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

Early in his career Rembrandt used self-portraits to master the technique of etching. Around 1629 he started to experiment with light and shadow, as he did in his early paintings. This is one of those ‘test-pieces’. Rembrandt was at the age of 24 when he made this self-portrait. He is not trying to hide the imperfections in his face, like the thick nose and the short beard. In fact, these elements are sharpened by the light coming in from left. Which is quite unusual in etchings by Rembrandt.

There is a great similarity with a drawing in the British Museum (Benesch 53), and a painting Self-portrait with a gorget (Corpus A21, HdG 544 in the Mauritshuis,) dated 1629, of which a copy is in the Germanisches Nationalmuseum in Nürnberg. Both show a pose and a face half in the shadow similar to this etching. In all three works the light comes from the left.

There are three copies in the same direction. A is by David Deuchar (55 x 47 mm, WB 1), C is a large one by Ignace De Claussin (two states, 208 x 265 mm, WB 3) and D is a small one by the same artist (87 x 78 mm, WB 2, not traced by NH).
There are two copies in reverse. B is by David Deuchar signed Rt (60 x 53 mm, WB 4).
There is also a large copy in reverse, not included in NH, inscribed Ciartres excudit. L’Eunuque de la Reyne de Candaces (220 x 184 mm., WB 6).
A large copy in reverse by van Vliet (1634, 223 x 187 mm, WB 5) is in fact a copy of a painting Self-portrait with a dark face in the Rijksmuseum (1634, Corpus A14), according to Hinterding.

The plate is not by Rembrandt according to Singer.

Most authors list two states, Nowell-Usticke lists one trial proof and one state. All states are contemporary.
In the 1st state (NH, WB, R1/NU trial proof) the plate edges are uneven.
In the 2nd state (NH, WB, R2/NU 1st state) the plate is slightly trimmed.

An impression of the 1^st state (trial proof NU) in the Rijksmuseum is retouched with black chalk.
Four more impressions of the 1^st state (ao in the Bibliothèque Nationale and the Albertina) are listed by WB but not by NH.

H 33, BB 30-11, G 2, M 51, Mz 9, RA 1-2, Cl 1, W 1, Bl 204, Du 1, CD 37
Rembrandt by himself 1999, P. 118; Hinterding 2008, p. 41; Baas 2015, p. 30;

NH/WB: 2^nd state of II.
A very good, contemporary impression. The clean edges suggest a 2^nd state.
Sheet 57 x 49/50 mm, no margins, cut on or slightly within the platemark (+4%).
No watermark, vertical chain lines at approx. 21 mm.

In the collection of Nathaniel Smith, a sculptor and print-dealer in London (c. 1741-c. 1809, Lugt 1988 and 2289). His initials and No 2 in brown ink verso.
Probably in one of the six auctions of his estate in London between 1803 and 1809, in which more than 3000 pieces of art were sold.

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), Chateau des 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;