The copperplate was not part of any of the major collections or sales and is probably not in existence.

Around 1630 Rembrandt made several etchings of old men, as did his companion Jan Lievens.

NH lists three copies of which one (copy C) in the same direction, by David Deuchar, in his album (80 x 70 mm, WB 1).
There are two copies in reverse. Copy A is by Danckert’s workshop, inscribed Rembrandt 1633 (78 x 69 mm, WB 2). Copy B is by Balthasar Moncornet, inscribed Rembrandt in. (142 x 110 mm, WB 3).

Many authors, including Coppier, Seidlitz, Campbell-Dodgson, Singer and White-Boon consider this print to be the work of a pupil , probably Johannes van Vliet (WB).
Hind finds the attribution to Rembrandt ‘doubtful’. On the other hand, NH do consider it to be (mainly) the work of Rembrandt.

NH lists seven states, the 2nd, 4th, 5th and 6th state are ‘new’. Most other authors list three states, Nowell-Usticke four. All states are contemporary.
In the 1st state (NH, WB, NU) the tip of the nose is nearly white.
In the 2nd state (NH, NU) horizontal shading is added to the forehead and to the shading on the nose between the eyes.
In the 3rd state (NH, NU/2nd state WB) the shape of the hat is altered.
In the 4th state (NH) there is additional shading to the shadow on the face and to the neck under the left ear.
In the 5th state (NH) there are horizontal strokes added to the left nostril.
In the 6th state (NH) the highlight of the left cheek is reduces with horizontal shading. The shadow on the left jaw darkened.
In the 7th state (NH/3rd state WB/4th state NU) new lines are added to the shadow of the face. The highlight on the nose is reduced.

In the 2nd state: Arms of Burgundy and Austria A.a with cm NH (c. 1632).

H 84, BB Rej-55, G 283, M 58, Mz 303, RA 817-820, Cl 303,W 307, Bl 264, Du 303, CD 294
Rembrandt & Van Vliet 1996, p. 80-81; Hinterding 2008, p. 549-551; Baas 2015, p. 118-119;