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

In the catalogue of the De Burgy sale (1755) this etching was referred to as Het boerinnetje, met een Korfje aan den Arm en een Tasje op Zyde (The peasant girl with a basket on her arm and a bag at her side), which is exactly what we think to see. But closer examination of the clothes reveals that these are in fact German dating back to the middle ages. They were long out-of-date in Rembrandt’s time, but still used in Germany.

The 16th century German dress is probably copied from series of 16th century costumes by Jost Amman and Hans Weigel.
Münz referred to a drawing of two women (Benesch 738, now in Stockholm), but that drawing is now attributed to Ferdinand Bol. It is more likely that Bol used this etching as an example.

There is a copy (B) in the same direction by Léopold Flameng (distance between the top margin and the top of the hat is 71 mm) included in the catalogue of Blanc 1859-61 II p. 199 and used by Seymour Haden for his article in the Gazette des Beaux Arts (1880, 79 x60 mm, WB).
There is an anonymous copy (A) in reverse, inscribed Rembrand (82 x 69 mm).

The etching is considered as special by Rovinsky.
The plate is not by Rembrandt according to Singer.

NH lists three states, all other authors two. All states contemporary, the 1st state of NHD is ‘new’.
In the 1st state (NH only) the plate is 3 mm wider at the top (63 versus 60 mm) and shows an accidental scratch in the lower right corner.
In the 2nd state (NH/1st state WB, R935, NU) the scratch is removed. Diagonal shading runs to the left of the forehead. Early impressions are sharp and clear with horizontal scratches on the left side of the plate.
In the 3rd state (NH/2nd state WB, NU) the plate is made regular and now also measures 60 mm at the top. There are some vertical lines added to the front of the eyebrow, right of the nose. In early impressions there are horizontal scratches and six vertical ones near the upper right corner. In later impressions the six vertical scratches are very light.

Of the 1st state only one impression is known, in Philadelphia.
Of the 2nd state seven impressions are known.

In the 2nd state: Arms with cm VA’;
In the 3rd state: Basel crosier;

H 195, BB 42-3, G 323, M 151, Mz 95, RA 935, Cl 346, W 350, Bl 240, Du 344, CD 158, S 136.
Rembrandt’s Women 2001, p. 176; Hinterding 2008, p. 595-596;

NH: 3rd and final state/WB: 2nd and final state.
A very good, early impression with horizontal stripes in the sky clearly visible.
Sheet 86/85 x 60 mm, thread margin at the bottom, cut at or slightly within the platemark on the other sides.
An unidentified watermark, vertical chain lines.

In the collection of the Danish army captain Frederik Ferdinand Hansen (1823-1916, Copenhagen, Lugt 2813), his collector’s mark in purple ink verso;
Probably in his sale with C.G.Boerner (Leipzig) in May 1901.
In the collection of Hermann Weber (1817-1854, Bonn, Lugt 1383), his initials in black ink verso;
Probably in the posthumous sale with Weigel (Leipzig) in April 1856 in which 508 prints by Rembrandt were sold.

The Rotunda at Exchange Square, Hong Kong, January 2008;
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; Stedelijk Museum Vianen, October 2017 – January 2018;
Rembrandt in Black & White, Schloß Britz (Berlin), Chateau des Penthes (Geneva), November 2015-September 2016;
Rembrandt, 17th century photographer, Daegu Art Museum (Korea), November 2023 – March 2024;
Rembrandt, de fotograaf, Westfries Museum (Hoorn), June 2024 – January 2025;