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

Rembrandt made several etchings and drawings of old men with long beard, like two drawings in red chalk, one in the Nationalmuseum in Stockholm (Benesch 38) and the other in the Louvre (Benesch 39) and another two in red and black chalk in the Teylers Museum (Benesch 40) and in the Kupferstichkabinett in Berlin (Benesch 41).

NH lists six copies of which two in the same direction. Copy D is by Booth Grey, signed BG (67 x 56 mm). Copy F is anonymous (110 x 82 mm, WB 1, not traced by NHD).
There are four copies in reverse. Copy A is by Jerome David, numbered 21 (206 x 178 mm). Copy B is anonymous, with the figure in an oval and inscribed RHL inuentor (90 x 66 mm). Copy C is signed by George Leopold Hertel (123 x 82 mm, WB 2). Copy E is anonymous (67 x 62 mm, WB 3).

The plate was made by a pupil according to Coppier and Singer.
Münz thinks the 2nd state is not by Rembrandt.

NH, like most authors, lists two states, Nowell-Usticke one trial proof and one state, both contemporary.
In the 1st state (NH, WB, R835/NU trial proof a) the plate edges are inky, the corners rounded.
In the 2nd state (NH, WB, R837/NU 1st state) the plate is cut. There is considerable rework on the right shoulder and on the right side of the whiskers.

Of the 1st state only one impression is known, in the British Museum.

In the 2nd state: Basel crosier (1632-33) and Strasbourg lily.

H 48, BB 31-F, G 292, M 63, Mz 45, RA 835-837, Cl 311, W 316, Bl 284, Du 311, CD 50
Baas 2015, p. 98-99;