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

Lugt suggested that the view is taken from the Diemerzeedijk, but it is now assumed to be the Spaarndammerdijk, with the paling reflected in one of the many braakjes (small lakes) that were the result of breaches in the old dike. The mill in the background may be one of the mills near the Haarlemmerpoort (Hinterding 2008).

It is clear that the almost invisible house is somewhat ruinous. The wooden paling shows many signs of decay. The writers that criticized Rembrandt’s use of ‘imperfect’ women for his nudes also wandered why he pictured an old house instead of a fresh, brand-new one.

The most notable animals are the two birds at left. They could be ducks, but given their long necks they are probably geese. Did you note the dog at the bank, keeping an eye on the two? At right, on top of the hill, we see two larger animals, probably cows or else horses. The skull, lower right, is a symbol of transience.

Rembrandt made a preparatory drawing in reverse (Benesch C41, now in the Rijksmuseum). It is the only print for which a direct link with a drawing exists. Claes Janszn Visscher made pictures of the same location in earlier years.

NH lists nine copies, of which five in the same direction. Copy C is by Richard Byron (his nr 6, 143 x 200 mm, WB 2). Copy D is by Costantino Cumano, inscribed Rt inv. (149 x 208 mm, WB 4). Copy F is by John Burnet (145 x 206 mm, WB 3). Copy G is by Lucy Brightwell (157 x 213 mm, WB 1). Copy H is anonymous, inscribed Rembrandt f 1641 (144 x 205 mm). There are four copies in reverse. Copy A is by Francis Vivares (1758, 146 x 208 mm, WB 5). Copy B is by John Smith of Chichester (147 x 207 mm, WB 6). Copy E is by Alexander Croke signed A Croke 1817 (144 x 201 mm). Copy I is by Vilhelm Blomquist (99 x 118 mm).

The etching is considered as special by Rovinsky, Claussin, Blanc and Singer.

NH, as most other authors, lists three states, all contemporary.
In the 1st state (NH, WB, R620-62, NU) there is no date and the dyke is still unshaded.
In the 2nd state (NH, WB, NU) shading is added to the dyke on the left.
In the 3rd state (NH, WB, R622, NU) the date is added, fading again in later impressions.
Hind recognized a state in between the 1st and the 2nd, but it is probably identical to the 2nd state.

There are at least seventeen impressions of the 1st state, including four on Japanese paper, in the Rijksmuseum, the Kupferstichkabinett in Berlin, the National Gallery in Washington and the British Museum.
An impression of the 1st state in the Teylers Museum (Haarlem) has grey wash added to the dyke, probably made by Rembrandt in preparation for the 2nd state (WB).

In all states: Foolscap with five-pointed collar with cm PDB’ (c. 1648);
In the 1st and 3rd state: Strasbourg lily.
In the 3rd state: Foolscap with five-pointed collar with cm LB (c. 1650); Foolscap with five-pointed collar; Pascal lamb with cm RC (1651); Strasbourg lily with cm WK’ (c. 1652). A total of five editions.

H 203, BB 52-E, G 224, M 308, Mz 151, RA 620-622, Cl 229, W 229, Bl 332, Du 229, CD 161, S106.
Lugt p. 142; Burlington Magazine 1968, p. 390-394; Hinterding 2008, p. 433-436; Vogelaar 2006, p. 186-187; Bikker 2019, p. 134;

NH/WB: 3rd and final state.
A good, early impression with touches of burr on the geese’s head and in the foreground. Light plate tone. A thinly backed tear at the upper margin.
Sheet 135 x 165/166 mm, margins of 3 to 4 mm all around (+9%).
Watermark: Foolscap with five-pointed collar (very well visible, Hinterding K-b-a, ca 1648 or 1650). Horizontal chain lines.

With Colnaghi London, their stock number C-25594 written in graphite verso.

Rembrandt in Black & White, Chateau des Penthes – Geneva, June– October 2016;
Rembrandt in Zwart-Wit, Stedelijk Museum Vianen, October 2017 – January 2018;
Rembrandt, de fotograaf, Westfries Museum (Hoorn), June 2024 – January 2025;