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

Although this etching is part of the series of beggars and street folk that Rembrandt made around 1630, the person seen here looks more like a well-fed peasant than a poor beggar.

A somewhat older man, leaning his body and face a bit to the left, staring at a spot on the ground. He has his hands folded behind his back, holding what seems to be a long wooden stick. His jacket, closed with one button high on his belly, has a large lapel on the left side. Underneath the jacket a vest is visible. He wears a belt from which a knife is hanging. The unshaven face is covered with a hat with flaps over his ears. There are long stretches of an unknown fabric running from the flaps to his shoulders. The light comes from the left foreground, quite unusual in Rembrandt’s etchings. It leaves a long shadow behind the man.

It is assumed that for his series of beggars Rembrandt was inspired by the etched works that Jacques Callot made in 1622 of the same subject. Rembrandt had several books by Callot in his possession. He copied the long parallel lines Callot used to indicate shadows.
In turn, Rembrandt’s work has inspired many others to produce similar series, like Quast, Savery, van Vliet, van Schendel and Bloemaert.

There is one copy in the same direction (copy A), without the diagonal shading lower right, by Jean Sauveur Legros (90 x 66 mm, WB 1).
There is also an anonymous copy (B) in reverse (90 x 65 mm, WB 2).

Biörklund considers his 6th state (9th state NH) not to be by Rembrandt.

NH lists nine states, most other authors six. Nowell-Usticke lists two trial proofs and six states, all contemporary.
In the 1st state (NH, WB, R493/NU trial proof A) the plate is 78 mm wide, the lower part of the left sleeve is weakly shaded. The outline of the right arm is not continuous. The plate edges are uneven.
In the 2nd state (NH) the sides of the plate are made even, reducing the plate to 92 x 74 mm. The outline of the right arm still broken.
In the 3rd state (NH/2nd state WB, BB, R494/1st state NU) the outline of the arm is filled is more defined. There are many more small changes, all in drypoint.
In the 4th state (NH) there are again several small changes in drypoint.
In the 5th state (NH/3rd state WB, BB, R495/2nd state NU) the plate is cut to 92 x 67 mm. some strokes are added to the right side of the cap. Several more small changes.
In the 6th state (NH/4th state WB, BB, R497/3rd state NU) the small white area at the arm is now shaded, the diagonal lines on the top of the right arm are extended to the outer contour.
In the 7th state (NH/5th state BB/4th and 5th state NU) there is additional cross-hatching at the top of the trousers and several other additions to the shading, like to the left shoulder. Three lines are removed from the remaining white area of the shoulder.
In the 8th state (NH/5th state WB) there is additional cross-hatching to the lower left side of the stomach. The white spot under the left eye is shaded. Several more small changes. This is the most frequently printed state.
In the 9th state (NH/6th state WB final, R496, NU) a pillar and arch are added. NU wonders if, based on the strength of these impressions, they could be made before the 5th state, which would mean the pillar and arch were removed again later. Since this state is only known from descriptions, this hypothesis cannot be investigated.
Rovinsky reversed the 1st and 2nd state.

Of the 4th state only one impression is known, in the Rijksmuseum.
Of the 5th state two impressions are known, in the Rijksmuseum and in the British Museum.
NH has not found impressions of the final state.

In the 1st state: Serpent (1630).
n the 3rd, 4th and 5th state: Arms of Burgundy and Austria (c. 1632).
In the 7th state: Strasbourg lily with countermark WK (c. 1652); Foolscap with five-pointed collar (2 ed.).

H 16, BB 30-7, G 166, M 121, Mz 117, RA 492-497, Cl 169, W 169, Bl 137, Du 168, CD 11
Hinterding 2008, p. 320; Rising star 2019, p. 134;

NH: 8th state of IX/WB: 5th state of VI.
A very good impression, with plate tone. A horizontal crease, mainly visible verso.
Sheet 99 x 76/75 mm, good margins of 3 to 4 mm all around (+ 22%).
No watermark, horizontal chain lines at approx. 23 mm.

In the collection of Gustav Friedrich Konstantin Parthey, a German archaeologist (1798-1872, Berlin, Lugt 2014), his collector’s stamp in black ink verso.
This collection consisted mainly of works by German artists, especially Hollar. It may have been in one of the two sales of his collection with C.G.Boerner (Leipzig) in 1921.

Rembrandt in Zwart-Wit, Museum Gouda, July – October 2014; Stedelijk Museum Vianen, October 2017 – January 2018;
Rembrandt in Black & White: Schloss Britz (Berlin), 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;