The copperplate was probably in the collection of Clement de Jonghe (1679, as 31 Vrouwtje ande putt). The next, anonymous owner added two dots (ca. 1700). It later appeared in the sale of Pieter de Haan (1767, lot 24) and was sold via Fouquet to Claude-Henri Watelet (1717-1786). It became part of the set of plates subsequently owned and used for printing Recueils by Pierre-François Basan (1723-1797), Henri-Louis Basan (his nr 1394), Auguste Jean (ca 1809), Veuve Jean, Auguste and Michel Bernard (1846) and Robert Lee Humber (1937). It was sold at the Artemis sale in London (1993) to Dr H.Berger (Beverly Hills). In 1998 the plate was used to produce approx. 2500 prints as the Millennium Impressions. In 2003 it was sold, together with seven other plates, to Park West Galleries in Southfield, Michigan. They actively marketed impressions of this plate and probably printed many more. For more details see the separate chapter on the Millennium Impressions.

John 4, verses 5-42
This etching shows the moment when Jesus is on his way to Galilea, passing through the town of Sychar, visible in the background. Sychar is in the centre of the non-Jewish area of Samaria. A Samaritan woman stands near the well of Jacob. Jesus asks her for some water and starts a conversation with her. Since he seems to know her full history she recognizes him as the Messiah.

Note the hand with the five fingers. Rembrandt has obviously chosen the moment when he tells her that she had five lovers.

In the background at the right side three of His disciples are watching the scene, surprised that he talks to a Samaritan woman since Samatarians were not exactly friends of the Jews.

The scene was painted by many artists before Rembrandt and he may have used their examples for the figures shown here. Like a painting by Giorgione which was in his inventory in 1656 (co-owned with Pieter de la Tombe), although it is not sure he already owned it in 1634.
He may also have known a woodcut by Francesco de Nanto after Girolamo da Treviso.
Münz points at an engraving by Girolamo Olgiati made in 1570.

Twenty-four years later Rembrandt made another etching of this story (B 70), showing the moment He reveals His identity.
Rembrandt made a drawing of the same subject (Benesch 978), now in the Ashmolean Museum in Oxford.
And possibly two paintings, of which the authenticity is under discussion (in 1655 now in New York and in 1659, now in Berlin).

The New Hollstein lists eleven copies of which three in the same direction. Copy A is by Danckerts’ workshop, inscribed Rembrandt (two states, 121 x 109 mm). Copy E is by James Bretherton, signed at the top right Rembrandt f 1634 (120 x 106 mm). Copy H is anonymous (112 x 98 mm).
There are eight copies in reverse. Copy B is signed I.Tangena excudit (200 x 291 mm). Copy C is signed Johann Georg Hertel, inscribed Rembrandt.del. (122 x 101 mm). Copy D is by John Smith of Chichester, signed in reverse Rembrandt f 1634 (118 x 107 mm). Copy G is by Cochin inscribed Rembrandt f 1634 (119 x 103 mm). Copy I is by Charles Michel Campion, inscribed Rembrandt f 1634 (127 x 105 mm). Copy J is a woodcut by John Jackson (1839, 90 x 81 mm). Copy K is a woodcut by Predhomme after a drawing by Louis Marvy, inscribed Rembrandt f 1634 (121 x 107 mm).

The etching is considered as special by Bartsch. The plate is not by Rembrandt according to Singer or made by a pupil according to Coppier.

The New Hollstein lists five states, only the first by Rembrandt. The 2nd state (two dots) is ‘new’. Most other authors list two states, Nowell-Usticke four. From his 2nd state there are later impressions by Watelet, P.Basan, H.Basan, Jean, Bernard and Beaumont.
In later impressions of the 1st state (R224) two fine horizontal lines run across the open space at the top and some very fine vertical lines of shading above the left half of the small dark window at the top. A similar line runs across the foot of the plate.
In the 2nd state (NH) an unknown owner has added two dots in the upper right cornerº. There is a diagonal left-right slipped stroke in the centre of the blank space below the well.
In the 3rd state (NH/2nd state WB, NU, R225) the shadows are reworked with a rocker, like on the left edgeº, above the outstretched arm of the womanº and below Christ’s right elbow°. The fine lines of the 1st state are gone, the slipped stroke of the 2nd state is worn out. In later impressions the plate is badly worn, especially in the shadows of the arch. Hinterding considers this state to be a repair state, not by Rembrandt.
In the 4th state (3rd state NU) the plate is completely reworked. The inner wall of the well shows strong crosshatching. The patch above Jesus left foot is plain and unshaded (looks like two left feet). The vertical shading above the head of the woman is goneº. There are several vertical scratches in the right upper blank space, three of those just below the date.
In the 5th state (4th state NU) the plate is again reworked, heavy black shading sharply separates the upright from the pulley*. The diagonal stroke is still visible.

A counterproof of the 1st state is in the Bibliothèque Nationale.
There is one impression of the 2nd state in the museum in Cracow.
An impression on Japanese paper of the 3rd state is in the Ashmolean Museum in Oxford. An impression of the 3rd state in the Rijksmuseum is printed in red ink.
The etching appears in the Recueil de Basan, impressions fair (NU).

B&W 54 – Recueil de Basan – Page 14                    NH: 3rd state of V/WB: 2nd and final state
The two dots clearly visible, but not the vertical lines under the signature, confirming a 3rd state.

B&W 206 – Recueil de Beaumont – Sheet 26        NH: 5th and final state/WB: 2nd and final state
A quite good impression. The shaded areas are dark, showing hardly any details.

In the 1st state: Double-headed Eagle (c. 1637); Arms of Ravensburg.
In the 3rd state (2nd state WB) various later watermarks are found.

H 122, BB 34-L, G 72, M 195, Mz 201, RA 224-225, Cl 75, W 75, Bl 46, Du 73, CD 85 Rembrandts passie, p. 100-102;
Rembrandts passie, p. 100-102; Tümpel 2006, p. 64-65; Tromp & Maas 1999, p. 133-144; Hinterding 2006, p. 263; Hinterding 2008, p. 149; Rembrandts Radierungen 2011, p. 48-49;

New Hollstein: 1st state of V/White-Boon: 1st state of II
A very good impression. The two dots, the slipped stroke and the fine lines are not visible, indicating an early impression of the 1st state.
Sheet 121/120 x 106/110 mm, thread margins of c. 1 mm all around (=0%).
Partial watermark: the three balls of a foolscap (not listed by NH). Horizontal chain lines at approx. 24 mm.