The copperplate was not in the sale by Clement De Jonghe (1679). He obviously choose to keep the plate for himself. It then became in the hands of an anonymous owner, who added two dots in the top right corner.
The plate later did appear in the sale by Pieter de Haan (1767, lot 64) and was sold for Fl 5,10 via Fouquet to Claude-Henri Watelet (1718-1786). It became part of the set of plates subsequently owned and used for printing Recueils by Pierre-François Basan (1723-1797), Henri-Louis Basan (his nr 1435), Auguste Jean (ca 1809), Veuve Jean, Auguste and Michel Bernard (1846) and Robert Lee Humber (1937). It was sold at the Artemis sale in London (1993) and is now in the Amsterdam Museum.

Clement de Jonghe (1624/25-1677) was born in Schleswig-Holstein. He came to Amsterdam around 1640 and originally worked as a map colourer. But he is better known as an art-dealer and publisher of prints, first in De Waag at the Nieuwmarkt, later in the Kalverstraat. He owned a collection of 74 copperplates by Rembrandt of which an inventory was published in 1679, ten years after Rembrandt’s death. Curiously enough, this plate was not amongst them. This has led to the assumption that it may not be De Jonghe after all. This assumption is strengthened by the senior looks of this man, who was only around 26 years old when this portrait was drawn and the lacking likeness to the address vignette used by the publishing house. On the other hand, an inscription dating to 1668, probably by the then owner Pierre Mariette, identifies the sitter as De Jonghe.

NH lists three copies in reverse. Copy A is by Marguerite Le Comte in the album of Watelet (84 x 65 mm, WB). Copy B and C are both anonymous ones, inscribed Rembrandt (resp. 207 x 153 mm and 166 x 140 mm).

The etching is considered as special  by Seidlitz, Coppier, Rovinsky and Dutuit.

NH lists ten states, the final five not by Rembrandt. Most other authors list six states, Nowell-Usticke nine, from his 5^th state there are later impressions by Watelet, P.Basan, Basan, Jean, Bernard and Beaumont.

The 1^st state (NH/WB/R708-709) is without the arch. The outer fold of the cloak is only lightly shadowed, especial visible at right*. There is a horizontal white strip below the top bar of the chair*. The outline of the brim of the hat runs slightly upwards°.
In the 2^nd state (NH/WB/R710) many small changes are made. The white strip below the bar of the chair is shaded*. There are additional locks of hair on the left hand sideº. The pupil of the right eye is enlarged°, the mouth is more clearly definedº.
In the 3^rd state (NH/WB/R711-712) the arch is roughly drawn in*. The right eye is reworked and made smaller°. Rework in the shaded areas. A hatband is added*. According to NU the best state.
In the 4^th state (NH/WB/R715) the arch is further defined on the left side*.
In the 5^th state (NH/WB/R714/NU Watelet) the triangular area in the chair, next to the left shoulder, is scraped clean*. Early impressions show much burr.
In the 6^th state an anonymous owner has added two dots in the upper right cornerº.
In the 7^th state (NH) the darker areas of shading are worked over with a rocker (not by Rembrandt) like in the hat near the left eye.
In the 8^th state (NH/6^th state WB final/R713/7^th state NU H.Basan, Jean) there is further shading added like on the vest, on the right shoulder (the outline with the hair now clearly definedº) and a small spot in the lower right corner*, etc.
In the 9^th state (NH/8^th state NU Jean, Bernard) the plate is again rebitten. There are extra right-to-left diagonals in the upper right corner of the arch*. The triangular patch, cleaned in the 5^th state, is restored*.
In the 10^th state (NH/9^th state NU Bernard, Beaumont) the face is retouched, there are regular verticals between the left eye and noseº. The hat appears to have a narrow white band*.

Of the 1^st state at least 45 impressions are known, some on Japanese or yellowish oatmeal paper. There are various counterproofs of the first three states, including one of the 1^st state in the Albertina.
Nowell-Usticke considers the impressions in the Recueil de Basan to be fair.

In the 1^st and 2^nd state: Paschal lamb with cm RC (1651).
In the 3^rd state: Paschal lamb (c. 1651).
In the 4^th state: Foolscap with five-pointed collar.
In the 5^th state: Arms of Amsterdam; Foolscap with five-pointed collar;
In the 6^th state: Seven Provinces (> 1665); Strasbourg bend.
In the 7^th state: Words (1698 and >).
In the 8^th state: Arms of Colbert; Countermark L; Words; Miscellaneous (1742 or >).

H 251, BB 51-C, G 252, M 164, Mz 72, RA 708-715, Cl 269, W 274, Bl 180, Du 263, CD 210, S 113.
Dickey 2004, p. 138-141; Hinterding 2008, p. 481-485;

NH: 6^th state of X/WB: 5^th state of VI.
A good and sharp impression. The two dots in the upper right corner, typical for the 6^th state (NH), are well visible.
Sheet: 212 x 161 mm, cut on the platemark on three sides, margin of 5 mm at the bottom (+2%)
No watermark, vertical chain lines at approx. 23 mm.

In the collection of Prince Nikolaus Esterhazy (1765-1833, Vienna, Lugt 1966), his blind stamp recto;
In the collection of  Orszagos Képtar (National Print Gallery) Budapest, their collection stamp (Lugt 2000, used until 1906) verso;

Rembrandt, de fotograaf, Westfries Museum (Hoorn), June 2024 – January 2025;