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

For several reasons this etching is remarkable. The signature is (jokingly) placed on the highly visible wooden plank on the right, it is the only landscape in which no human beings, however small, can be seen and it is clear that Rembrandt had some trouble getting to the final state. In the second state the shadows are so much weakened that the dramatic effects are lost.

There is a drawing in black chalk with a similar foliage in the Ossolinki Library in Wroclaw (Benesch 817), dated in the same year.

NH list nine copies, of which five in the same direction. B is by Richard Byron (118 x 155 mm, WB 2), D is an anonymous one inscribed Rembrandt f. (128 x 160 mm, WB 1), F is by Booth Grey (107 x 147 mm), G is by the workshop of Auguste Jean, inscribed Rembrandt 1633 (130 x 174 mm) and I is by Louis Gervais Marvy, inscribed Louis Marvy d’apres Rembrandt (166 x194 mm).
There are four copies in reverse. A is by Francis Vivares (his nr 3, 96 x 162 mm, WB 5), C is by Claude-Henri Watelet (in Rymbranesque ou Essais de Gravure, 1785, 138 x 158 mm, WB 3), E is by Costantino Cumano (102 x 160 mm, WB4), and H is by John Burnet, inscribed Rembrandt (108 x 155 mm, WB 6).

The etching is considered as special by Middleton.

NH lists two states, most other authors three, Hind four. Nowell-Usticke lists one trial proof and three states. In the trial proof A (NU) a group of flowers in the lower left corner is unfinished. NH does not consider this a separate state.
In the 1st state (NHD/WB/NU) the boat has a high bow outlined in drypoint.
In the 2nd state (NHD/R618-619) the shadow over the boat and the grotto is significantly reduced, leaving broken and indefinite lines. The bow no longer projects beyond the grotto.
In the 3rd state (R617) the shading on the grotto is restored in parallel lines with the burin. The shortened bow of the boat is more clearly defined with curved lines parallel to the stern. According to NH the changes in this supposed state are all due to retouching with pen and ink.

Of the trial proof A (NU) only one impression is known, in the Kupferstichkabinett in Berlin.
Impressions of the 2nd state sometimes show retouches in pen and ink (Biörklund).

In the 1st state: Phoenix with cm IB (1645).
In the 2nd state: Strasbourg bend (c. 1646); Paschal lamb (two ed., one c. 1650); Foolscap with five-pointed collar (2 ed, one with cm LB c. 1650); Arms of Ravensburg. A total of eight editions.

H 211, BB 45-, G 223, M 312, Mz 154, RA 617-619, Cl 228, W 228, Bl 331, Du 228, CD 173
Fuchs 1968, p. 62;

NH/WB: 2nd and final state
A good impression of the 2nd state.
Sheet 134/135 x 140/141 mm, margins of approx. 3 mm. all around (+12%).
Watermark: Part of a Foolscap (the three balls only), as found in the 2nd state. Vertical chain lines at approx. 22 mm.

In the collection of Rudolph Dietze (Lugt 2197, died around 1893) according to written text and collector’s mark (RD), verso.
Probably sold at Amsler and Ruthardt (Berlin) on 30 January 1893 or at R.Bangel (Frankfurt am Main) on 12 December 1893.
In the collection of August Vasel (1848-1910, Beierstedt, Lugt 191), his collector’s mark verso. The major part of his collection was bequeathed to the Herzog Ulrich Museum in Brunswick.

Rembrandt in Zwart-Wit, Stedelijk Museum Vianen, October 2017 – January 2018;
Rembrandt: Paysages, Fonds Glenat (Couvent Ste.Cecile – Grenoble), February – June 2023;