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

Despite the fact that this is a typical Rembrandtesque tronie, many early authors have questioned its authenticity and believe that Johannes van Vliet has worked on the plate, maybe from the 2nd state. The New Hollstein considers it authentic.

Hind points at a drawing of a similar profile in the Museum Fodor (Amsterdam).
There is a drawing in brown ink, attributed to either Rembrandt or his pupil Willem Drost (Benesch 943 now in the Boymans van Beuningen) which shows a standing man with a similar hat.

NH lists five copies of which two in the same direction. Copy A is anonymous (43 x 32 mm). Copy C is by David Deuchar, in his album (arched, 41 x 28 mm).
There are three copies in reverse. Copy B is an anonymous wood engraving, inscribed Rembrandt (78 x 56 mm). Copy D is also by Deuchar in his album (arched, 41 x 28 mm). Copy E is signed by Costantino Cumano, inscribed Rt.inv (oval, 60 x 47 mm).

According to White-Boon, Seidlitz and Campbell Dodgson this etching is the work of a pupil.
Münz thinks that Johannes van Vliet had retouched the original plate and has, by doing so, destroyed the 1st state.
The etching is not by Rembrandt according to Coppier, Michel and Singer.

Most authors list four states, Nowell-Usticke five. NH lists six states, the final one not by Rembrandt. NH links the 3rd state to the 2nd state of WB, but this is probably not correct.
In that case the 3rd and 4th state are ‘new’.
In the 1st state (R867) the back of the neck is nearly white and the middle and right part of the band is unshaded.
In the 2nd state (R868) some diagonal shading is added to the middle part of the cap. Many other small changes.
In the 3rd state (NH only) a few diagonal lines are added to the backside of the cap and diagonal left-to-right shading above the ear.
In the 4th state (NH/3rd state NU) crosshatching is added to the back of the neck and diagonal right-to-left shading above the ear.
In the 5th state (NH/3rd state WB/4th state NU) diagonal shading is added to the top of the ear.
In the 6th state (NH/4th state WB, R870/5th state NU) shading is added to the cheek. The space under the jowl is completely in shading.

Of the 3rd state (NH) only one impression is known (in the Rijksmuseum).
There are late impressions in the ‘petit cahier’, together with B327

H 68, BB 31-14, G 305, M 98, Mz 286, RA 867-870, Cl 319, W 324, Bl 301, Du 319, CD 300
Rembrandt & Van Vliet 1996, p. 86; Etchings by Rembrandt from the S. William Pelletier Collection (Catalogue 2004), nr. 9, p. 62-65; Hinterding 2008, p. 295-298; Baas 2015, p. 150-151;

NH: 2nd state of VI/WB: 2nd state of IV.
A very early print, in good condition. The 2nd state clearly recognizable by the absence of the horizontal shading in the right part of the cap band.
Sheet: 38 x 25 mm, thread margins (+3%).
No watermark.

In the collection of Walter Francis Duke of Buccleugh (Dalkeith 1806-1884 Bowhill, Selkirk, Lugt 402), his collector’s mark in black ink verso;
Probably sold at Christies London in April 1887.
In the collection of Paul Davidsohn (1879-1924, Berlin, Lugt 654). According to the catalogue of Sotheby’s (2004) his collector’s mark would be visible verso, but it is not recognizable anymore.
With Craddock & Barnard, London, 15 June 1970, where bought by Pelletier;
In the collection of S. William Pelletier, (1924-2004, Athens GA, Lugt 4193), his collector’s mark in red ink and the year 1970, verso;

Herbert F. Johnson Museum of Art, Cornell University, Ithaca (NY), 17 January – 14 April 2004;
Georgia Museum of Art, University of Georgia, Athens (GA), 17 September – 14 November 2004;
Rembrandt in Zwart-Wit, Stadsmuseum Zutphen, November 2013 – February 2014:
Rembrandt in Black and White. Schloβ Britz – Berlin, October 2015 – February 2016;
Rembrandt, de fotograaf, Westfries Museum (Hoorn), June 2024-January 2025;