The copperplate was in the sale by Jean de Bary (1759, lot 60) and sold to Yver for Fl 12,00. Around 1768 the plate was acquired (in Holland?) by Trible, a Berlin print dealer. On his request George Friedrich Schmidt completed the picture in 1770 by adding a body and background (according to Rovinsky in three stages) based on a design by Nicolas Blaise Le Sueur (1709-1775). The plate is probably not anymore in existence.

Despite its unfinished state, this etching is one of the most popular ones, since it shows a man in an uncommon position. Rembrandt has only drawn the head of the sitter and outlined the body with some drypoint lines, which become very vague in later impressions.

The fur on the sleeve looks similar to the collar in The Goldweigher (B281/NH172), other elements are reminiscent of The artist drawing from a model (B192/NH176), both made in about the same year as this etching.

NH lists three copies, of which two in the same direction. Copy A is a very deceptive copy by James Bretherton (145 x 110 mm, WB). There are three long scratches to the right of the cap, which are nearly straight in the copy, but curved in the original. Copy B is by James Hazard, signed Rt f 1639 (139 x 112 mm).
Copy C is in reverse and signed D.j. Slingendonck f 1818 (three states, 198 x 153 mm).

The plate is not by Rembrandt according to Seidlitz, Coppier and Singer.
Münz attributes the print to Ferdinand Bol, linking it to his Sacrifice of Gideon (Rov. 2)

NH lists three states, only the first by Rembrandt.
The 1st state (NHD) is the head only.
In the 2nd state (NHD), only the lower part is reworked by Schmidt, not yet the whole plate.
In the 3rd state (NHD) the figure is finished by Schmidt.
The descriptions of other authors greatly differ from those by NH. Some only describe the state(s) of the unfinished plate. White-Boon list one state, Hind two, Münz five, Nowell-Usticke one trial proof and five states. From his 3rd state there are later impressions, probably by Schmidt.
In the 1st state (NH/WB/R662-663/NU trial proof A) the corners are square.
In the 1st state (NU) the plate is cleaned, the corners rounded. The left eye is very indistinct.
In the 2nd state (H, NU) the face is strengthened. The last vertical line at the left of the cap now runs straight down and ends just outside the cap shading.
The 3rd state (R664/NU) is by Schmidt, who made approx. 50 impressions.
In the 4rd state (NU) the background and the books are completed.
In the 5th state (NU) there is zigzag shading on the second book from the left on the upper row.

Of the 1st state there are several impressions on Chinese paper.
There is a counterproof in the Rijksmuseum. There are at least six falsifications in the Kupferstichkabinett in Berlin.
There are early impressions without watermark, later ones with less burr can be traced to 1652.
Some impressions of the 1st state are posthumous.

Strasbourg lily with cm WK’ (c. 1652); Arms of Amsterdam (3 ed,) Double-headed eagle; Foolscap with seven-pointed collar; Seven Provinces; Pro Patria ZZ.zz (1699 or later). A total of eight editions.

H 169, BB 38-3 G 239 M 139, Mz 332, RA 662-664, Cl 256, W 260, Bl 268, Du 275, CD 127
De grote Rembrandt, p. 115; Hinterding 2008, p. 452-454;

NH: 1st state of III/WB: only state.
An early impression with many delicate horizontal scratches. Burr on the sleeves and lines in the foreground.
Sheet 137/136 x 113 mm, no margins, trimmed at or slightly within the platemark (-2%).
No watermark, horizontal chain lines.

Rembrandt in Zwart-Wit, Westfries Museum – Hoorn, Het Markiezenhof – Bergen op Zoom, Stedelijk Museum Zutphen, Het Hannemahuis – Harlingen, Museum Gouda, Jan ten Horne Museum – Weert, Stadsmuseum Harderwijk, March 2013-August 2015; Stedelijk Museum Vianen, October 2017 – January 2018;
Rembrandt in Black & White: Schloβ Britz (Berlin), Bozar Expo (Brussels), Chateau de Penthes (Geneva), November 2015-October 2016;
Rembrandt, fotograaf avant-la-lettre, Museum De Reede (Antwerp), January – May 2023;
Rembrandt, 17th century photographer, Daegu Art Museum (Korea), November 2023 – March 2024;
Rembrandt, de fotograaf, Westfries Museum (Hoorn), June 2024 – January 2025;