The plate was later reworked with the roulette and may still be in existence (in Frankfurt?).

Rembrandt’s mother, Neeltgen Willemsdochter van Zuytbrouck, (ca. 1568 – 1640) was ca. 65 years old at the time Rembrandt made this portrait, a tender study of old age. Although there is no certainty about her identity, it seems that Rembrandt has pictured this model in at least six etchings and several paintings. The reference to Rembrandt’s mother dates to the inventory-list of Clemens de Jonghe of 1679, ten years after Rembrandt’s death. Since the same model appears in several works by Jan Lievens, Rembrandt’s companion during his training in Leiden, it has been suggested that she could also be Lievens’ grandmother, who was around sixty at that time. From the only impression of the 1st state, which was drawn from a larger plate, it derives that Rembrandt originally intended to add at least part of the body.

NH lists one, much larger, copy (C) in the same direction by Christian Ludolph Reinhold (1786, his number 6, 83 x 78 mm).
There are four copies in reverse. Copies A and B are anonymous (resp. 50 x 41 mm, WB 2 and 45 x 48 mm, WB 3). Copy E is signed by Costantino Cumano, inscribed Rt. inv. (64 x 80 mm, WB 1). Copy D is by Dominique Denon, included in Vivant Denon 1873 (57 x 64 mm, WB 4).

The etching is considered as special by Bartsch, Coppier, De Claussin and Wilson.

NH and Hind list three states, of which the final one almost certainly not by Rembrandt. Other authors list two states, Nowell-Usticke lists one trial proof and two states.
In the 1st state (NH, WB, H, R920/NU trial proof A) the plate is not yet cut, there is no signature.
In the 2nd state (NH, WB final, H, R921/1st state NU) the plate is cut and bordered. The signature is added. There is extra work at the left side.
In the 3rd state (NH, H/2nd state NU) there is much additional work by a later hand with the roulette. Like in the white triangle in the lower left corner.
According to NU the roulette was used to try and imitate burr.

Of the 1st state only one impression is known, in the British Museum (R 920). It shows no plate marks, which means the original plate could have been even larger.

In the 1st state: Arms of Württemberg (c. 1632);
In the 2nd state: Foolscap with five-pointed collar (c. 1648); Strasbourg lily with WR and cm IHS (c. 1635).

H107, BB 33-F G 319, M 101, Mz 87, RA 920-921, Cl 341, W 346, Bl 191, Du 339, CD 79
Hinterding 2008, p. 589-591; Baas 2015, p. 76-77;

NH: 2nd state of III/WB: 2nd and final state
A very good, sharp impression with strong contrasts, before the work with the roulette, confirming a 2nd state.
Sheet 42/43 x 41/40 mm, thread margins, partially trimmed on the platemark (+5%).
No watermark, horizontal chain lines.

In the collection of the German book and art dealer Hermann Weber (1817-1854, Bonn, Lugt 1383), his initials in black ink verso;
It was probably in the posthumous sale of his collection with Weigel (Leipzig) in April 1856.

Rembrandt in Zwart-Wit, Westfries Museum (Hoorn), Het Markiezenhof (Bergen op Zoom), Stedelijk Museum Zutphen, Het Hannemahuis (Harlingen), Museum Gouda, Jan ten Horne Museum (Weert), Stadsmuseum Harderwijk, March 2013-August 2015;
Rembrandt in Black & White, Schloß Britz (Berlin), November 2015-February 2016;
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;