The copperplate was probably in the sale by Clement de Jonghe (1679, as 12 oude Persiaan). It later appeared in the sale by Pieter de Haan (1767, lot 46) and was sold via Fouquet to Claude-Henri Watelet. It then became part of the set of plates subsequently owned and used for printing Recueils by Pierre-François Basan, Henri-Louis Basan (his nr 1420), Auguste Jean (ca 1809), Veuve Jean, Auguste and Michel Bernard (1846), Alvin-Beaumont (1906) and Robert Lee Humber (1937). It was sold at the Artemis sale in London (1993) and is now in a private collection in the USA.

When drawing this exotic person, in the 18th century called Het Persiaantje, Rembrandt may have been inspired by the large number of foreigners that could be seen in the port of Amsterdam.
Considering the many copies made of this print, it was clearly a popular one at the time.
The etching can be seen as an extension of the ones he made about beggars and street folk in the three years before this one. He seems to be using more sophisticated subjects.

In the catalogue of the De Burgy sale in 1755 the print was called Een wandelend Heer, in een vreemd gewaad, met een Ridderorden om de halz en een stok in de hand (A gentleman walking, in a strange garment, with a Knight’s order around his neck and a stick in his hand).

The popularity of the print is showing in the eleven copies listed by NH. Five of these are in the same direction. Copy C is anonymous, inscribed Rembrunt (125 x 76 mm, WB 3). Copy E is anonymous, signed Rembrandt f and B-d-g (110 x 71 mm, WB 1). Copy F is anonymous, inscribed R 16. (119 x 87 mm). Copy H is signed and dated by Bernard Rottiers, 1807 (105 x 80 mm). Copy K is anonymous, signed Rt 1632 (the two last numbers reversed, 106 x 78 mm, WB 2).
There are six copies in reverse. Copy A is signed by Johannes de Ram (two states, 99 x 92 mm, WB 5). Copy B is an early anonymous copy, inscribed RHL 1632 (two states, 123 x 88 mm, WB 6). Copy D is by John Holland, signed and dated JH f 1756 (129 x 97 mm). Copy G is by Costantino Cumano, inscribed Rt inv. Cumano sc (131 x 85 mm, WB 4). Copy I is signed and dated G.J.Orr 1807 (122 x 88). Copy J is signed and dated E.Girling 1819 (111 x 76 mm).

The etching is considered as special by Bartsch, De Claussin, Wilson and Singer.

NH lists three states, only the first by Rembrandt. Most other authors list one state only, Nowell-Usticke four, from his 2nd state there are later impressions by P.Basan, H.L.Basan, Jean, Bernard and Beaumont.
In the 1^st state (NH, WB final, R437, NU) the right hand outline of the cane is a fine etched line. In early impressions the edges are inky, the upper right corner is square.
In the 2^nd state (NH, NU P.Basan, H.L. Basan) the outline of the cane is strengthened with two short strokes in the right hand. The bottom front fold of the cape at left shows a small amount of white between it and the back of the cape.
In the 3^rd state (NH, NU Jean) there is considerable retouching, very skilfully done (NU). The small white space below the front of the coat at left is now covered with shading.
In the 4^th state (NU Bernard, Beaumont) the entire plate is rebitten, giving it a fine strong appearance. There are strong parallel lines of shading on the fur of the cloak.

Nowell-Usticke considers the impressions in the Recueil de Basan to be quite strong.

H 93, BB 32-A, G 145, M 91, Mz 123, RA 437, Cl 149, W 150, Bl 105, Du 148, CD 66
Hinterding 2008, p. 292-293;