The plate was not part of the early sales or collections and is probably not anymore 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, B10, B13 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. Strangely enough this portrait was not recognized as a self-portrait by Gersaint, when he made the first catalogue raisonnée about Rembrandt’s work (1751).
Perry Chapman pointed at the fact that Rembrandt has given himself the exact facial expressions Karel van Mander described in his Schilder-boeck in 1604.

In two painting of 1630, The laughing soldier (Corpus B6, in the Mauritshuis) and a self-portrait (Corpus B5, in the Nationalmuseum in Stockholm) Rembrandt shows us a face with a similar expression. There are also similarities to three paintings originally seen as self-portraits, now considered to be by pupils (Corpus C34, in the Rijksmuseum, formerly in the collection of Mrs. F. Stoop and Bredius 15, formerly in the Warneck Collection in Paris).

NH lists nine copies of which three in the same direction. Copy D is a large anonymous copy, English school 18th century (135 x 161 mm). Copy F is signed by Christian Rudolph Reinhold in his book (1786, 83 x 78 mm). Copy G is anonymous (78 x 52 mm, WB 1).
There are six copies in reverse. Copy A is by Balthasar Montcornet, inscribed Rembrandt in. (141 x 111 mm).
Copy B is anonymous (two states, 53 x 49 mm, WB 3). Copy C is anonymous (48 x 39 mm).
Copy E is by David Deuchar, in his album (1861, 53 x 44 mm). Copy H is by Francesco Novelli (his nr 28, two states, 49 x 41 mm, WB 2). Copy I is anonymous (51 x 42 mm).

The etching is considered as special by Bartsch, De Claussin, Wilson and Blanc.
The plate is not by Rembrandt according to Singer.

NH lists no less than thirteen states, the final six not by Rembrandt. Most other authors list six states, Nowell-Usticke one trial proof and five states, of which the two latter ones are almost certainly reworked by another hand.
In the 1st state (NH, WB, R838/Trial proof a NU) the scarf in not fully outlined at the right. The lowest horizontal lines across the bust do not reach the right edge. There are small horizontal scratches on the right side.
In the 2nd state (NH, WB/1st state NU) the outline of the scarf is lightly etched in. Several other small changes. The corners are square, the edges still irregular and inky.
In the 3rd state (NH) the outline of the scarf is strengthened. There are many more small changes. The plate edges are trimmed to 48 x 43 mm.
In the 4th state the band of the cap is strengthened with a single line. Some lines are added to the hair.
In the 5th state (NH) the outline of the scarf is redrawn and the line on the cap strengthened again.
In the 6th state (NH/3rd state WB, R839/2nd state NU) more lines are added to the hair, mainly above the right ear. A horizontal line fills the gap in the lower right corner. The edges are now clear.
In the 7th state (NH/4th state WB, R840/3rd state NHD) the left ear is covered with hair.
In the 8th state (NH/5th state WB, R841/4th state NU) the plate is heavily reworked, according to White-Boon probably by Jan van Vliet. Cross-hatching on the right shoulder, the broken skin line above the scarf is filled in.
In the 9th state (NH) the highlight next to the outline of the left cheek is darkened with diagonal lines.
In the 10th state (NH) there are additional lines in the hair, mainly above the left eye. The band is strengthened above the right eye.
In the 11th state (NH) almost horizontal lines are added above the right eye. Several other lines are added.
In the 12th state (NH) more lines are added above the right eye.
In the 13th state (NH/6th state WB) strong cross-hatching is added . Due to the many small changes the states, as described by various authors, are difficult to match.

Only two impressions of the 1st state (trial proof a NU) are known, in the Rijksmuseum and in the Bibliothèque Nationale (R838).
Of the 2nd state also only three impressions are known, in the British Museum, in the Ashmolean Museum in Oxford and in the Albertina.
Of the 3rd, 4th, 5th and 12th state only single impressions are known. The other states are all printed in small numbers.
Two impressions of the 4th state are printed on cartridge paper, which Rembrandt started using around 1647, more than fifteen years after he made this etching.

H 34, BB 30-P, G 294, M 25, Mz 12, RA 838-842, Cl 29, W 29, Bl 218, Du 29, CD 36
Rembrandt by himself 1999, p. 127; Hinterding 2008, p. 559-561; Rembrandts Radierungen 2011, p. 26-27; Baas 2015, p. 36-37; Bikker 2019, p. 25;

NH: 8th (?) state of XIII/WB: 5th state of VI.
A very good, well-inked impression of a later state, almost certainly not by Rembrandt.
Sheet 67/68 x 61/60 mm, very broad margins of 7 mm at the bottom and 9 to 11 mm at the other sides (+101%).
No watermark, vertical chain lines at approx. 20 mm.

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, Schloβ 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;