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

Around 1630 Rembrandt etched a series of beggars. It is generally assumed that he was inspired by a series of beggars made by Callot in 1622. He copied the long parallel lines Callot used to indicate shadows. In turn, Rembrandt’s work has inspired many others, like Quast, Savery, van Vliet, van Schendel and Bloemaert, to produce series of beggars and other ‘street types’.

The plate was made by a pupil according to Seidlitz and Campbell Dodgson.
Münz thinks that only the 1st state is by Rembrandt, the later ones by van Vliet.
The plate is not by Rembrandt according to Coppier, Michel and Singer.

NH lists seven states, probably only the first two by Rembrandt. Most other authors list four states, Nowell-Usticke one trial proof and five states, all contemporary.
The 1^st state (NH, WB, R430-431/NU trial proof) is the large plate, with the white cloak and what seems to be a dog in the lower right corner.
In the 2^nd state (NH) the dog, the left side of the cloak and the background are imperfectly burnished out.
In the 3^rd state (NH/2^nd state WB, R432-433/1^st state NU) the plate is reduced and the monogram and date are added. The cloak is shaded at the left side. The outer fold of the cloak, below the thumb, is removed.
In the 4^th state (NH) the outline of the cloak is redrawn.
In the 5^th state (NH/3^rd state WB) the outline of the cloak below the wrist is burnished out, the remaining line is redrawn.
In the 6^th state (NH/4^th state WB final) vertical shading is added to the vertical strip of the cloak.
In the 7^th state (NH) vertical shading is added to the ear flap.

Of the 1st and 2nd state only one impression each is known, both are in the Bibliothèque Nationale.

In the 7th state: Foolscap.

H 73, BB 31-O, G 143, M 71, Mz 101, RA 430-435, Cl 147, W 148, Bl 114, Du 146, CD 282
Hinterding 2008, p. 289-290;

NH: 7th and final state/WB: 4th and final state.
A very good impression with raw, inky edges. The vertical lines on the earflap are clearly visible.
Sheet 70 x 47 mm, margins of 2 to 3 mm all around (+27%).
No watermark, one vertical chain line in the middle of the sheet.

In the Kunstsammlungen des Landes, Darmstadt, their stamp and the word Doublette in purple ink verso. The mark is similar, but not equal to the marks in Lugt (nr 1257 c, d and e). Another mark with the letters C (small) and D (large) is printed in purple ink.
None of these marks are in Lugt. The same marks are visible in B&W 83. Part of a post stamp is glued over the mark.

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, Schloß Britz (Berlin), Bozar Expo (Brussels), Chateau des Penthes (Geneva), November 2015-September 2016;
Rembrandt, de fotograaf, Westfries Museum (Hoorn), June 2024 – January 2025;