The copperplate was not part of one of the early sales or collections and is probably not in existence.

There have been many suggestions about the subject of the print, like King Candaules and Cleopatra. It has been suggested that the face in the background is in fact a self-portrait.
Although the portrait of Jan Antonides van der Linden (B 264) is supposed to be from 1665 and therefore the last of Rembrandt’s etchings, this plate is the last one with a signature.

There are two drawings by a pupil, Johannes Raven (1633-1662), showing a similar pose in reverse (Benesch 1146 in the Rijksmuseum and Benesch 1147 in the British Museum).
The hairstyle can also be seen in a drawing (Benesch 386) and in the woman in the foreground in Christ presented to the people (B76).

The etching is considered as special by Middleton and Coppier.

NH, as most authors, list three states, Biörklund four.
In the 1st state (NH, WB, R559, NU) there is vertical shading only on the cheek. The signature is very indistinct. To the right of the date there is a small triangular white space.
In the 2nd state (NH, WB, R560, NU) there is cross-hatching on the cheek.
In the 3rd state (NH, WB, R561, NU) the signature is strengthened. The triangular white space is filled in.
Bjorklund mentions a 3rd state with the triangular spot filled in, but before the signature work.

Of the 1st state there are four impressions known. Surprisingly, there are no impressions on oriental paper.

In the 2nd and 3rd state: Strasbourg Lily (2 ed.).

H 303, BB 61-A, G 194 , M 302, Mz 144, RA 559-561, Cl 199, W 199, Bl 166, Du 199, CD 260, S 86.
Rembrandt’s Women 2001, p. 233; Rohde 2005, p. 140; Hinterding 2008, p. 365-368;