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

This etching is one of the smallest of all etchings. It is part of the series of beggars Rembrandt made early in his career. Given the position of the head, close to the right border, the plate is probably cut from a larger one.

It was initially titled Esclave a grand bonnet (Slave in a large hat) by Gersaint, but the person drawn is certainly not a slave.

Münz thinks that the 7th state (NH, WB 3rd state) is reworked by Van Vliet.
The plate is not by Rembrandt according to Seidlitz, Coppier, Michel and Singer.

NH lists seven states, of which the 2nd, 3rd, 6th and 7th are ‘new’. Most other authors list three states, Nowell-Usticke one trial proof and two states, all contemporary.
In the first three states (NH/1st state WB/Trial proof a NU) there is only a single outline to the right shoulder.
In the 4th state (NH/2nd state WB, R805/1st state NU) the outline of the right shoulder is doubled. The shading of the top right portion of the cap is incomplete. There is a white spot on the cap above the brow.
In the 5th state (NH/3rd state WB, R806/2nd state NU) the shadow at the right of the cap is extended to the top, the band of the bottom half of the headdress is still almost blank.
In the 6th state (NH only) the band on the headdress is now shaded. There is additional shading to the right side of the face.
In the 7th state (NH only) some horizontal lines are added to the hatching on the cap band (with the burin).

Of the first three states only unique impressions are known, respectively in the Leeds Art Gallery, in the Städel Museum in Frankfurt and in the Biblioteca Nacional in Madrid.

H 39, BB 31-2, G 278, M 81, Mz 34, RA 805-806, Cl 298, W 302, Bl 296, Du 298, CD 46
Hinterding 2008, p. 540-541; Baas 2015, p. 136-137;