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

Despite the clear monogram many experts believe this etching is not by Rembrandt. However, the reasons for doing so are often unclear or inconsistent. It may well be an exercise in lighting, with the dark sections on the man’s right side and the lighter parts of cloak, head and nose on his left. This may also explain the many small changes, all related to shadows, made in the seven states.

There are two copies in reverse. Copy A is by Danckaerts (83 x 72 mm, WB). Copy B is anonymous (136 x 105 mm, oval).

The plate is made by the workshop according to the New Hollstein, Hind, Seidlitz and Campbell Dodgson.
White-Boon consider it a work by Rembrandt, reworked by a pupil, probably Johannes van Vliet.
According to Münz, Coppier, Singer, Biörklund and Barnard and some others this etching is not made by Rembrandt.

NH list seven states, the 3rd, 4th and 7th state are ‘new’. Most other authors list three states, White-Boon four. All states are contemporary.
In the 1st state (NH,WB, NU) there is no outline of the head at the right.
In the 2nd state (NH, WB, R801) the outline of the right side of the head is added in drypoint.
In the 3rd state (NH only) the right outline of the head is strengthened. The left shoulder is redrawn with a double line.
In the 4th state (NH only) the highlight on the left cheek is reduced and some hairs are added to the beard.
In the 5th state (NH/3rd state WB/2nd state NU) vertical shading is added on the right shoulder and on the shaded left side of the breast. There is a small white spot just under the nose.
In the 6th state (NH/4th state WB final, R803/3rd state NU) the white spot is covered by three diagonal stripes.
In the 7th state (NH only) the hair and the shadows of the head are strengthened again, best visible in the hair at left and in the shadow of the nose, next to the right eye.

H 86, BB Rej. 51, G 275, M 56, Mz -, RA 801-803, Cl 294, W 298, Bl 275, Du 294, CD 293
Rembrandt & Van Vliet 1996, p. 80; Baas 2015, p. 130-131;

NHD: 7th and final state/WB: 4th and final state.
A good impression with strong contrasts and inky edges. Clearly the final state given the absence of the highlight under the nose and the hair.
Sheet 74 x 61/62 mm, margins of 2 to 3 mm all around (+15%).
No watermark, horizontal chain lines at approx. 22 mm.

In the collection of the Earls of Aylesbury (4th Earl 1751-1812, 5th Earl 1786-1859, London/Packington Hall, Lugt 58). Their collector’s mark in blue ink, with the note 2020 in graphite, verso;
In the collection of Hermann Weber (1817-1854, Bonn, Lugt 1383), his initials in black ink verso;
It was probably in his posthumous sale of 506 Rembrandt prints with Weigel in Leipzig in April 1856.

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), Bozar (Brussels), Chateau de Penthes (Geneva), November 2015-October 2016;
Rembrandt, de fotograaf, Westfries Museum (Hoorn), June 2024 – January 2025;