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

We see a seriously looking, young man with very bushy hair and a small moustache. Although the plate is probably made or finished by a pupil, it is clearly Rembrandt who is shown here. He wears a buttonless coat or mantle, with two layers and a small almost white collar. The background is empty, the light falls in from the right, leaving a shadow on the right cheek. Rembrandt etched some thirty ‘selfies’ over a period of more than thirty years. In many of these he is experimenting with special looks, uncommon clothing or shadows. Not in this one. Instead, it seems more a picture for a passport then a formal self-portrait.

We see a seriously looking, young man with very bushy hair and a small moustache. Although the plate is probably made or finished by a pupil, it is clearly Rembrandt who is shown here. He wears a buttonless coat or mantle, with two layers and a small almost white collar. The background is empty, the light falls in from the right, leaving a shadow on the right cheek.
Rembrandt etched some thirty ‘selfies’ over a period of more than thirty years. In many of these he is experimenting with special looks, uncommon clothing or shadows. Not in this one. Instead, it seems more a picture for a passport then a formal self-portrait.

There is one copy in reverse, by Danckaerts’ workshop, signed RHL 1633 (85 x 71 mm).

According to many authors only the 1st state of this etching is by Rembrandt and all further work is by a pupil, probably Johannes van Vliet. Münz and Rovinsky think van Vliet already made the 1st state, although it is clearly a portrait of Rembrandt. It is possible that an earlier state existed, but no impressions of that state survived. The New Hollstein alsp considers the original plate to be by Rembrandt, but all present impressions to be made by another hand (workshop).
The plate was made by a pupil according to Seidlitz, Campbell Dodgson and Singer. The plate is not by Rembrandt according to Coppier.

The New Hollstein lists ten states of which the 2nd, 4th, 5th and final two states are ‘new’. Most other authors, including WB, list five states. All states are contemporary.
In the 1st state the monogram is barely visible and the date reads 1630.
In the 2nd state (NH) the date is altered to 1631, the 0 still visible.
In the 3rd state (NH/2nd state WB) some hair is added with the drypoint, upper right.
In the 4th state (NH) the contours of the left nostril are better defined and lines are added to the moustache and the hair.
In the 5th state (NH) the nostril is further defined and the mouth redrawn (thicker), a small scratch to the right of the nose is gone.
In the 6th state (NH/3rd state WB) diagonal cross-hatching is added to the shadow on the right temple. Diagonal lines are added to the left shoulder, just under the dark collar (difficult to see).
The 7th state (NH/4th state WB) is completely worked over with the graver by another hand. The hair is rounded out and brought down to the level of the moustache. The body has long left-to-right diagonals, making it much darker. The right cheek appears almost round.
In the 8th state (NH/5th state WB final) there is further shading on the right cheek, temple and forehead.
In the 9th state (NH) light horizontal strokes are added to the top of the nose and the left eye.
In the 10th state (NH) the plate was cut to 55 x 50 mm removing the blank strips.

Of the 1st state only two impressions are known, in the Bibliothèque Nationale and the British Museum.
Of the 3rd state also only two impressions are known, in the Rijksmuseum and in the British Museum.
Of the 4th state only one impression is known, in Budapest.

H 63, BB 30-Q, G 20, M 48, Mz 298, RA 56-60, Cl 15, W 15, Bl 222, Du 15, CD 278
Rembrandt by himself 1999, p. 131; Baas 2015, p. 70-71;

NH: 4th (a) state of X, WB: 2nd state of V
A good, contemporary impression of a state which is, according to Sotheby’s and confirmed by Hinterding, a sofar unknown state, in between states four and five (NH).
Two small stains to the right and under the right eye. Some larger stains verso.
Sheet 64/63 x 56 mm, thread margins of 1 to 2 mm all around (+4%).
No watermark, chain lines horizontal.

Rembrandt in Zwart-Wit, Museum Gouda, Jan ten Horne Museum (Weert), Stadsmuseum Harderwijk, July 2014 -August 2015; Stedelijk Museum Vianen, October 2017- January 2018;
Rembrandt in Black & White, Schloß Britz (Berlin), Chateau des Penthes (Geneva), November 2015 – October 2016;
Rembrandt, 17th century photographer, Daegu Art Museum (Korea), November 2023 – March 2024;
Rembrandt, de fotograaf, Westfries Museum (Hoorn), June 2024 – January 2025;