The copperplate was in the sale by Jean de Bary (1759, lot 40) and sold to Hendrik Busserus. It was then reworked in mezzotint, according to Hinterding probably by Pieter Louw (1725-1800) and not by Capt. Baillie as other authors suggested. The plate was not seen since then and is probably lost.

Despite the fact that several authors, starting with Blanc, noticed that the face of the ‘student’ looks suspiciously similar to that of Rembrandt himself, neither the subject, nor the scenery are the most debated aspects of this etching, The real debate is about a very deceptive copy included in a 17th century book on the Bible by Schabaelje. Many authors assumed this to be a new state of the original. Some authors even described up to eight new states. Finally, in 1935, O.H.Barnard made clear how the Rembrandt original could be recognized by some saw traces in the left margin and by ‘little balls’ under the candlestick. The copy can also be identified with the lower outline of the chin which is exactly equidistant from the top and lower margins, whereas in the original the chin is 2 mm above the centreline.

The copy that created the confusion is in the same direction (copy A). It is included in a book by Jan Philipszn Schabaelje, Den Grooten Emblemata sacra bestaande in meer dan vierhonderd Bijbelse figuren, published in 1654 (146 x 129 mm, WB 1).
There are two copies in reverse. Copy B is signed by Johann Georg Hertel, inscribed Rembrandt (his nr 277-3, 141 x 128 mm, WB 2). Copy C is anonymous (150 x 119 mm).

The etching is considered as special by Wilson.
The plate is not by Rembrandt according to Seidlitz, Campbell Dodgson and Singer.
Münz thinks that Ferdinand Bol provided assistance in finishing the plate, considering that the execution is inferior to that of another night piece, St. Jerome in the dark chamber (B105).

NH lists two states, of which the second not by Rembrandt. Most other authors list one state for the original plate, Nowell-Usticke lists three states for the original plate and two for the copy by Jan Philipszn Schabaelje.
The 2^nd state (NH/3^rd state NU) is the posthumous, reworked version in mezzotint. Other authors do not see this as a separate state.
In the 1^st state of the original (NU) the top of the cap curves gently in the middle.
In the 2^nd state of the original (NU) the right edge of the flame is outlined.
According to Barnard and Nowell-Usticke the six states described by Rovinsky are all variations in printing of the copy. NU provides an explanation of the process.

A special impression in the collection of Paul Mariette shows a signature and the year 1646, but the plate is probably older.

In the 1st state: Arms of Amsterdam (4 ed.), Strasbourg lily (2 ed., c. 1652), Foolscap with five- and seven-pointed collar and Words.

H 202, BB 42-6, G 110, M 276, Mz 260, RA 419-427, Cl 145, W 146, Bl 112, Du 144, CD 319
Hinterding 2008, p. 286ff; Kroniek 2016, p. 62-64;

NH: 1st state of II/WB: only state
A well-inked , good impression on thin laid paper.
Sheet 150/149 x 132/134 mm, thread margins of 1 mm (+ 2%).
No watermark. Vertical chain lines at approx. 23 mm.

Rembrandt, de fotograaf, Westfries Museum (Hoorn), June 2024 – January 2025;