The plate was not in any of the major collections and is almost certainly not in existence.

Around 1630 Rembrandt made a number of small self-portraits in which he shows himself in a variation of moods. Other etchings in this series are B8, B13, B316 and B320. There are also four paintings (Bredius 1, 2, 5 and 6). Probably Rembrandt experimented with facial expressions (affecten or emotions) as an exercise for the biblical and historical scenes he painted later. This is the only etching in which his mood is rather angry instead of the bewildered, laughing face in several other portraits. By turning the head in relation to the body, a suggestion of depth and movement is created. The shadow on the right cheek strengthens the angry mood. The coat is not worked out in detail, again focussing the attention to the face.

According to Münz a painted self-portrait of 1629 (Corpus A21, Bredius 6, now in the Mauritshuis, a copy of which is in the Germanisches Nationalmuseum in Nürnberg) shows a similar pose and lighting in reverse.

There are two copies in the same direction. A is by Stefano Della Bella on the same sheet as four studies of eyes (82 x 81 mm). D is by George Bickham the Younger, signed G Bickham (82 x 81 mm).
There are four copies in reverse. B is by Johann Georg Hertel, inscribed Rembrandt del. No 5 and J.G.Hertel Exc:A:v: (two states, 98 x 159 mm, WB 2).
C is by Honoré Coussin, inscribed Rembran h.c.f. (126 x 110 mm). F is by Costantino Cumano, signed Cumano Sc (68 x 54 mm, WB 1).
E is an anonymous one, signed upper left: 1645 (81 x 81 mm).

The plate was made by a pupil according to Singer.

Most authors, including NH, list three states, Nowell-Usticke one trial proof and two states, all contemporary.
The 1st state (NH, WB, R43/trial proof NU) is the large plate with the monogram. There are small white spots in the hair.
In the 2nd state (NH, WB, R44/1st state NU) the plate is reduced, cutting of the signature and ‘16’ of the date. Hinterding suggests that the artist did this in order to get the subject in the centre of the plate. Münz considers this reduction a great improvement in composition. The small white spots are filled in.
In the 3rd state (NH, WB, R45/2nd state NU) two parallel horizontal lines above the head are wiped out.
Hinterding mentions an intermediate state after the 2nd based on a unique impression in the Kupferstichkabinett (Berlin) in which the bust and collar are widened. It is not included in the NH.

Of the 1st state (trial proof NU) only three impression are known, in the Rijksmuseum, the British Museum and the Bibliothèque Nationale.

In the 1st state: Serpent (1630).
In the 2nd state: Strasbourg lily with BA (1635).

H 30, BB 30-M, G 14, M 23, Mz 6, RA 43-45, Cl 10, W 10, Bl 214, Du 10, CD 32
Rembrandt by himself 1999, p. 126; Hinterding 2008, p. 45-46; Zeist 2012, p. 10-11; Baas 2015, p. 32; Bikker 2019, p. 25;

B&W number 86 – Acquired in 2008 – NH: 3rd state of III, WB: 3rd state of III.
A very good, contemporary impression. The two horizontal lines above the head are vaguely visible.
Sheet 79 x 67 mm, broad margins of approx. 3 mm on all sides (+17%).
Watermark: Foolscap (partial) not listed in Hinterding 2006, 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, Schloß Britz (Berlin), Bozar Expo (Brussels), Chateau de Penthes (Geneva), November 2015- October 2016; For these exhibitions, this self-portrait was used in all communication, including large posters.
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;