The copperplate may have been in the collection of de Haan (1767, not listed in the New Hollstein) but it was not in later sales or collections and is probably not anymore in existence.

This etching is one of the most striking self-portraits in which only the shadowed areas are worked out in detail. The light comes in from the left, which is quite unusual. Although it dates from the same period it is not one of the experiments in facial expressions.
The hat in this etching is probably added later, as it is clearly etched on top of the hair. However, no impressions have been found without the hat to confirm this theory.
The type of coat is a 16th-century version, long out-of-fashion in Rembrandt’s days. It may have served the owner as a warm coat in a cold studio, since it appears in several other portraits of this period as well. Two of these coats were part of his inventory in 1656. The fur, shown in the hat as well as the coat, was a luxury item. Rembrandt excelled in depicting the texture in his paintings.

NH lists eight copies, of which only one (copy F) in the same direction, by Christian Ludolph Reinhold, inscribed Rembrandt pi and included in his publication in 1786 (83 x 78 mm).
There are seven copies in reverse. Copy A is by Johann Georg Hertel, inscribed Rembrandt del (his nr 5,two states, 92 x 69 mm, WB 4).
Copy B is by Honoré Coussin, with the head only, inscribed Rembran (two states, 90 x 69 mm).
Copy E is by Claude-Henri Watelet, signed and dated (vertically) Rimbrand inuenit – C.H.Watelet sc aqua forti anno 1758 (three states, 1758, 74 x 108 mm, WB 1).
There are four more anonymous copies in reverse.

The plate was made by Rembrandt and Jan Lievens according to Coppier.

NH lists six states, most other authors three, Nowell-Usticke one trial proof and four states.
The 1st state (NH, WB, R92/NU trial proof) is the large plate with the monogram and date below centre.
In the 2nd state (NH, WB, R93/1st state NU) the plate is reduced, the monogram and date are moved to the upper left corner.
In the 3rd state (NH, WB, R94/2nd state NU) the plate is further reduced, the monogram and date are still in the upper left corner.
In the 4th state (NH/3rd state WB, R95/3rd state NU) the plate is reworked with the burin. The monogram and date are still in the upper left corner.
In the 5th state (NH) the plate is further reduced, the monogram and date are still in the upper left corner.
In the 6^th state (NH/4^th state WB final, R95/3^rd state NU) the plate has been cut on all sides by approx. 0,5 mm. The corners are now square. Light horizontal scratches appear in the background.
In the 5^th state (H, NU) the scratches in the background are gone. A vertical line along the upper left side is gone, the corners are rounded again.

Of the 1st state (NU trial print A) only one impression is known, in the Rijksmuseum (R92).

H 29, BB 30-L, Y 11, M 27, Mz 8, RA 92-96, Cl 24, W 24, Bl 226, Du 24, CD 31
Rembrandt by himself 1999, p. 124; Rembrandt creates Rembrandt 2000, p. 116; Hinterding 2008, p. 66-67; Baas 2015, p. 42;

New Hollstein: 6th and final state/White-Boon: 4th and final state.
A very good, contemporary impression.
Sheet 62/61 x 52 mm, no margins, cut on or slightly outside the platemark (+3%).
No watermark, vertical 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;
Rembrandt, 17th century photographer, Daegu Art Museum (Korea), November 2023 – March 2024;
Rembrandt, de fotograaf, Westfries Museum (Hoorn), June 2024 – January 2025;