The plate was not included in any of the early sales or collections and is almost certainly not in existence anymore.

The idea that this etching pictures a Jewish bride, already suggested by Valerius Röver in 1731 (as het Jooden bruitje) is based on the document in the right hand of the woman. It is supposed to be a ketubah in which the groom confirms his obligation to take care of his wife. Waiting for the groom, the bride is expected to have her hair hanging loosely. But others have suggested that the sitter is Saskia, either in a role as Sibyl or as Minerva (Valentiner) or as Queen Esther (Madlyn Kahr), waiting for a meeting with King Ahasveros.

Rembrandt made a drawing as a study for this etching (Benesch 292, now at the Nationalmuseum in Stockholm). Royalton-Kisch suggested that Rembrandt may have made this drawing when the first two states of the etching were already completed.
NH mentions the similarity with paintings of the female nude, like the Sophonisba (Corpus A94, in the El Prado, Madrid) and the Minerva (Corpus A114, in a private collection), both made in the same period.

There is a copy (B, of the head only) in the same direction by Ignace Joseph De Claussin (225 x 168 mm, WB 1).
There is a copy in reverse (A), by Rovinsky and Münz attributed to Ferdinand Bol, (135 x 97 mm, WB 2), by Bartsch attributed to Rembrandt and listed as nr 341.

The etching is considered as special by Wilson.
The plate was made by a pupil according to Coppier.
The plate is not by Rembrandt according to Michel and Singer.

As most other authors, NH lists five states, all contemporary. Nowell-Usticke lists one trial proof and three states.
In the 1st state (NH, WB, NU trial proof A) the lower half of the plate is unfinished.
In the 2nd state (NH, WB) the lower part is still unfinished, but shading is added to the forehead just above the left eye.
In the 3rd state (NH, WB/1st state NU) the lower part of the plate is completed. The date and initials are added. There are many more small alterations.
In the 4th state (NH, WB/2nd state NU) the hands are shaded with diagonal lines. There are many other lines added. The shirt now has a clear V-shape.
In the 5th state (NH, WB/3rd state NU) horizontal lines are added in the upper right corner of the stone wall, best visible in the highlight just right of the woman’s head.

Despite the fact that the first two states are clearly trial versions Rembrandt made a sizeable number of impressions. At least fourteen are still known.
Most impressions are of the 5th and final state.

In the 1st state: Single headed eagle with the Basel Crosier (1635);
In the 2nd, 3rd and 5th state: Strasbourg lily with BA (1635);
In the 4th and 5th state: Single headed eagle (c. 1635-37);
In the 5th state: Strasbourg lily with WR and cm IHS; Double headed eagle (1637); Strasbourg bend (1646); Arms of Amsterdam.

H 127, BB 35-C, G 311, M 108, Mz 90, RA 892-898, Cl 330, W 337, Bl 199, Du 329, CD 99
Rembrandt’s Women 2001, p. 113-115; De ‘joodse’ Rembrandt 2006, p. 59-60; Hinterding 2008, p. 240; Rutgers/Standring 2018, p; 67;

NH/WB: 5th and final state.
A fine, contemporary impression of the final state.
Sheet 219 x 165/166 mm, no margins, trimmed on or slightly within the platemark (-1%).
Watermark: Part of a double-headed eagle (Ash-Fletcher C.a, dated ca 1637), horizontal chain lines at approx. 23 mm.

Rembrandt in Black & White, Bozar Expo (Brussels), Chateau des Penthes (Geneva), February – September 2016;
Rembrandt in Zwart-Wit, Stedelijk Museum Vianen, October 2017 – January 2018;
Rembrandt, fotograaf avant-la-lettre, Museum De Reede (Antwerp), January – May 2023;
Rembrandt, 17th century photographer, Daegu Art Museum (Korea), November 2023 – March 2024;
Rembrandt, de fotograaf, Westfries Museum (Hoorn), June 2024 – January 2025;