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

The dating of this etching is doubtful. The year near the monogram seems to be 1638, but there are no etchings which Rembrandt signed with a single monogram after 1633. Possibly the 8 is in fact a 0.
Middleton, Hind and Münz estimate the date at 1630, but other scholars find that unlikely considering the style of the drawing.
Hinterding states that careful examination of the monogram would read it as RL or Rt, similar to that on the Fourth Oriental Head (B 289).

In earlier years this etching was known as het Joden doctertie, as described in the catalogue of the Amadé de Burgy sale in 1755. Later van Eeghen has suggested that the bookseller Samuel Smijters is pictured. Clement de Jonghe’s inventory of 1679 mentions an etched portrait of him. Smijters (d. 1644) was bookseller and art collector. It is very likely that Rembrandt met him during his many visits to auctions, where Rembrandt is recorded to have bought at least fifty prints in 1637 and thirty-two the next year.

In earlier years this etching was known as het Joden doctertie, as described in the catalogue of the Amadé de Burgy sale in 1755.
Later van Eeghen has suggested that the bookseller Samuel Smijters is pictured. Clement de Jonghe’s inventory of 1679 mentions an etched portrait of him. Smijters (d. 1644) was bookseller and art collector. It is very likely that Rembrandt met him during his many visits to auctions, where Rembrandt is recorded to have bought at least fifty prints in 1637 and thirty-two the next year.

There are four copies, all in reverse. Copy A is anonymous (91 x 73 mm). Copy B is by James Hazard, inscribed Rt 1630 (76 x 67 mm, WB 2). Copy C is by Francesco Novelli, signed FN inc (85 x 83 mm, WB 3). Copy D is signed by Costantino Cumano inscribed Rt.Inv (two states, 88 x 73 mm, WB 1).

The etching is considered as special by Rovinsky and De Claussin.
Seidlitz thinks that this etching is by the hand of Salomon de Koninck. Campbell Dodgson.
Singer also consider this an etching to be made by a pupil.

Most authors list one state only, Münz and Rovinsky list two states. In early impressions there are vertical scratches in the background and there is a spot under the left eye. In later impressions these are more difficult or not at all visible.
Rovinsky recognises a 2nd state without the monogram, but other authors do not copy that.

H 158, BB 38-C, G 288, M 28, Mz 33, RA 828-829, Cl 307, W 312, Bl 260, Du 307, CD 273, S 132.
Hinterding 2008, p. 553-554; Baas 2015, p. 110-111;

NH/WB: Only state.
A good, probably somewhat later impression, two minor brown stains in the upper right corner.
Sheet 72 x 56 mm, trimmed 7 mm at the top and 8 mm at the right side, cutting of the monogram. The ‘3’of the date is still vaguely visible. At the right side the a small part of the sleeve is cut (-20%). A pen and ink line run along the sheet edges.
No watermark, horizontal chain lines at approx. 22 mm.

Rembrandt in Zwart-Wit, Westfries Museum (Hoorn, Het Markiezenhof (Bergen op Zoom), Stedelijk Museum Zutphen, Het Hannemahuis (Harlingen), March 2013- July 2014; Stedelijk Museum Vianen, October 2017 – January 2018;
Rembrandt in Black & White: Bozar (Brussels), February -May 2016;
Rembrandt, de fotograaf, Westfries Museum (Hoorn), June 2024 – January 2025;