The plate was not part of any of the early sales or collections and is almost certainly not anymore in existence.

In the sale by Valerius Röver (1731) this plate was referred to as Het biddende Besje (old woman praying) and later (De Burgy sale, 1755) as Het Vrouwtje op het Stoeltje met een Ritsje Uijen (the woman on the chair with a string of onions)

There is a deceptive copy in the same direction by William James Smith, inscribed RL 1631 and included in his book (1824, 123 x 85 mm, WB).

The plate was made by a pupil according to Hind, Blanc, Wilson (Jan Lievens), Dutuit, Campbell Dodgson and Seidlitz (mainly Johannes van Vliet).
The plate is not by Rembrandt according to Biörklund, Coppier, De Claussin, Singer and Nowell-Usticke.
Middleton and White-Boon are among the rare early authors assigning the plate to Rembrandt.

All authors list three states. Nowell-Usticke one trial proof and two states. Both Münz and NH suggest that the 2nd state is probably not by Rembrandt. Münz states Johannes van Vliet.
The 1^st state (NH, WB, R385/NU trial proof a) is the uncut version without the monogram and date.
In the 2^nd state (NH, WB, R387/NU 1^st state) the plate is cut slightly, a signature, a date and a borderline are added.
In the 3^rd state (NH, WB, R386/NU 2^nd state) horizontal shading is added to the skirt below the right knee. Several horizontal lines are added to the face.

Of the 1st state only two impressions are known, in the Rijksmuseum and in Lausanne (formerly with Nowell Usticke).

In the 2nd and 3rd state: Arms of Burgundy and Austria with cm NH (ca 1632). This paper was used by both Rembrandt and Johannes van Vliet.

H 76, BB Rej-II, G 133, M 66, Mz 104, RA 385-387, Cl 134, W -, Bl 102, Du 133, CD 280, S 64
Hinterding 2008, p. 272ff;

New Hollstein/White-Boon: 2^nd state of III
A good impression on thin laid paper. The additional horizontal lines in the face are not yet there, confirming a 2^nd state (NH/WB). Some adhesive residue verso. Four very small pinpoint holes, not visible recto.
Sheet: 117/118 x 79/81 mm, cut well inside the platemark approx. 4 mm left and right, approx. 2 mm at the top and bottom, cutting of the borderline (-19%).
No watermark, horizontal chain lines at approx. 23 mm.

In the collection of Pierre Mariette II (1634-1716 Paris, Lugt 2096) his initials with the year 1643 handwritten in brown ink verso; The ‘P’ similar to the other marks attributed to Mariette.
With Galerie Michael in Beverly Hills (CA) according to a Certificate of Authenticity attached to the frame, dated 30-8-2000.
In the collection of John Villarino, an American set designer;

Sordid and Sacred, the beggar in Rembrandt’s etchings, 35 etchings from the Villarino Collection, touring in the USA between 2006 and 2019.
Rembrandt, de fotograaf, Westfries Museum (Hoorn), June 2024 – January 2025;