The copperplate was probably in the sale by Clement de Jonghe (1679) as 2 praatertjens an de deur. It later appeared in the sale by  Pieter de Haan (1767, lot 50) and was sold via Fouquet to Claude-Henri Watelet (1718-1786). It then 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 1425), 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) and is now probably in a private collection in the USA.

Around 1630 Rembrandt etched a series of individual beggars. Years later he returned to the subject, but now in a group, showing real scenes of daily 17th century life. Here we see a family receiving alms from a more fortunate family. Only recently Kahren Jones Hellerstedt identified the man as a hurdy-gurdy player, probably blind.

By leaving the right part of the plate almost empty, Rembrandt creates depth.

There is a drawing with a similar scene (Benesch 749, now in the Amsterdam Museum).

NH lists no fewer than eighteen copies, of which seven in the same direction. Copy D is by Capt. William Baillie, signed Rembrandt f. 1648 (164 x 126 mm, WB 1). Copy F is an unfinished one by Dominique Vivant Denon, signed Rembrandt f. 1648 (170 x 125 mm, WB 2). Copy I is an anonymous copy signed Rembrandt f. 1648 (160 x 126 mm, WB 4). Copy L is signed J.A. Boland and inscribed Rembrandt f. 1648 (190 x 144 mm). Copy M is anonymous, signed Rembrandt f 1648 (166 x 111 mm, WB 3). Copy N is anonymous (175 x 114 mm). Copy R is a litho (erroneously listed as ‘in reverse’ by NHD), signed G.Engelmann and La Charites (190 x 145 mm).
There are eleven copies in reverse. Copy A is by Maria Boortens (1658, 165 x 133 mm, WB 7). Copy B is by Abraham Hume, with the female fugure only, signed AHb 1769 (136 x81 mm). Copy C, with mezzotint and drypoint, is by Jean Claude Richard de Saint-Non, inscribed Rimbrand inv (161 x 135 mm). Copy E is anonymous, in combination with a copy of NHD 224 (162 x 117 mm). Copy G is signed Francesco Novelli inci (two states, his nr 18, 185 x 135 mm, WB 5). Copy H is anonymous, signed Rembrandt f. 1648 (161 x 116 mm). Copy J is also anonymous, inscribed Rembrandt f. 1648 (170 x 126 mm, WB 4). Copy K is signed twice W.H.Hunt 1831 (165 x 131 mm, WB 6). Copy O and P are anonymous (resp. 165 x 124 and 162 x 117 mm). Copy Q is by Elisabeth Russell, signed ER (151 x128 mm). Copies A and J are erroneously listed in NHD as ‘same direction’.
An etching with mezzotint in the same direction, signed and dated by A. Mosser, is not listed by NH or WB (1892, 170 x 132 mm). An impression is included in the collection “Rembrandt in Black & White”, nr. 325.

This particular etching is widely considered one of the best etchings and considered as special by Bartsch, Coppier, Rovinsky, De Claussin, Wilson, Blanc and Singer.
Its popularity is shown in the large number of copies made by other artists over a long period.

NH lists five states, only the first by Rembrandt. Most other authors list three states, Nowell-Usticke six. From his 3rd state there are later impressions by Watelet, P.Basan, Basan, Jean, Bernard and Beaumont. There are substantial differences in the descriptions of the states.
In the 1st state (NH, WB, R505) the shading on the doorpost right of the almsgiver is uneven (NU). The dark opening of the doorway above the almsgivers cap is filled by open crosshatching. Early impressions show much burr on the stick and on the back of the boy’s hat. Two left-to-right scratches are visible under the left foot of the boy (NU).
In the 2nd state (NH, WB, NU/also 3rd state WB final, NU) many light lines are added by use of the rocker. Like on the left doorpost near the head of the giver and vertical lines in the arch above the doorpost°. The shadow on the knickers of the boy is strengthened by horizontals. The thin scratches under the feet are not visible anymore (NU).
In the 3rd state (NH/4th state NU, P. & H.L. Basan?) the shadow right of the giver’s face is strengthened with horizontal lines°.
In the 4th state (NH/5th state NU, Basan, Jean) the plate is completely retouched. Horizontal lines are added to the shadow in the arch°. A diagonal right-to-left scratch appears between the baby and the right border°.
In the 5th state (NH/6th state NU, Bernard, Beaumont) the plate is again reworked. There is horizontal shading in the dark shadow above and to the right of the right boy’s foot and shading to the right of the man’s nose.

Of the 1st state there is an impression on Japanese paper in the Albertina and counterproofs in the Rijksmuseum and the Bibliothèque Nationale. According to Hinterding this raises doubts about the contemporary status of later states.
The 2nd state of WB is only known from one impression formerly in the collection of Viscount Downe (Wykeham) and sold at Sotheby’s NYC, 7 December 1972, lot 156. It is probably not a separate state.
There is an impression in red ink of the 2nd state (NH) in the Fogg Art Museum in Cambridge (Mass).
Nowell-Usticke considers the impressions in the Recueil de Basan to be very good.

In the 1^st state: Strasbourg lily (2 ed. one dated c. 1648), also with cm WK’(c. 1652); Foolscap with five pointed collar; Foolscap.
In the 2^nd state: Foolscap with seven-pointed collar; Strasbourg lily.
In the 3^rd state: Various later ones.

H 233, BB 48-C, G 170, M 287, Mz 271, RA 505-507, Cl 173, W 173, Bl 146, Du 172, CD 188
Rembrandt’s Women 2001, p. 198; Rohde 2005, p. 127; Hinterding 2008, p. 325;

NH: 3rd state of V/WB: 3rd state of III.
A very good, probably somewhat later impression on thin laid paper. Much sharper than the impression in the Recueil. It could be a print by Watelet or from the first Recueil of P.Basan. The shading to the right of the man’s nose is present, but not the horizontal lines on the lower part of the arch, indicating a 3^rd state (NH, 4^th state NU). A small repair behind the head of the infant.
Sheet 167/168 x 133/131, thread margins of 1 to 2 mm all around (+ 5%), slightly irregular at the left side.
No watermark, horizontal chain lines at approx. 21 mm.

At Christie’s London on 30 June 1994 (lot 171), sold for £ 5.500. In the collection of Mr. Jiles (Jelle) Boon (1916-2009, Rhoon, Lugt 3355).

Rembrandt in Zwart-Wit, Westfries Museum (Hoorn), Museum Gouda (March 2013 – October 2014);
Rembrandt, de fotograaf, Westfries Museum (Hoorn), June 2024 – January 2025;
Rembrandt, Smits & Hansken, Jakob Smitsmuseum (Mol-Belgium), May-October 2025;