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

It took some time for experts to recognise the woman as Saskia. In the catalogue of the De Burgy sale in 1755 (nr 100) this print was still referred to as Een gepaleerd Juffertje, met Peerlen in ‘t Hair (A well-dressed young lady, with pearls in her hair). First Daulby (in 1796) and then Michel a hundred years later saw the likeness to other paintings and etchings in which Rembrandt pictured his wife.

Nowhere did Rembrandt portray Saskia as delicate and intimate as in this etching. It was probably made in 1634 around the time of their wedding in Sint Annaparochie on the 22nd of June, a year after they had become engaged. It may well be that this is the way she was dressed that day. The pearls may be the wedding gift of Rembrandt, since a few weeks earlier a large amount of pearls had reached Amsterdam in a VOC-ship (Broos).

Münz refers to a picture of Saskia in a very similar pose, supposedly in the Musee Jacquemart-Andre, Paris, but the sitter in that painting has later been identified as Amalia van Solms (Corpus A61, Bredius 99).
Bruijn also refers to the drawings HdG 99, 623 and 5

NH lists five copies in reverse. Copy A is by Wenceslaus Hollar, signed Rembrandt inu. Amstelodami (67 x 54 mm, WB 2). Copy B is signed by Claude-Henri Watelet (90 x 54 mm, WB 3). Copy C is by Costantino Cumano inscribed Rt.inv (101 x 83, WB 1). Copies D and E are anonymous (resp. 85 x 67 mm and 85 x 64 mm).

The etching is considered as special by Hind.
The plate is not by Rembrandt according to Singer

Most authors list one state, NH, Biörklund and Nowell-Usticke two.
In the 1st state (NH, WB, R911, NU) the plate slants lightly inwards, upper left. The face is light, before the outline of the nose was strengthened. The earliest impressions are somewhat light, the later ones are better. In the 2nd state (BB/NU) the outline of the nose is strengthened. The light spot on the chin has fine vertical shading.
In the 2nd state (NH) the plate is slightly cut on all sides, now measuring 67 x 56 mm. The right eye and the eyebrow are strengthened. Some new hairs are added around the right ear. Not by Rembrandt.
According to Nowell-Usticke the 1st state of Rovinsky is a falsified version of the 2nd state and his 3rd state is also a fake.
Hind and Münz think that Dutuit’s claim of a 1st state where the earring is missing (at the Petit Palais in Paris) is not justified.

In the 1st state: Arms of Württemberg (c. 1634-36); Foolscap with five-pointed collar with cm PDB’ (c. 1648).

H 112, BB 31-H, G 316, M 107, Mz 88, RA 910-911, Cl 337, W 342, Bl 201, Du 335, CD 81, S 135.
Rembrandt’s Women 2001, p.112; Saskia Uylenburgh, p. 71-78; Rohde 2005, p.45; Hinterding 2008, p. 584-586; Broos 2012, p. 53-54; Baas 2015 , p. 106-107;

NH: 1st state of II/WB: Only state.
A good contemporary impression. Some very pale staining and pinpoint fox marks.
Sheet 87 x 65/67, indicating a 1st state. No margins, trimmed on or just within the platemark (-3%).
No watermark, horizontal chain lines at ca. 23 mm.

In the collection of the English archaeologist Martin Folkes (1690-1754, London, Lugt 1034). His collectors mark visible in the upper right corner recto.
It was probably sold at the posthumous auction of the collection with Langford (London) in January 1756.

The Rotunda at Exchange Square, Hong Kong, January 2008.
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, Schloß Britz (Berlin), Bozar Expo (Brussels), Chateau des Penthes (Geneva), November 2015-September 2016;
Rembrandt, 17th century photographer, Daegu Art Museum (Korea), November 2023 – March 2024;
Rembrandt, de fotograaf, Westfries Museum (Hoorn), June 2024 – January 2025;