The copperplate was not part of any of the major collections and is probably not in existence.

Although Rembrandt made this etching, as well as A woman making water (B191), when still in Leiden, it may have been meant for the ‘Amsterdam’ market, which was more liberal than provincial Leiden.
Both prints must have been quite popular, given the number of copies made of them over the years.

For this etching and B191 Rembrandt probably looked at a similar picture in the series Capricci by Jacques Callot, published in 1617.

NH lists a total of thirteen copies. Seven of the eight copies in the same direction, are anonymous. Copy L is a deceptive copy by Ignace Joseph De Claussin (83 x 48 mm, WB 1).
There are five copies in reverse. Copy A is by Francis Vivares (his nr 3, two states, 84 x 49 mm, WB 4). Copy B is anonymous, inscribed R 1631 (78 x 48 mm, WB 6). Copy C is by Giuseppe Sardi, signed Rembrandt (77 x 47 mm, WB 5). Copy D is also anonymous (70 x 45 mm, not traced bij NHD, WB 7). Copy E is by Dominique Vivant Denon (82 x 49 mm, WB 3). WB also mention a copy by Van Vliet (1631, 69 x 54 mm, WB 2).

The plate was made by a pupil according to Coppier. Rovinsky attributed the print to Johannes van Vliet.

NH lists five states, most other authors list only one state, Björklund two, Nowell-Usticke three, all contemporary.
In the 1st state (NH, NU) the corners are square and the plate edges inky.
In the 2nd state (NH/WB only) new lines are added at several place, like on the neck*, under the bag hanging from his beltº and between the bag and his left hand.
In the 3rd state (NH) shading is added to the white spots at the side of the neck and the right cheek*.
In the 4th state (NH/2nd state NU) the plate edges are evened and the corners rounded. The frame line has gone.
In the 5th state (NH/3rd state NU) crosshatching° is added to both legs, under the right arm and to the backpack (and to the forehead according to NU).

Of the 1st and 5th state only one impression is known, resp. in Dresden and in the Albertina.

In the 3rd state: Arms of Wurttemberg (c. 1634-36); Basel crosier (c. 1634-35); Basilisk (c. 1632).

H 45, BB 31-C, G 182, M 255, Mz 120, RA 523-524, Cl 187, W 187, Bl 155, Du 187, CD 39
Rembrandt’s Women 2001, p. 82; Rohde 2005, p. 128;

NH: 4th or 5th state of V/WB only state
A very good impression. An expertly repaired loss in the upper right corner, an area of skinning at the left sheet edge verso. It is difficult to recognise the exact state.
Sheet: 85 x 50 mm, cut near or at the platemark (+8%).
No watermark, horizontal chain lines at approx. 25 mm.

In th collection of the German archaeologist and librarian Gustav Friedrich Konstantin Parthey (1798-1872, Berlin, Lugt 2014), his collector’s mark verso:
In the collection of George Björklund (Lugt 1138c), his mark in ink verso;
In the collection of Walter J. Thompson, his sale with Christie’s New York in May 1997 (lot 53);
With Galerie Michael in Beverly Hills (CA), according to a Certificate of Authenticity attached to the frame, dated 19-12-1998.
In the collection of John Villarino, an American set designer;

Sordid and Sacred, the beggar in Rembrandt’s etchings, 35 etchings from the Villarino Collection, touring in the USA between 2006 and 2019.
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;