The copperplate may have been in the sale by Clement De Jonghe (1679 as 34, buuren pratende). It was in the sale by Jean de Bary sale (1759 lot 50) and then in the collections of Claude-Henri Watelet (1718-1786). It became part of the set of plates subsequently owned and used for printing Recueils by Pierre-François Basan, Henri-Louis Basan (his nr 1408), 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) and is now in a private collection in the UK (Exhibited Rembrandthuis December 2009). Hammerton used the original plate in 1868 for an illustration to an article in Etching and Etchers.

The exact subject of this etching has always been unclear. In the catalogue of the De Burgy sale in 1755 it was listed (nr 315) as Drie Patriarchen, sprekende met een ‘die over de deur legt’, waar by een hondje (Three Patriarchs, talking with one leaning over the door, with a dog).
Blanc suggested that it may well show a discussion between Jacob and Laban. Jacob wanted to return to Canaan with his wives Leah and Rachel and his children, but his father-in-law tried to convince him to stay (Genesis 30, verses 25 – 34). Most authors do not follow him.

The dog in between the three men is clearly occupied with something of interest. A cat or some food?

There are three copies in reverse, one by Sardi signed Rembrandt f 1641 (1791, 157 x 130), an anonymous one with a bird flying away from the top of the house (138 x 111) and an anonymous one signed Rembrandt f 1641 (included in the 200 Etchings , 146 x 108).

The etching is considered as special by Coppier.

All authors list two states. From the 2nd state there are later impressions by Watelet, P.F. Basan, H.L. Basan, Jean, Bernard and Beaumont.
The 1^st state (R351) has strong left-right cross-hatching. The trunk of the tree seems bended. There are scratches in the background and a diagonal scratch under the ‘1’ of the date.
In the 2^nd state (R352) additional foliage is added with the drypoint at the right side opposite the arch, making the trunk look upright. In early impressions the shading behind the man in the arch is very dark. There are many thin lines (remnants of prior work?) in the background.
In later impressions by P.F. Basan the shading is still dark and visible, but in impressions by Jean (sometimes on greenish paper) there is wear in the shading and the scratch under the date is not visible anymore.
In impressions by Bernard and Beaumont (after Hammerton’s book print) there is a new left-to-right diagonal scratch left of the head of the man on the right.

Of the 1st state only six impressions are known.
The etching appears in the Recueil de Basan, impressions strong (NU).

The etching appears in the Recueil de Basan, impressions strong (NU).

Recueil de H.L. Basan – Page 4                  NH, WB: 2^nd and final state
A very good impression, the scratches in the sky only vaguely visible, the shading behind the man in the door still quite dark.

Recueil de A. Beaumont –  Sheet x           NH, WB: 2^nd and final state
A very good impression, the shading behind the man in the door is now some pretty light cross-hatching only.

In the 1st state: Basel crosier (1641-42).
In the 2nd state: Strasbourg lily (4 ed. 1642, 1652); Foolscap (2 ed.); Arms of Amsterdam (4 ed.); Arms of Bristol; Countermarks LAK and ZZ; Pro Patria (1699 and later).

H 183, BB 41-F, G 114, M 212, Mz 261, RA 351-352 , Cl 120, W 122, Bl 7, Du 119, CD 143
Hinterding 2008, p. 248-249;

New Hollstein/White-Boon: 2nd and final state
A good, almost certainly early impression. The scratches in the sky are well visible, the shadow behind the man in the arch is very dark. There is a diagonal crease across the right side of the print, mainly visible verso.
Sheet 143 x 116/114 mm, thread margins of approx. 1 mm at three sides, cut at the platemark at the top (= 0%).
No watermark, horizontal chain lines at approx. 24 mm.

In the collection of the Städtische Kupferstichsammlung Stettin (Lugt 2312d). Their stamp in brown ink and a duplicate stamp (box with text, not in Lugt) in black ink verso.

The Rotunda at Exchange Square, Hong Kong, January 2008.
Rembrandt in Zwart-Wit, Museum Gouda, July – September 2014; Stedelijk Museum Vianen, October 2017 – January 2018;
Rembrandt in Black & White, Chateau des Penthes (Geneva), June-September 2016;
Rembrandt, 17th century photographer, Daegu Art Museum (Korea), November 2023 – March 2024;
Rembrandt, de fotograaf, Westfries Museum (Hoorn), June 2024 – January 2025;