The plate was not part of any early collection or sale and is probably lost.

Hunting scenes were very popular in the 16th century, well-known through the prints by Philips Galle and Adriaan Collaert. In this version of the lion hunt the hunters are in serious trouble. Rembrandt has probably used the same plate earlier, since an Unknown object is visible in the centre of the upper margin and early impressions show semi-circular burnishing in the background. These could also be the result of polishing the remains of an earlier drawing by Rembrandt. Hinterding has suggested that the acid has bitten under the protective layer of wax in various places. The free style that Rembrandt uses in various etchings of this period (see also B 116 and B 117) is typical for this stage of development in which he had just acquired his own printing press and was experimenting, in particular with a new, softer coating.

Rembrandt made the three lion-hunt etchings (B114-B115 and B116) when still in Leyden. He had probably not seen any real lions at that time. After moving to Amsterdam he made at least seven drawings of lions in 1642 and in 1648-50. Compared with the etchings, the drawings are more natural and authentic. By that time Rembrandt must have been able to see them alive. Several of these wild animals were imported by VOC-ships and shown to the public.

One of the drawings was in the Leyden collection of Thomas Kaplan. It was auctioned at Sotheby’s New York on 4 February 2026 and sold for ca. $ 18 mill.

Lions are also visible in five etchings, in combination with Saint Jerome. With the same ‘steps in maturity’. In three early works (B100, B101 and B102, 1632-1635) they are hardly recognizable as lions, in the two later ones (B 103 and 104, 1648 and 1653) they resemble the lions in the drawings.

As is the case for two other etchings of this subject (B 114 and 116) the composition is almost certainly based on a series of engravings by Antonio Tempesta (1555-1630). The inventory-list of 1656 proves that Rembrandt had four albums by Tempesta in his possession. Münz points at the similarity with Tempesta BXVII, nr 1132, in particular the horseman on the left.

There is a copy in the same direction by Leopold Flameng in Blanc’s catalogue 1859-61 I p.299(131 x 102 mm, WB).

The New Hollstein, as most other authors, lists two states, both contemporary. White-Boon lists one state only.
In the 1^st state (R346) the plate is not yet trimmed (156 x 126 mm) and the edges are irregular and inky.
In the 2^nd state (R347) the plate is trimmed (154 x 121 mm), especially at the right and the edges are cleaned. WB do not consider this to be a separate state.

Of the 1st state only two impressions are known, in the Kupferstichkabinett in Berlin and in the British Museum.

An early impression in the British Museum has a Serpent watermark, which was used in other prints around 1630. Other watermarks are Arms of Burgundy and Austria (1629-30), Double-headed Eagle (1632-34), Strasbourg bend, Strasbourg Lily (1635) and Foolscap with five-pointed collar (5 ed. 1639-40 and 1651)

H 180 BB 41-3, G 113(2), M 273, Mz 252, RA 346-347, Cl 117, W 119, Bl 87, Du 116, CD 148
N.Beets, ‘Herscheppingen’ in the Feestbundel Bredius, 1915, p. 1-7; Hinterding 2006, p. 282; Hinterding 2008, p. 244-45; Rembrandts Radierungen 2011, p. 24-25;

New Hollstein: 2nd and final state/White-Boon: only state
A very good, contemporary impression. A few minor spots in the upper right corner.
Sheet: 160 x 126/128 mm. Margins of 3 mm at top and right, 2 mm at bottom and left (+3%).
Watermark: Foolscap with a five-pointed collar (Ash/Fletcher 19 I.a.), similar to a watermark in an impression in the Rijksmuseum. Vertical chain lines at 24 mm.

In the collection of Peter Gellatly (Essex 1831-1912 London, Lugt 1185) his collector’s mark in black ink, verso.
In the collection of Gottfried Eissler (1862-1924, Vienna, Lugt 805b) his collector’s mark in reddish ink, verso.
Probably is his sale with C.G.Boerner in Leipzig in November 1921.
In the collection of Carl and Rose Hirschler (1871-1941, Haarlem, Lugt 633a) their mark in purple ink, verso.

Rembrandt in Zwart-Wit, Westfries Museum (Hoorn), Het Markiezenhof (Bergen op Zoom), Stedelijk Museum Zutphen, Het Hannemahuis (Harlingen), March 2013-August 2015; Stedelijk Museum Vianen, October 2017 – January 2018;
Rembrandt in Black & White, Chateau des Penthes (Geneva), June – October 2016;
Rembrandt, de fotograaf, Westfries Museum (Hoorn), June 2024 – January 2025;