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

Because of the strong resemblance to a drawing of a prophet by Ferdinand Bol (now in Berlin, Hdg 35) it is often assumed that this etching is also made by Bol.
But according to Münz the free style of the etching is a solid reason to attribute it to Rembrandt.

NH lists three copies, of which one (copy C) in the same direction, a wood engraving by Antoine Alphée Piaud, included in the catalogue of Blanc 1859-61.p. II 269 (85 x 68 mm, WB 1), There are two copies in reverse. Copy A is anonymous (55 x 38 mm, WB 2). Copy B is also anonymous, signed A.F. (76 x 49 mm, WB 3).

The etching is made by a pupil according to Coppier.
The etching is not by Rembrandt according to Seidlitz, Campbell Dodgson and Singer

NHB, Hind and Nowell-Usticke list two states, both contemporary. Most other authors list one state only.
In the 1st state (NH, H, NU, R816) the edges are very uneven and inky with square corners, except the lower right corner.
In the 2nd state (NH, H, NU) the edges are evened and trimmed. The corners all now all rounded and the background is clean.
White-Boon considers these later impressions of the only state.

Only two impressions of the 1st state are known, one in the British Museum, the other in the National Gallery in Washington (DC).

H 136, BB 35-6, G 282, M 120, Mz 66, RA 816, Cl 302, W 306, Bl 294, Du 302, CD 272
Hinterding 2008, p. 546-547; Baas 2015, p. 140-141;

NH: 2nd and final state/WB: Only state
A very good impression with rounded corners and remains of ink on the unclean edges.
Sheet 71 x 62 mm, margins of 2 to 3 mm all around (+17%).
No watermark, vertical chain lines at ca. 25 mm.

Rembrandt in Zwart-Wit, Het Hannemahuis (Harlingen), Museum Gouda, March – October 2014.
Rembrandt, de fotograaf, Westfries Museum (Hoorn), June 2024 – January 2025;