The plate was initially part of a larger plate with various studies (B 366). It was cut up into five separate parts, which are listed as B143 (this one), B 300, B303, B 333 and B 334. None of the separate plates was included in any auctions or collections. They are almost certainly lost.

This is a clear example of the series of beggars and street folk that Rembrandt etched in the early part of his career. The head very much resembles the person in B 135 and B 326.

NH lists three copies in reverse. Copy A is by Dominique Vivant Denon (71 x 43 mm, WB). Copy B is anonymous (75 x 48 mm). Copy C is anonymous, signed R.f. (78 x 47 mm).

The plate is not by Rembrandt according to Coppier and Singer.
The uncut plate (B366) was almost certainly by Rembrandt, but it may well be that other hands have worked on the various cut plates.

NH lists seven states, all contemporary. Most other authors list six states, White-Boon four, Nowell-Usticke two trial proofs and four states (numbered 3 to 6). All states contemporary. The descriptions of the states are sometimes very confusing.
The 1^st state (NH, WB, BB 1^st and 2^nd state, R, H/NU trial proof A/B) is the undivided plate B 366
In the 2^nd state (NH, WB/H and BB 3^rd and 4^th state, R951/NU 3^rd) two lines are added to the back of the collar . The left outline of the coat is outlined.
In the 3^rd, 4^th and 5^th state (NH/3^rd state WB/5^th state BB/R952/4^th state NU) cross hatching is added to the coat, the back of the cap and the neck, shading out the white collar.
In the 6^th and 7^th state (NH/4^th state WB/6^thstate BB, R953, H/5^th state NU) the shadows are worked over. The white band around the cap, previously unshaded, is covered by diagonals. Probably the work of Van Vliet (WB).
In the 6^th state (NU) there is heavy retouching of the regular shading. Further work on the cap band.
Rovinsky mentions a 2^nd state in the Bibliothèque Nationale (R590) but this impression has not been found by other authors.

Three impressions of the 1st state (the undivided plate) are known, in the British Museum, in the Bibliothèque Nationale, and in the Albertina. In the last one the plates are already separated.

In the 6th state: Man.

H 41-C, BB 31-3-C, G 141, M 86, Mz 31C, RA 951-953, Cl 142, W 143, Bl 109, Du 141, CD 43-A
Hinterding 2008, p. 282-283;

New Hollstein: 7^th and final state/White-Boon: 4^th and final state
A good, probably somewhat later print.
Sheet 74 x 44 mm, margins of 1 mm all around (+8%).
A fragment of a watermark, probably Arms of Amsterdam, horizontal chain lines at approx. 22 mm.

In the collection of Wilhelm Koller (d 1871, Vienna, L 2632), his collector’s mark in black ink verso. It was probably in the posthumous sale of his collection with Posonyi in Vienna in February 1872 in which 278 etchings by Rembrandt were sold.

Rembrandt in Zwart-Wit, Westfries Museum (Hoorn), Museum Gouda, March 2013-October 2014;
Rembrandt, de fotograaf, Westfries Museum (Hoorn), June 2024 – January 2025;