The plate was not part of any of the early auctions or collections and is probably not in existence.

This is the first etching of which Rembrandt himself made a lot of different states, each time making quite small improvements. Hinterding concludes that these minute changes indicate a certain inexperience and uncertainty. The later states must have been made to repair the wear, which would indicate a large number of impressions, whereas only very few seem to have survived. The butt on the left is probably meant to cover up remains of earlier use of the plate.

NH lists six copies, of which four in the same direction. Copy A is by David Deuchar, included in his own catalogue (95 x 60 mm, WB 2). Copy B is also by Deuchar, now arched and inscribed Rembrandt f. (44 x 38 mm, WB 3). Copy D is a very deceptive copy by James Bretherton, signed RL, (111 x 80 mm, WB 1). White Boon mention a copy by a modern, anonymous artist (120 x 83 mm, WB 4).
There aretwo copies in reverse. Copy C is again by David Deuchar inscribed Rembrandt f. (60 x 66 mm) and Copy E is by Costantino Cumano, inscribed Rt.inv. (100 x 65 mm, WB 5).

The etching is considered as special by Bartsch and Wilson.
The plate is not by Rembrandt according to Coppier.

NH, as all other authors, lists nine states, all contemporary. Nowell-Usticke lists two trial proofs and seven states. Some authors think that another hand was responsible for later states, from the 5th state (Middleton) or from the 6th (Hind).
The 1st state (NH, WB, R461/NU trial proof A) is the ‘large’ version, the corners are slightly rounded.
In the 2nd state (NH, WB, R462/NU trial proof B ) the plate is cut to 113 x 80 mm. The corners are now square.
In the 3rd state (NH, WB, R463/NU 1st state) the outline of the woman’s shoulder is completed.
In the 4th state (NH, WB, R464/NU 2nd state) the outlines of the shoulder are further strengthened.
In the 5th state (NH, WB, R465/NU 3rd state) the plate is again cut, taking out the monogram at the bottom. Most authors assume this to be the work of others, which may explain that the monogram is cut off. The bank is heavily reworked in drypoint (WB).
In the 6th state (NH, WB, R467/NU 4th state) shading is added to the man’s and woman’s collar.
In the 7th state (NH, WB, R468/NU 5th state) there are short right-to-left diagonal lines on the collar of the man’s cloak.
In the 8th state (NH, WB, R469/NU 6th state) there is more shadow on the man’s breast.
In the 9th state (NH, WB, R470/NU 7th state) there is heavy cross-hatching on the right shoulder of the man. There are some variations in details of the states between White-Boon and Nowell-Usticke. The complexity of the many small changes makes further study necessary.

Of the 3rd and 7th state only two impressions are known.

In the 4th and 5th state: Arms of Burgundy and Austria with cm NHD (c. 1632).
In the 6th state: Unidentified fragment.
In the 9th state: Foolscap with five-pointed collar; Foolscap.

H 13, BB 30-5, G 158, M 13, Mz 110, RA 461-470, Cl 162, W 162, Bl 129, Du 161, CD 16
Hinterding 2006, p. 289; Hinterding 2008, p. 309-310; Rembrandts Radierungen 2011, p. 24-25;

NH/WB: 9th and final state
A very good impression of the final state.
Sheet 98/99 x 69/67 mm, cut at the platemark on all sides (+ 1%).
No watermark. Horizontal chain lines at approx. 21 mm.

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;