Slgn./Colls.: - Comte Moritz von Fries, 1777-1826 (L. 2903, ohne Stempel), Auktion C. S. Roos, J. de Vries..., Amsterdam, 21. Juni 1824.
- Baron J. G. Verstolk van Soelen, 1776-1845 (L. 2490, ohne Stempel), Auktion C. S. Roos, Amsterdam, 22. März 1847.
- Dr. H. Wolff, 1793-1875 (L.1393), Auktion F. A. C. Prestel, Frankfurt, 26. Nov. 1877.
- J. C. D. Hebich, 1818-1891 (L. 1250, ohne Stempel), Auktion Amsler & Ruthardt, Berlin, 23. Febr. 1885.
- Grossherzogl. Museum Weimar (L.2558), Auktion C. G. Boerner, 30. April 1921(?).
- Fürst zu Oettingen-Wallerstein, (L. 2715a, ohne Stempel), Auktion C. G. Boerner, Leipzig, 28. Mai 1935, Nr. 122: "Prachtvoller und brillanter €tzdruck, von seltenster Schönheit. Erster von fünf Plattenzuständen, vor der Schrift und vor der Einfassung. Wasserzeichen: Doppel-C. Das herrliche, breitrandige Exemplar der Sammlungen Fries, Verstolk, Wolff und Hebich. Von Dutuit besonders angeführt."
P. M. Robinow 1867-1945 (L. 2102, ohne Stempel), Auktion Gutekunst & Klipstein, Bern, 7. Nov. 1946, Nr. 12, "Of the greatest rarity in this first state: before the border-line and before all letters. Impression of the utmost beauty and , of the finest preservation, with very broad margins. On paper watermarked with the lotharingian double C. From de Fries, Verstolk, Wolff and Hebich collections and duplicate of the Weimarian print-room (the copy mentioned by Dutuit)."

First state of Jan Snellinx's portrait. Jan Snellinx was court painter for the Archduke Albrecht and the Infant Isabella as well as for Count Mansfeld and did mainly historical and battle paintings, and mostly worked for wallpaper manufacturers. Returning from Italy, Anthony van Dyck set about etching 18 portraits of contemporaries, mainly artists that surrounded him. The portraits were intended to be sold individually. At the suggestion of publisher Martinus van den Enden, van Dyck drew another eighty portraits, which were executed from 1636 onwards in close collaboration with renowned etchers of the time. The older 18 portraits were integrated to this new series, of them retouched and modified. For some, including the portrait of Jan Snellinx, a completely new plate was created for the "Iconography". Brilliant, almost radiant impression on large paper with the Mauquoy-Hendrickx watermark of the double C with the Lotharingian cross.