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

One of the smallest of all etchings shows a man with an Eastern European fur cap. For many authors the attribution to Rembrandt is doubtful. Although the fur hat is drawn with the same fine lines, almost scratches, that are seen in other, undisputed, works. The same applies for the shadow lines. However, the long lines in the coat could be made by another artist.

There is an anonymous copy in the same direction (wood engraving, 85 x 53 mm), included in Blanc’s catalogue 1859-61, p. II – 276) and in Haden’s L’Œuvre gravé of 1880.

According to many authors, including Seidlitz, Campbell Dodgson, Coppier, Michel, Singer and Biörklund, this plate is not by Rembrandt.
Hind considered the attribution doubtful. White-Boon suggested that there could have been a 1st state by Rembrandt, although there are no impressions known.
The present, second state would then be by a pupil, possibly Johannes van Vliet or Samuel van Hoogstraten.

All authors list one state only. Early impressions are quite strong, later ones are average (NU).

H 135, BB Rej.52, G 276, M 118, Mz 35, RA 804, Cl 295, W 299, Bl 302, Du 295, CD 356
Hinterding 2008, p. 536-537; Baas 2015, p. 132-133;

NH/WB: Only state
A good and early impression, some wiping scratches still visible.
Sheet 44 x 31 mm, cut at or slightly within the platemark (-3%).
No watermark, one vertical chain line in the middle of the sheet.

Rembrandt in Zwart-Wit, Westfries Museum (Hoorn) March – July 2013, Museum Gouda July – October 2014,
Rembrandt in Black & White: Schloβ Britz (Berlin), November 2015 – February 2016;
Rembrandt, de fotograaf, Westfries Museum (Hoorn), June 2024 – January 2025;