verso.
In a sale by C.G.Boerner in Leipzig on 26-29 April 1921 (lot 205).
In the collection of Richard Robinow (1867-1945, Hamburg-London, Lugt 2237b), his collector’s mark in purple ink verso;
In his sale with Gutekunst und Klipstein in Bern, 7 November 1946 (lot 118);
In a private collection in Switzerland;

Rembrandt in Black & White: Chateau de Penthes (Geneva), June – October 2016;
Rembrandt in Zwart-Wit: Stedelijk Museum Vianen, October 2017 – January 2018;
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;