The plate was probably in the collection of Clement de Jonghe (1679, as 61 de H. Familie). It was in the sale of Jean de Bary (1759, lot 50) and sold to Fouquet. It then became part of the set of plates subsequently owned and used for printing Recueils by Pierre-François Basan, Henri-Louis Basan (his nr 1391), Auguste Jean (ca 1809), Veuve Jean, Auguste and Michel Bernard (1846), Alvin-Beaumont (1906) and Robert Lee Humber (1937). It was sold at the Artemis sale in London (1993) to an unidentified bidder.

A mother is breastfeeding her child while a man, probably the father/Joseph, is sitting in the back, reading a book. Some have suggested that he is reading the Bible. Both parents are sitting in chairs. The furniture in the right background may be the frame of the bed, referring to the deed that made this picture possible. Note the sandal, loose of the mother’s left foot.

It is unclear whether the title given by Bartsch is correct because there are no indications that it is indeed the Holy Family. It could be just a picture of any household.

Rembrandt may have been inspired by a woodcut by Albrecht Dürer (B 90) or by an etching by Annibale Carracci (Münz).

Rembrandt made a painting of the same subject (Corpus 88, Bredius 544, now in the Alte Pinakothek) based on a drawing by Ferdinand Bol (now in Darmstadt) . It was originally dated in 1631, but has since been dated in 1634 and is therefore made after the etching.

There are two copies in reverse. Copy A is by Claude-Henri Watelet (74 x 57 mm, not traced by NHD, WB 2).
Copy B is by Dominique Vivant Denon signed RHL and den. 1783, included in Vivant Denon 1873 (94 x 70 mm, WB 1).

I. de Bruyn has incorrectly attributed this etching to Ferdinand Bol.
The plate is not by Rembrandt according to Singer.

The New Hollstein and most other authors list one state. Nowell-Usticke lists two states, both contemporary.
The 1st state (NU only) seems to show less shading in the space above and between the heads of Joseph and Mary. According to Nowell-Usticke one can see a trace of an arch there, which is also identified by Bartsch. Early impressions show much burr on and above Joseph’s left eye.
In the 2nd state (NU only) there is slight retouching to the right of Joseph’s profile. The burr on the eye is almost worn out. NH do not consider this a separate state.

Strasbourg lily;

H 95, BB 32-3, G 61, M 182, Mz 193, RA 204, Cl 66, W 66, Bl 33, Du 65, CD 63
Tümpel p. 61; Rembrandt’s Women 2001, p. 83; Rohde 2005, p.33; Hinterding 2008, p. 132-133;

New Hollstein/White-Boon: only state
A very good impression.
Sheet 127/125 x 97/100 mm, very broad margins of 11 to 15 mm at three sides, 17 mm at the bottom (+84%).
No watermark, horizontal chain lines at approx. 23 mm.

The Rotunda at Exchange Square, Hong Kong, January 2008
Rembrandt in Zwart-Wit, Westfries Museum (Hoorn), Het Markiezenhof (Bergen op Zoom), Stedelijk Museum Zutphen, Het Hannemahuis (Harlingen), Museum Gouda, Jan ten Horne Museum (Weert), Stadsmuseum Harderwijk, March 2013-August 2015;
Rembrandt in Black & White: Schloß Britz (Berlin), November 2015-February 2016;
Rembrandt, de fotograaf, Westfries Museum (Hoorn), June 2024 – January 2025;