The copperplate was probably in the collection of De Jonghe (1679, as 71 Rembrandt selfs), then in the hands of an unknown owner (ca 1700) who added two dots and in the collection of De Haan (1767, lot 2). It later became part of the set of plates subsequently owned and used for printing Recueils by Pierre-François Basan, Henri-Louis Basan (his nr 1374), Auguste Jean (ca 1809), Veuve Jean, Auguste and Michel Bernard (1846), Alvin-Beaumont (1906) and Robert Lee Humber (1937). It was sold through Artemis London (1993) to a private collector (in Beverly Hills) and was later used by Intaglio Ltd. to produce approx.. 2500 copies in the series of Millennium Impressions in 1998. The plate was sold to the Gallery in Minneapolis, which produced an unclear number of copies.

This print is the last of the series of the more than thirty self-portraits Rembrandt made, nine years after the previous one (B 21), in which he is showing himself as a very confident seigneur. At this time in his life he had lost Saskia, was in troubled financial condition and his relationship with Geertje Dircx had ended in a court battle. The outward appearance is now of less importance. It is the reflection of the inner soul that comes centre-stage. The plate is heavily reworked in later states by other hands. As a result the face becomes dull and flat, lacking the expression in the early states. It has become a caricature more than a portrait. The original English title was ‘drawing at a window’.

In 1943 Van Gelder has argued that the artist is not drawing, but etching. Based on this Hinterding has altered the name.

There are two copies in the same direction, both etchings with mezzotint. Copy C is an anonymous one, inscribed Rembrandt f 1648 (157 x 128 mm, WB only copy). Copy D is by James Robert Granville, inscribed Rembrandt f. 1648 – copied by me 1904 (158 x 132 mm).
There are two copies in reverse. Copy A is an engraving by Antoine -Joseph Dezallier d’Argenville inscribed Rembrant (117 x 91 mm) and copy B is an anonymous etching, inscribed Rembrandt van Ryn (50 x 50 mm).

The etching is considered as special by Bartsch, Seidlitz, Coppier, De Claussin, Wilson, Blanc and Singer.

NH lists nine states, the first four by Rembrandt. The 5th state (two dots) is ‘new’. Most other authors list five states, Nowell-Usticke three trial proofs and eight states. From his 4th state there are later impressions by Watelet, P.Basan, Basan, Jean, Bernard and Beaumont.
The 1st state (NH, WB, R79-81/trial proofs A, B and C NU) is without the signature and date. Many blank spots due to poor etching and inking. The hands and the edges of the paper are white. Very rich burr on the folds and the shadows of the coat.
In the 2nd state (NH, WB, R82-83/1st state NU) the signature and date are added. The left hand is now shaded and there is rework in drypoint in the background, coat, table, etc. NU considers this the finished and finest state.
In the 3rd state (NH, WB, R84/2nd state NU) the right hand is also shaded.
In the 4th state (NH, WB, R85/3rd state NU) a landscape is added in the window. There is much extra work all over the plate, including cross hatching on the window frame. The watermarks confirm that this is still a contemporary state.
In the 5th state (NH only) two dots are added in the upper left corner, not by Rembrandt.
In the 6th state (NH/5th state WB final, R86-87/4th state NU) the contours of the right cheek are redefined with vertical lines. Many shadows are reworked, partly with the rocker, mainly visible in the face.
In the 7th state (NH) there are additional vertical lines in the upper left corner.
In the 8th state (NH) the nose is redrawn, the right nostril extended. Horizontal lines are added to the upper lip, cross-hatching to the lower lip and right cheek.
In the 9^th state the plate is completely reworked by Basan. Visible in the face, the left hand and the sides of the cloth on the desk.
In the 4^th state (NU) the plate is retouched by Watelet, trying to restore the appearance of the 1^st state. The book shows a crease running lengthwise down the centre of its back. Close vertical shading covers Rembrandt’s curls in the dark space between the hat and the edge of the right cheek. In early impressions there is some burr, and the ‘e’ in the signature is closed at the top.
In the 5^th state (NU) the face is much worn. The background is retouched by P.Basan with close verticals along the top and bottom borders and left-to-right diagonals along the right border. The outline of the hat
is strengthened and new work is added to the fingers of the right hand, with left-to-right diagonals on the index finger. The landscape appears very weak.
In the 6^th state (NU) H.Basan has added much new work, like fine shading on the shoulders, fine close left-to-right shading on the face, especially on the chin and to the right of the mouth. The upper part of the landscape is almost worn out, very weak.
In the 7^th state (NU only) the entire plate is reworked and rebitten by Jean. There is hardly anything left of the original work.
In the 8^th state Bernard has coarsely reworked the background and the table cloth.
Bartsch and De Claussin have listed several in-between states, but these are either not visible anymore or they are the result of differences in printing.

Impressions of the 1st state in the Rijksmuseum and the Bibliothèque Nationale (R81) are on Chinese paper. An impression in the Albertina (NU trial proof A), with pale etched lines, much burr on the right shoulder and a white patch in the lower right, is probably the earliest according to White-Boon.
Of the 2nd and the 4th state there are several impressions on Japanese paper.
Nowell-Usticke considers the impressions in the Recueil de Basan to be light.

H 229, BB 48-A, G 27, M 160, Mz 26, RA 79-87, Cl 22, W 22, Bl 235, Du 22, CD 191, S 3
Rembrandt by himself 1999, p. 186; Rohde 2005, p. 155; Hinterding 2008, p. 62ff; Bikker 2019, p.;