The copperplate was not part of the early sales or collections and is probably not in existence anymore.

The title is somewhat misleading as it is clear that the woman is not only emptying her bladder. Although Rembrandt made this etching, as well as A man making water (B190), when still in Leiden, it may have been meant for the ‘Amsterdam’ market, which was more liberal than provincial Leiden.
Both prints must have been quite popular, given the number of copies made of them over the years.

For this etching and B190 Rembrandt probably looked at a similar picture in the series Capricci by Jacques Callot, published in 1617.

NH lists eight copies, of which six in the same direction. Copy H is by Ignace Joseph De Claussin (70 x 60 mm, not traced by NHD, WB 1). Copy B is published by Hertel (78 x 59 mm). Copy C is anonymous, inscribed RL 1631 (80 x 63 mm). Copy D is anonymous, inscribed Rt 1631 Rembrandt (98 x 83 mm). Copy F is by Dominique Vivant Denon (80 x 64 mm, WB 2). Copy G is anonymous, inscribed Rt 1631 (82 x 64 mm). There are two copies in reverse. Copy A is probably by Johannes van Vliet, inscribed R.1643 (76 x 68 mm, WB 4). Copy E is by Costantino Cumano (75 x 62 mm, WB 3).

The plate was made by a pupil according to Coppier. The plate is not by Rembrandt according to Singer.

Most authors list one state only, NH and Nowell-Usticke two.
In the 1st state (NH) the right outline of the left arm is not continuous and the top contour of her lower left arm is missing.
In the 2nd state (NH/1st state WB) the outlines are redrawn. There are several other small additions. NU sees regular reworking with the graver in his 2nd state.

The only impression of the 1st state (NH) is in the Rijksmuseum.

In the 2nd state: Arms of Wurttemberg (c. 1634-36); Basel crosier (c. 1634-35).

H 46, BB 31-D, G 183, M 257, Mz 121, RA 525, Cl 188, W 188, Bl 156, Du 188, CD 40
Rembrandt’s Women 2001, p. 82;