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

It is generally assumed, although not proven, that this early etching represents Rembrandt’s father.

NH list seven copies of which three in the same direction. Copy D is by Ignace Joseph De Claussin, inscribed RHL 1630 (four states, 145 x 117, later 130 x 89 mm, WB 1). Copies B and G are both anonymous and inscribed RHL 1630 (resp. 71 x 60 mm and 130 x 88 mm, WB 2, not traced by NHD).
There are four copies in reverse. Copy A is signed by Honoré Coussin, inscribed Rembran (two states, 95 x 73 mm). Copy C is signed by Costantino Cumano, inscribed Rt.inv (85 x 67 mm, WB 3). Copy E is by Benjamin Wilson (four states, 103 x 69 mm, WB 4). Copy F is anonymous (77 x 59 mm).
There is another anonymous copy, sometimes considered as a work by Rembrandt (B293, H349, Rej-47, 78 x 67 mm).

The plate is not by Rembrandt according to Coppier and Singer.

NH lists five states of which the 2nd and 3rd state are ‘new’. Most other authors list three states, Nowell-Usticke two trial proofs and two states. All states are contemporary.
The 1st state (NH, WB, R786/trial proof a NU) shows the head only in the large version. The dress is only sketched in pencil.
In the 2nd state (NH) a light line appears around the head.
In the 3rd state (NH/trial proof b NU) the line around the head is removed, the bust is etched in lightly.
In the 4th state (NH/2nd state WB, R788/1st state NU) the coat is fully shaded. A second monogram and date are added in the bottom margin.
In the 5th state (NH/3rd state WB, R789/2nd state NU) the plate is cut, a new monogram and date are added in the lower right corner. Shading is added to the head, the collar and the shirt and the background is darkened. The corners are rounded. Early impressions have rough edges.

There are unique impressions of the 1st and 2nd state in the British Museum. The latter is printed at the backside of a trial proof of The white negress (B357). On this impression Rembrandt has used the brush to draw in grey ink the outlines of the changes made in later state.

In the 3rd state: Serpent (1630);
In the 5th state: Basel crosier (c. 1634-35);

H 23, BB 30-G G 270, M 23, Mz 37, RA 786-790, Cl 289, W 294, Bl 272, Du 289, CD 23
Rembrandt & Van Vliet 1996, p. 85; Rohde 2005, p. 98; Hinterding 2008, p. 533-535; Baas 2015, p. 80-81; Rising star 2019, p. 130;

NH: 5th and final state, WB: 3rd and final state.
A very good, dark, contemporary impression of the small version of this print.
Sheet 72/73 x 59 mm, narrow margins of 1 mm at left and 2 mm at the other sides (+8%). Raw, inky edges.
An unidentified small watermark in the centre, no chain lines.

In the collection of Dr. Julius Elischer von Thurzóbánya (1846-1909, Budapest, Lugt 824), his collector’s mark verso.
It may have been in his posthumous sale with C.G.Boerner in Leipzig in March 1911.

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;
Rembrandt in Black & White: Schloβ Britz (Berlin), November 2015 – February 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;