The watermark, dated by Briquet around 1542 at the earliest, suggests that this is a somewhat later impression. The appearance of the rustmarks - around the monogram in the upper left corner and on the chest and sleeve of the Turkish man in the right foreground, but not on the roof, path or meadow - however do not fit Meder's descriptions of the different printing campaigns. It appears that this is indeed a later, but very carefully inked and printed impression. Whoever printed it seems to have paid great attention to inking and wiping the plate, thereby avoiding the majority of the rustmarks to show on the paper.

Remarkably, the present impression has been in the same collections as an early impression of another iron etching by Albrecht Dürer, The Desperate Man (B. 70; M., Holl. 95; SMS 79), sold at Christie's in New York in 2013 (Albrecht Dürer, Masterpieces from a Private Collection, 29 January 2013, lot 51). Both bear a very similar number recto (the Desperate Man was numbered 102) and the same small initial S in a Circle, stamped in blue at the lower sheet edge. Unfortunately, neither of these two provenances have so far been identified.