The copperplate was with Joost de Reyger, a printer in Amsterdam (born 1655), who made at least one impression.
According to Biörklund it was then probably acquired by Adriaen Schoonebeek (1657-1705). It has been lost since and is probably not in existence anymore.

Around 1635 Rembrandt made four portraits of (so far) unknown men. They were named ‘the oriental heads’, although there is no good reason for that name.

It is known that Rembrandt used examples made by his friend and workshop companion Jan Lievens for the first three Oriental heads. This fourth one is a copy (in reverse) of one of Lievens’ plates (B26, Holl. 44). Rembrandt started by copying the picture and then added a beard, a moustache and hairs on the right side of the face, highlighting the profile.

NH lists six copies of which three in the same direction. Copies D and E are anonymous (resp. 151 x 99 mm, WB 4 and 55 x 38 mm, WB 2, not traced by NH). Copy F is a woodcut by Antoine Alphée Piaud (83 x 63 mm, WB 1, not traced by NH).
There are three copies in reverse. Copy A is anonymous (121 x 93 mm). Copy B is anonymous, from Denon’s workshop (130 x 108 mm). Copy C is signed by Constantino Cumano, inscribed Rt (158 x 124 mm, WB 3).

The etching is considered as special by Rovinsky.
The plate was made by a pupil according to Hind, Dutuit and Singer.
The plate is not by Rembrandt according to Seidlitz, Michel and Campbell Dodgson.

NH lists six states, the final three not by Rembrandt. The 1st and 6th state are ‘new’. Most other authors list three states, Nowell-Usticke one trial proof and three states. His 2nd and 3rd state are not in the correct order.
In the 1st state (NH only) there is foul biting on the sitter’s left shoulder. There is now shadow in the lower right corner, just as in the original by Lievens.
In the 2nd state (NH/1st state WB, R781/Trial proof a NU) the foul biting is covered by lines. There are several other small changes.
In the 3rd state (NH/2nd state WB, R782-783/1st state NU) a lock of hair is added below the tip of the noseº and some hairs to the chest. Shading is added in several places.
In the 4th state (NH/3rd state WB final) the name of the publisher I. De Reyger exc. is added. Some accidental marks are added, like just right of the monogram.
In the 5th state (NH/2nd state NU) the name Adr Schoonebeeck Exc is added.
In the 6th state (NH only) the inscription in the lower right corner is replaced by the number 8.

The only impression of the 1st state is in the Bibliothèque Nationale.

In the 3rd state, six editions: Strasbourg lily with BA (2 ed., one 1635); Foolscap with five-pointed collar with cm LB (c. 1650); Arm of Ravensburg; Foolscap with seven-pointed collar; Paschal lamb.
In the 4th state: Foolscap with seven-pointed collar.

H 134, BB 35-5, G 267, M 125, Mz 55, RA 781-783, Cl 286, W 291, Bl 255, Du 286, CD 268.
Broos 1985, p. 22; van Straten 2005, p. 180-184; Baas 2015, p. 126-127;

NHD: 3rd state of VI/WB: 2nd state of III.
A good, contemporary impression. The lock of hair under the nose is visible, the name of the publisher is not yet added, indicating a 3rd state (NHD).
Sheet: 155 x 137 mm, thread margins of approx. 1 mm at both sides, cut at the platemark top and bottom (=0%).
Partial watermark: the three balls of a Foolscap, turned 90°. Horizontal chain lines at approx. 23 mm.

Rembrandt, 17th century photographer, Daegu Art Museum (Korea), November 2023 – March 2024;
Rembrandt, de fotograaf, Westfries Museum (Hoorn), June 2024 – January 2025;