The copperplate was not in any of the major collections and is probably not in existence.

Around 1650 Rembrandt started a second series of approx. 14 landscapes, including this one.
Münz describes this etching as ‘possibly the most important one’ in this series (p. 47). A remarkable feature of this etching is the diagonal composition, starting with the high tree at the right, over the roofs of the cottages to a point at the end of the road below left.
The frequent use of the drypoint and the resulting burr lead to a strong perspective, which according to some can also be a bit too much.

According to some experts, these cottages can be situated at the Sloterweg in Amsterdam. The houses are of the Amstelland Langhuis type.

Note the fact that only the first house has a chimney. The other two have not, which means that they are single-room houses, without separation between farm stock and the human inhabitants.

Rembrandt made a large number of drawings of cottages and farmhouses, including one with three cottages in the same direction (Benesch 795, now in the Nationalmuseum, Stockholm) and one in which the cottage resembles the first cottage in this etching (Benesch 835, Kupferstichkabinett, Berlin). Both were made at the Schinkelweg, which may also be the location of this etching.

NH listst four copies of which two in the same direction. Copy A is a very deceptive copy by James Bretherton, inscribed Rembrandt f. 1650 (162 x 204 mm, WB 1). Copy D is anonymous, also signed Rembrandt f 1650 (160 x 201 mm).
There are also two copies in reverse. Copy B, with an arched top, is by Costantino Cumano, inscribed Rt.inv Cumano Sc (160 x 199 mm, WB 2). Copy C is by Louis Gervais Marvy, signed Louis Marvy d’apres Rembrandt 1843 (205 x 263 mm, WB 3).

The etching is considered as special by Bartsch, De Claussin, Wilson, Blanc and Singer.

All authors list three states, all contemporary.
In the 1st state (NH, WB, R587, NU) the gable of the first cottage has only vertical shading. Part of the front of the same house is without shading. Much burr. The sky is not clean.
In the 2nd state (NH, WB, R588, NU) horizontal shading is added to the front of the first cottage and on the roofs. The sky is now clean. Elaborate burr on the earliest impressions and much burr on the later ones.
In the 3rd state (NH, WB, R589, NU) diagonal right-left lines are added to the wall of the cottage in the front. The sky is filled with horizontal lines. In later impressions these are practically invisible. Much burr on the haystack on the far right. Nowell-Usticke warns for artificially added (painted) burr.
Wilson mentions a state before the 1st based on an impression in Cambridge. Not listed in NH.

There are only nine impressions of the 1st state, three of which are on Japanese paper and also five of the 2nd state.
Hinterding has identified at least five series of the 3rd state, all printed in small numbers.

In the 1st state: Foolscap with five-pointed collar, also with cm LB (c. 1650).
In the 2nd state: Strasbourg lily.
In the 3rd state: Foolscap with five-pointed collar, also with cm LB (c. 1650); Strasbourg lily, also with cm WK’ and with initials LC’ (c. 1651); Countermark PBD;

H 246, BB 50-D, G 209, M 325, Mz 163, RA 587-589, Cl214, W 214, Bl 318, Du 214, CD 204, S 94.
Wandelingen 1998, p. 334; Boudewijn Bakker 2006, p. 8; Hinterding 2008, p. 397-399;

NH/WB: 3rd and final state
A very good, early impression, with burr and horizontal stripes in the sky. The diagonal shading on the wall of the first house is well visible, confirming the 3rd state. A small paper defect on the right side (middle). Some repaired small tears, small stains, especially at the corners.
Sheet 160 x 205/204 mm, no margins, cut on the edges of the platemark, 1mm inside the lower edge (=0%).
Watermark: Strasbourg Lily (Ash/Fletcher 36 E’) probably dated 1652 (Hinterding 2006), horizontal chain lines.

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), 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), November 2015 – May 2016;
Rembrandt, fotograaf avant-la-lettre, Museum De Reede (Antwerp), January – May 2023;
Rembrandt, 17th century photographer, Daegu Art Museum (Korea), November 2023 – March 2024;
Rembrandt, de fotograaf, Westfries Museum (Hoorn), June 2024 – January 2025;