The plate was part of the sale by Jean de Bary (1759), where sold to Woortman for Fl 3,00, together with B 198. It has not been seen since and is almost certainly lost.

In this etching, as well as in Naked woman seated on a mound (B198), Rembrandt may have worked with a dressed model, since the shape of the belly and the absence of a clear abdomen are not in line with reality, as Sluiter points out. Yet, this picture is definitely considered to be a natural one and as such quite revolutionary. This also counts for the way the woman looks at the observer. Conventional pictures show the woman averting her look.

The present title of this etching is based upon the bundle of arrows at the left side, the usual attributes of the goddess of the hunt.
Initially the print was called Het badend vrouwtje (the bathing woman) and identified as Venus by Bartsch in 1797.
In 1836 Wilson gave the print the present title

Rembrandt first made a drawing in chalk (in reverse, Benesch 21, now at the British Museum) which he transferred to the plate. Hinterding thinks that he used a white etching ground. Rembrandt may have learned this technique from Johannes van Vliet. Rembrandt made a painting in the same direction (Bredius 461) which is strikingly similar to the etching.
Münz, supported by later authors, suggested that the composition is based on two etchings of Bathsheba by Willem Buyteweg (ca 1615, see van Gelder 19-20).
The plate was so popular that Jan van der Neck (1636-1716) made a painting after it (in the Statens Museum for Kunst in Copenhagen).

There is a copy of the head only (in reverse) assigned by Rovinski to Lievens (Rov. 83), by Münz to Gerard Dou.

Coppier and Münz think that the background was probably made with assistance of a pupil (resp. Gerard Dou and Johannes van Vliet).
According to van Dyke the design is made by Horst, but the etching is worked out by other pupils in the workshop. Nowadays this hypothesis is considered unfounded and improbable. Singer also considers this plate the work of a pupil.

All authors list one state only. Early impressions are sharp and do not show the wear under the breast that later impressions do.
Rovinsky and Münz assume a 2nd state, but those impressions are probably a result of failed printing.

There were at least ten editions printed within the first ten years and many times more thereafter (HD). Hinterding notes that, in later impressions, the fine etched lines quickly wear out, whereas the deeper lines made with the graver remain dark.

Pot A.a (c. 1631); Double-headed eagle (1632-34); Foolscap with five-pointed collar (1639-40); Foolscap with seven-pointed collar; Basel crosier (1634-35), Strasbourg lily (1638); Strasbourg lily with WR; Arms of Amsterdam; Basilisk; HIS; Words (2 ed.).

H 42, BB 31-4, G 193, M 258, Mz 134, RA 557-558, Cl 198, W 198, Bl 165, Du 198, CD 42, S 85.
Rembrandt’s Women 2001, p. 78; Sluiter, p. 268ff; Rohde 2005, p. 140; Hinterding 2006, p. 295; Hinterding 2008, p. 363-365; Blaazer 2009, p. 23-36; Rembrandts Radierungen 2011, p. 34-35; Rutgers/Standring 2018, p. 42;

NH/WB: Only state
A very good, early print. A few small spots and creases in the corners (adhesive residue). Two vertical and one horizontal crease, mainly visible verso. Light discolorations.
Sheet 183/184 x 163/165 mm, margins of 5 mm below and 2 mm on the other sides (+7%).
Watermark: Double headed eagle (Ash/Fletcher 15 A.a.), dated 1632/1634 (Hinterding 2006, p. 295). Vertical chain lines at approx. 23 mm.

Possibly in the collection of Sir Thomas Lawrence, portrait painter and president of the Royal Academy (Bristol 1769 – 1830 London).
In the collection of William Esdaile, banker and print collector (1758-1837 Clapham, Lugt 2617) in 1811, his marks, recto and verso.
Probably sold in the sale of his collection with Christie’s London in June 1840.

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; 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, 17\th century photographer, Daegu Art Museum (Korea), November 2023 – March 2024;
Rembrandt, de fotograaf, Westfries Museum (Hoorn), June 2024 – January 2025;