The plate was not part of any of the early collections or sales and is probably not in existence, although this is doubted by Middleton.

The free style that Rembrandt uses in various etchings of this period is typical for this stage of development in which he had just acquired his own printing press. In particular with a new, softer coating. Münz has suggested that the subject of this drawing may be the conversion of Paul as described in the Acts of the Apostles (Chapter 9, verses 3 – 8) because of the person standing in front of the horse, with a beam of light striking him and the horse.

When making this etching, as well as the three etchings of the Lion Hunts (B 114, 115 and 116), Rembrandt was probably inspired by the 16th-century engravings by Antonia Tempesta. The inventory-list of 1656 proves that Rembrandt had four albums with the works of Tempesta in his possession. Hind points at the similarity with the Lion hunt of 1641 (B114), but lacking the freedom in the line work of that plate. Hence his early dating of 1632-33.

The etching is not by Rembrandt according to Coppier and Singer.

NH, as most authors, list two states, Biörklund three, Nowell-Usticke one trial print and two states. All contemporary.
In the 1^st state (NH, WB, R348/NU trial proof A) the plate is still large (108 x 83 mm) with diagonal left-right shading in  the background. Dull impressions.
In the 2^nd state (NH, WB final, R349/NU 1^st state) the plate is cut on both sides by 5 mm. There is strong vertical ‘rain’ in the background, and horizontal scratches on the foreground. The corners are rounded.
In the 3^rd state (BB/R350/NU 2^nd state) the sky is wiped clean. The upper side of the right ear of the horse is hardly visible.

Of the 1st state only one impression is known, in the Rijksmuseum (R 348).

In the 2nd state: Foolscap with five-pointed collar (2 ed. 1650-51); Strasbourg lily.

H 100, BB 32-7 , G 113(4), M 275, Mz 253, RA 348-350, Cl 119, W 121, Bl 89, Du 118, CD 72
Hinterding 2008, p. 247-248;

NH/WB: 2nd and final state
A good, clear impression, showing delicate tone and vertical polishing scratches.
Sheet 107/106 x 81 mm, thread margins of approx. 1 mm all around (+8%).
No watermark, horizontal chain lines at approx. 23 mm.

Rembrandt in Zwart-Wit, Westfries Museum (Hoorn), Het Markiezenhof (Bergen op Zoom), Stedelijk Museum Zutphen, Het Hannemahuis (Harlingen) March 2013-August 2015; Stedelijk Museum Vianen, October 2017 – January 2018;
Rembrandt in Black & White, Chateau des Penthes (Geneva), June – October 2016;