The plate was not part of any of the major collections and is almost certainly not in existence anymore.

Luke 2, verses 41-51
At the age of 12 Jesus travelled to Jerusalem with his parents for the Passover feast. When the parents prepared for the trip home, they assumed their Son was among relatives. But He was not and the parents had to search Him for three days. Eventually, when found in the temple, surrounded by wise men, He explained. “Did they not know that He had to take care of His Father’s business?” For some time the scene was regarded as another Flight into Egypt (by Gersaint and Bartsch), until first Daulby suggested and then Wilson identified it correctly.

We see a quite normal family on their way, father and mother holding hands of the Son in between them. A dog seems to be part of the family. Jesus is looking up, as if still in touch with His Father in heaven. There are some houses at the foot of the hill at right and what looks like a fortress on top of the hill. At the ramp of the bridge leading to the houses two men are in conversation. In the valley there is a group of shepherds with cattle and a horse. The long shadows, executed in drypoint with lots of burr, indicate that the it was already late in the afternoon.

Tümpel suggested that Rembrandt was inspired by an engraving by Schelte (ca. 1586-1659), which in turn was after a painting by Rubens.

In 1654 Rembrandt made a series of six etchings about the childhood of Jesus, of which this is the final one. They all have a roughly similar size, are stylistically comparable and follow the scriptures quite strictly. Is it a coincidence or not that, at the time he made this print, Rembrandt’s son Titus was also 12?

There is one copy (A) in the same direction , attributed to Dominique Vivant Denon, included in the Recueil de Basan, signed Rembrandt 1654. It is included in the collection “Rembrandt in B&W”, number 376 (102 x 175 mm, WB 1).
There is a copy (B) in reverse, signed John Burnet (97 x 142 mm, WB 2).

The etching is considered as special by Singer and Coppier.

One state only. Early impressions show much burr.

There are at least eight impressions on Japanese paper. There are counterproofs in the Fitzwilliam’s Museum, the British Museum, and the Bibliothèque Nationale.

In the 1st state: Foolscap with five-pointed collar (ca. 1656); Foolscap.

H 278, BB 54-F, G 54, M 244, Mz 231, RA 201-202, Cl 64, W 64, Bl 38, Du 70, CD 235, S 25.
Hinterding 2008, p. 129-130; Late Rembrandt p. 186;

New Hollstein/White-Boon: Only state
A very fine impression with much burr, indicating an early impression. There is horizontal wiping on the chest of Christ and a selectively wiped tone. A weak area on Joseph’s torso extending into the landscape at right is skilfully repaired
Sheet 98 x 148 mm, narrow margins of approx. 2 mm all around (+6%).
Watermark: Foolscap with five-pointed collar, variant G-b-a or G-b-b, dated 1656. Vertical chain lines at approx. 25 mm.

In the collection of Richard Dawnay, 10^th Viscount of Downe (1903-1965, Wykeham Abbey, Scarborough, Lugt 719a), his collector’s mark vaguely visible in the lower left corner verso; His sale with Sotheby’s London 26 November 1970, lot 63 (£ 3.800) to C.G.Boerner.
In the collection of the Hungarian chemical engineer Lesley E. Lancy (Subotica 1911-1996 Pittsburgh, Lugt 4796), her collector’s mark in red ink in the lower right corner verso;

Rembrandt in Zwart-Wit, Stadsmuseum Harderwijk, March-August 2015; Stedelijk Museum Vianen, October 2017 – January 2018;
Rembrandt in Black & White, Schloß Britz (Berlin), Bozar Expo (Brussels), Chateau des Penthes (Geneva), November 2015- October 2016;
Rembrandt, de fotograaf, Westfries Museum (Hoorn), June 2024 – January 2025;