The copperplate was not part of any of the early auctions or collections. It was used for printing the Petit Cahier in 1750, but it is probably not anymore in existence.

A typical Rembrandt ‘tronie’.

NH lists four copies of which one (copy A) in the same direction. It is attributed to David Deuchar (39 x 27 mm, WB 1).
There are three copies in reverse. Copy B is signed by Constantino Cumano, inscribed Rt.inv. (62 x 79 mm, WB 2).
Copies C and D are anonymous (resp. 36 x 31 mm, WB 3 and 61 x 79 mm, WB 4, both not traced by NHD).

This etching is considered a special one by Bartsch, De Claussin and Wilson.
Rovinsky assumes van Vliet to be the maker, but Münz thinks that he has only worked at later states.
According to Coppier and Singer the etching is not by Rembrandt.

NH lists seven states, the final one not by Rembrandt. Most other authors list three states, Nowell-Usticke one trial print and three states.
In the 1st state (R871/Trial print a NU) a single slipped stroke runs over the right shoulder and above the hat.
In the 2nd state (R872/1st state NU) the plate is cut to 36 x 28 mm and the line is gone.
In the 3rd state (NH) a semi-circular line is added under the mouth. Two highlights under the mouth are reduced with short strokes.
In the 4th state (NH/3rd state WB final, R873/2nd state NU) crosshatching is added to the shading on the right shoulder. According to Münz this is not the work of Rembrandt. NHD states ‘probably’ not by Rembrandt.
In the 5th state (NH) a few additional hairs are added to the beard.
In the 6th state (NH, R874/3rd state NU) there is extra work on the right cheek.
In the 7th state (NH) the plate is reworked completely, not by Rembrandt.

Of the 1st and the 5th state only one impression each is known, both in the Rijksmuseum (R871).
Impressions of the 6th state are found in the petit cahier, sometimes in combination with B326 (NHD 35).

In the 4th state: Man;

H 37, BB 30-14, G 306, M 97, Mz 30, RA 871-874 , Cl 320, W 325, Bl 299, Du 320, CD 45
Hinterding 2008, p. 569-571; Baas 2015, p. 152-153;

NH: 7th and final state/WB: 3rd and final state.
A good impression on laid paper. A small brown spot near the right margin. It was sold as a ‘later’ impression of the final, 3rd state of White-Boon, at a time that the posthumous, final 7th state was not yet identified by NH.
Sheet 65/64 x 53 mm, very broad margins of 12 mm at both sides, 14 mm at the top and 17 mm at the bottom (+242%).
No watermark, horizontal chain lines at approx. 26 mm.

In the collection of Dr. Wilhelm August Ackermann (Lubeck 1793-1865 Dresden, Lugt 791), his collector’s mark in black ink verso.

Rembrandt in Zwart-Wit, Westfries Museum (Hoorn), Stedelijk Museum Zutphen, Het Hannemahuis (Harlingen), Museum Gouda, March 2013 – September 2014;
Rembrandt in Black & White: Schloβ Britz (Berlin), November 2015 – February 2016;
Rembrandt, de fotograaf, Westfries Museum (Hoorn), June 2024 – January 2025;