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

In the sales catalogue of De Burgy (1755) this picture was referred to as Het portret van een ouden patriarch, met een bonten mantel om en een kostbaare bonnet op ’t hoofd (portrait of an old patriarch, with a fur coat and a precious biretta on his head). It sure is an unusual picture, with an oriental looking clasp and unspecific cap. It seems as if Rembrandt has been practicing on different fabrics, the velvet of the cap, the fur in the collar, the silk in the coat and the hair in the beard.
Scholars differ in opinion whether this etching is part of the large group of studies of bearded men or a portrait of a (so far unknown) person, as Jan Six has suggested.

There is a painting with a similar subject dated 1635.

NH lists five copies, of which one (copy A) in the same direction (110 x 91 mm).
There are four copies in reverse. Copy C is signed by Costantino Cumano, inscribed Rt inv. (two states, 101 x 86 mm, WB 1). Copy D is by Dirck Jan Singendonck, inscribed Rembr. Inv. (111 x 87 mm). Copies B and E are anonymous (resp. 110 x 91 mm and 145 x 115 mm, WB 2).

The etching is considered as special by Coppier.

Almost all authors list one state only, Hind and Nowell-Usticke two, from his 2nd state there are later impressions, probably by Watelet.
In the 2nd state (H, NU) the entire plate is reworked, with many new lines in the beard. The cheek is sharply outlined at the right side. The cloak is strongly reworked and appears darker than before.
Dutuit also recognizes a 2nd state showing differences in the folds on the shoulder, but other authors do not support this.

Several impressions are retouched with pen, brush and grey ink. NH mentions a reworked impression on late 18th century paper in Lausanne (private collection?).

Single-headed eagle (c. 1637); Words (2 ed.).

H 150, BB 37-B, G 290, M 131, Mz 57, RA 832, Cl 309, W 314, Bl 269, Du 309, CD 111
Jan Six, 1910, p. 103; Hinterding 2008, p. 556-557;

NH/WB: only state
A good impression with crisp plate edges and strong contrasts. Shadows in grey ink are added with a brush to the middle and lower fold of the right shoulder and to the white band on the hat.
Sheet: 102/102 x 87 mm, thread margins of approx. 1 to 2 mm all around (+14%).
No watermark. Horizontal chain lines at approx. 30 mm.

In the Toledo Museum of Art (Toledo, Ohio, Lugt 1918d), their de-accession stamp in black ink verso.

Rembrandt in Zwart-Wit, Het Hannemahuis (Harlingen), Jan ten Horne Museum (Weert), Stadsmuseum Harderwijk, June 2014-August 2015;
Rembrandt in Black & White: Schloβ Britz (Berlin), Chateau de Penthes (Geneva), November 2015-October 2016;
Rembrandt, 17th century photographer, Daegu Art Museum (Korea), November 2023 – March 2024;
Rembrandt, de fotograaf, Westfries Museum (Hoorn), June 2024 – January 2025;