The copperplate may have been in the sale by Clement de Jonghe (1679) as 42 eeninge onvolmaacktjens. It was in the sale by Jean de Bary (1759, lot nr 62 ) where sold for Fl 5,00 to Weetekamp. Since separate impressions of various parts exist, the plate must have been cut. Probably in the 18th century.

A very special study in which the self-portrait takes a dominant position. Probably Rembrandt planned to add a hat, since there is clearly some space left for it and the shadows on his face must be the result of wearing one. Turning the print clockwise one sees a couple of beggars with a woman’s head above them, a man seen from behind and a small head of a man.

Rembrandt made several drawings with similar sketches, like one now in the Barber Institute of Fine Arts in Birmingham (UK) (c. 1635, Benesch 340) and one in the Kupferstichkabinett in Berlin (Benesch 141).

Biörklund points at the likeliness of the beggar with that in B 121, The Ratkiller, made in the same year.
Münz refers to B 262 Old man seated with flowing beard.
Münz also sees a resemblance of the woman with Rembrandt’s mother.
Several authors (NH, White-Boon, Bauch) refer to a drawing in reverse dated 1630 (Benesch A18a, now in the Louvre), but the attribution to Rembrandt is no longer accepted.

The etching is considered as special by De Claussin.
The plate is not by Rembrandt according to Coppier and Singer.

NH, as most other authors, lists two states, Nowell-Usticke: one trial-proof and four states.
In the 1st state (NH, WB, R944/trial proof a NU) the edges are rough and there are several areas of foul biting.
In the 2nd state (NH, WB, R945/1st state NU) the plate is cut down (101 x 105 mm) and the acid spots are removed. The hair is greyish and underbitten in the upper left corner. Four faint spaced left-to-right diagonal scratches are visible to the left of Rembrandt’s chin.
In the 2nd state (NU) the hair and the face are retouched. The base of the nose seems altered in shape. The diagonal scratches are worn out. No spots.
In the 3rd state (NU) a strong line runs about 2 mm below the top of the drawing. There are several diagonal scratches in the upper right corner and small spots above the head of the man lower right and on the bottom of the woman’s skirt. There are fine vertical scratches to the right hat of the man upper left.
In the 4th state (NU) the tiny white nick in Rembrandt’s nose is eliminated. Spots are still visible. Due to wear the face has an uneven appearance.

There are only four impressions of the 1st state (NU trial proof A), in the Rijksmuseum, the British Museum, the Albertina and Oxford (WB).
There are counterproofs of the 2nd state in the British Museum and the Albertina.
Of the 2nd state at least five editions have been identified, probably all posthumous.
The plate was printed well into the 18th century (HD). There are various cut prints.

In the 1st state: Strasbourg lily with L (1641).
In the 2nd state: Arms of Amsterdam; Arms of Ravensburg; Foolscap with seven-pointed collar; Horse and rider; Strasbourg lily.

H 90, BB 32-1, G 329, M 136, Mz 13, RA 944-945, Cl 353, W 357, Bl 237, Du 351, CD 64, S 141.
Rembrandt by himself  1999, p. 141-142; Rohde 2005, p.39; Hinterding 2006, II, p. 330; Hinterding 2008, p. 603-605;

NH/WB: 2nd and final state
A strong, dark and evenly-printed impression, with the four diagonal scratches to the lower left of Rembrandt’s chin still well visible, indicating an early impression.
The sheet is now 101/100 x 96/98 mm, it is probably cut within the plate mark and then re-margined (-9%). The new margins are 4 mm at top and bottom and 5 mm at both sides. There are remnants of glue in the four corners, mainly visible verso.
No watermark, horizontal chain lines at approx. 23 mm.

Rembrandt in Zwart-Wit, Westfries Museum – Hoorn, Stedelijk Museum Zutphen, Het Hannemahuis – Harlingen, March 2013 – June 2014; Stedelijk Museum Vianen, October 2017 – January 2018; Rembrandt in Black & White, Bozar Expo (Brussels), Chateau des Penthes (Geneva), February – September 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;