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

In this print the light comes from the left and the sitter is not looking at the viewer, contrary to most other, (self)-portraits. The eyes are hardly accentuated, the contrast between light and dark are fairly strong.

The difference in style has led many authors to be critical about the attribution to Rembrandt. Most authors, including Hinterding, White-Boon, Dutuit, Rovinski and Schuckman, consider this etching to be reworked by Jan van Vliet. Münz thinks it is entirely the work of Van Vliet. On the other hand, Hind considers the etching to be not unworthy of the master. The plate was made by a pupil according to von Seidlitz and Campbell Dodgson. The plate is not by Rembrandt according to Coppier, Michel and Singer.

NH lists four states, most other authors three, Nowell-Usticke lists one trial proof and three states. All states are contemporary.
The 1st state (NH, WB, R16/trial proof NU) is the large plate in which the outline of the left shoulder is irregular.
In the 2nd state (NH, WB, R17/1st state NU) the plate is reduced, the corners are square.
In the 3rd state (NH, WB final, R18/2nd state NU) the outline of the shoulder is straightened.
In the 3rd state (NU) there is additional shading and crosshatching on the lower left portion of the chin.
In the 4th state (NH) a hair is added next to the right ear.

Among the five impressions of the 1st state: in the British Museum, the Bibliothèque Nationale and the Albertina.

H 66, BB 31-12, G 7, M 17, Mz 301, RA 16-19, Cl 6, W 6, Bl 210, Du 6, CD 275
Rembrandt & Van Vliet 1996, p. 66; Baas 2015, p. 58-59;