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

Only in 1930 Hind was the first author to recognise this etching as a self-portrait, mainly on the basis of its resemblance to other self-portraits, like B1, B10 and especially B13 Self-portrait, Open-Mouthed. This view is now generally accepted, leading to extensive debates about the reason for Rembrandt to portray himself as a beggar. Pictures of beggars were very popular with Dutch painters, from Lucas van Leyden to van Vliet, Bloemaert, van Ostade and Bega. Which is remarkable, since beggars were outlawed in the Dutch Republic in 1613 and confined to the Rasphuis (men) or the Spinhuis (women).
Note the toes of the beggar pointing through the shoes.

NH lists ten copies of which two in the same direction. Copy E is by David Deuchar, with only the head and torso (61 x 55 mm, WB 2). Copy F by James Bretherton, signed RL 1630 is very deceptive (115 x 69 mm, WB 1);
There are eight copies in reverse. Copy A is attributed to Jan Lievens (245 x 190 mm, WB 6). Copy B is by Thomas Worlidge and signed Rembrandt 1630 (two states, his nr 14, 116 x 73 mm, WB 4). Copy C is by Honoré Coussin inscribed Rembran and signed h.c.f. (two states, 138 z 108 mm). Copy D is by Abraham Hume, signed Hume 1768 (118 x 68 mm). Copy G is by Costantino Cumano, signed Rt inv, (125 x 78 mm). Copy H is an anonymous one, inscribed Rt 1630 (113 x 68 mm, WB 3). Copy I is by Francesco Novelli (87 x 62 mm, WB 5, not traced by NH). Copy J is by Vivant Denon’s workshop and included in his album of 1873. It is signed ER (172 x 142 mm, WB 7).

The etching is considered as special by Bartsch, De Claussin, Wilson and Blanc.
The etching is the work of a pupil according to Coppier and Singer

NH lists two states, both contemporary, the only difference being the size. Most other authors list only one state. Hind and Nowell-Usticke list two states, based on very unclear differences.
In the 1st state (NH, WB only, R500, NU) the edges of the plate are irregular and inked. There is burr behind the man and on the last four lines of the diagonal right-left shading 5 mm above the thumb. Strong vertical scratches above the head. In later impressions these scratches are weak and there is no burr left on the gradually weaker shading behind the man. In later impressions two horizontal scratches run over the right foot.
In the 2nd state (NH) the plate is reduced to 103 x 65 mm.
The 2nd state (R501, H, NU) is difficult to identify. The shading behind the man is reworked and the empty spot on the right shoulder is filled in. The edges are clean and regular. According to De Claussin, Wilson and Blanc a signature Rembrandt f is added in the lower left corner, but Hind cannot confirm this. NH does not consider this a separate state.

Of the 2nd state (NH) only one impression is known, in Aachen.

In the 2nd state: Man.

H 11, BB 30-B, G 168, M 34, Mz 115, RA 500-501, Cl 171, W 171, Bl 136, Du 170, CD 15, S 71.
Rembrandt by himself 1999, p. 129; Rembrandt creates Rembrandt 2000, p. 110; Schwartz, De Grote Rembrandt (2006), p. 9; Hinterding 2008, p. 323; Rijke traditie (2015), p. 76;

NH: 1st state of II/WB: only state.
A very good, contemporary print with thin vertical lines above the sitting person and inky edges. A small dot of white paint covers the 0 of the date in the lower margin.
Sheet 119/117 x 70, no margins, cut on or slightly within the platemark (+ 2%).
No watermark, horizontal chain lines at approx. 23 mm, at a 10^o angle.

Probably in a Swiss private collection, based on a sticker at the backside of the frame.

The Rotunda at Exchange Square, Hong Kong, January 2008.
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; Stedelijk Museum Vianen, October 2017 – January 2018;
Rembrandt in Black & White: Schloss Britz (Berlin), Bozar Expo (Brussels), Chateau de Penthes (Geneva), November 2015-October 2016;
Rembrandt, fotograaf avant-la-lettre, Museum De Reede (Antwerp), January – May 2023;
Regie Rembrandt: Rembrandthuis (Amsterdam), March-May 2024;
Rembrandt, de fotograaf, Westfries Museum (Hoorn), June 2024 – January 2025;