The copperplate was not part of any of the early sales or collections and is almost certainly not in existence.

There is no doubt that the upper head is that of Saskia. But the second head is certainly not Saskia. It shows similarities to a head in Three heads of women, one asleep (B 368, NH 161).

In the later states three heads are shown. In this 1st state we only see the head of Saskia.

In the De Burgy sale (1755) this etching was referred to as Een dito studiblaadje, waar op twee Vrouwe Kopjes … met de Hand aan ’t hoofd en de andere met een Kapje op. Heel raar. (A similar study with two women’s heads … with her hand on her head and the other with a cap. Very unusual).

The head of Saskia can also be seen (in reverse) in a silverpoint drawing dated 1633 Saskia in a straw hat, generally known as the Bridal Portrait since it was made two days after the engagement of the couple in St.Annaparochie in Frisia, according to a text below the drawing (Benesch 427, Kupferstichkabinett in Berlin).
The hand supporting the head is also seen in a drawing of Saskia in a window (Boymans van Beuningen Museum, Rotterdam).

NH lists seven copies of which four in the same direction. Copy A is by Ignace De Claussin inscribed Rembrandt f. 1636 (160 x 103 mm, WB 2, not traced by NHD). Copy E is by Giovanni Suntach, partially signed (176 x 101 mm). Copy F is anonymous, inscribed RH 1637 (two states, 135 x 150 mm, WB 4). Copy G is one of the 1st state by Léopold Flameng, in Blanc’s catalogue 1859-61, p. 215 (122 x 102 mm, WB 1).
There are three copies in reverse. Copy B is signed JB le Sueur 1768 (110 x 148 mm). Copy C is signed by Jean Sauveur LeGros (1789, 128 x 102 mm). Copy D is signed by Costantino Cumano, inscribed Rt inv. (133 x 94 mm, WB 3).

The etching is considered as special by De Claussin.

NH, as most other authors, lists three states, Nowell-Usticke only two. All states are contemporary.
In the 1st state (NH, WB, R973, NU) only one head is drawn (Saskia). In the background the remnants of another image can be seen, recognized by Tom Rassieur as a design for a wooden ceiling.
In the 2nd state (NH, WB, R974, NU) two heads and the signature are added. There are minor scratches around Saskia’s head.
In the 3rd state (NH, WB) the scratches and the signature are burnished out°. Nowell-Usticke considers these late impressions of the 2nd state.

Of the 1st state only five impressions are known, of the 2nd state only two impressions are known.
The 3rd state is the first that was printed in larger numbers. Two editions are known, dated 1638 and 1652, but Hinterding assumes that more were printed.

A counterproof of the 3^rd state is included in the collection “Rembrandt in Black & White”, number 246.

In the 1st state; Strasbourg lily with PD (c. 1637).
In the 2nd state: Strasbourg lily.
In the 3rd state: Strasbourg lily with cm WK’ (c. 1652); Arms of Baden-Hochberg (c. 1638).

H 153, BB 37-3, G 333, M 115, Mz 93, RA 973-974, Cl 357, W 361, Bl 250, Du 355, CD 114.
Rembrandt’s Women 2001, p. 144; Hinterding 2006 II, p. 330-331; Hinterding 2008, p. 607-609; Broos 2012, p. 69-71; Giltaij 2023, p. 91;

NHD, WB: 1st state of III
An extremely rare impression on thin laid paper of the 1st state, with the head of Saskia only. Only five others are known, all in museum collections.
Sheet 110/112 x 101/98 mm, cut slightly within the platemark (-12%).
Watermark: part of a shield or crown. Vertical chain lines at approx. 20 mm.

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;