This unusually well-preserved portrait of an Amsterdam ebony worker, and its pendant Portrait of Baertje Martens in the Hermitage, St. Petersburg, were cited in wills made by Doomer's wife in 1654, 1662, and 1668. She describes the two pictures as "by Rembrandt van Rhijn" and leaves them to her son, Lambert Doomer, providing that he paint copies for his brothers and sisters. A pair of copies by the younger Doomer (who was Rembrandt's pupil about 1640–44) are in the Devonshire Collection at Chatsworth. It has been suggested that the exceptional quality of the Doomer portraits was a collegial gesture, although the same standard is found in the Ellsworth Portrait of a Man (64.126) and several other portraits painted by Rembrandt during the 1630s.

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