The copperplate was in the sale by Clement De Jonghe (as 25 vaeder Abraham speelend met sijn soon). A later owner added two dots. In the sale of Pieter De Haan (1767, lot 43) it was sold to Watelet. It then became part of the set of plates subsequently owned and used for printing Recueils by Pierre-François Basan, Henri-Louis Basan (his nr 1375), Auguste Jean (ca 1809), Veuve Jean, Auguste and Michel Bernard (1846), Alvin-Beaumont (1906) and Robert Lee Humber (1937). It was sold at the Artemis sale in London (1993) and is now in the Museum of Fine Arts in Boston.

Apart from the question which couple is pictured here (see Title), it is clear that we look at a father caressing his son. Note the left hand of the father stroking through the boy’s hair and the right foot of the boy resting on the left foot.

The title of this plate dates back to the days of Clement de Jonghe’s inventory list in 1679. He assumed that Abraham and Isaac are pictured here. In 1893 Jordan suggested that we actually see Jacob caressing his son Benjamin, who became his father’s favourite son when Joseph was presumed dead. Most experts adopted this view. Wilson was more neutral and called it An old man with a boy. But in 1981 Franits convincingly pointed at various other depictions of Isaac, holding an orange in his hand, as he does here. So, the ‘original’ title has been restored.

Rembrandt made two drawings of Jacob and Benjamin, one now in the Albertina (Benesch 526), the second formerly in the Hatvany Collection in London (Benesch 527). The attribution of both is no longer certain. In the same period Rembrandt produced a series of studies of children with their mothers (Benesch 313 and 401) that have striking similarities to this etching.

The New Hollstein lists eight copies, reflecting the popularity of the plate. Of these there are two anonymous copies in the same direction. Copy A is signed GN (118 x 85 mm, WB 1). Copy B is signed Rembrandt f. (113 x 89 mm, WB 2).
There are six copies in reverse. Copy C is by Francesco Novelli (two states, his number 30, 115 x 88 mm, WB3). Copy D is by Christina Chalon (120 x 110 mm). Copy E is an anonymous etching with aquatint (114x 118 mm). Copy F is by Charles Michel Campion (107 x 88 mm, WB 4), Copy G is signed J.Orr 1807 (102 x 129 mm, WB 5).
Copy H is also anonymous, according to WB contemporary and mentioned in the Pieter de Haan sale in 1767 (WB 6).

The plate was made by a pupil according to Middleton.

New Hollstein lists four states, only the first by Rembrandt. The 2nd state (two dots) is ‘new’. Most other authors list two states, Nowell-Usticke one trial print and five states, from his 3rd state there are later impressions by Watelet, P. Basan, H. Basan, Jean, Bernard and Beaumont. The trial proof (NU only) has an uneven edge at the top of the plate, dipping towards the right.
The 1st state (NH, WB, R112) is before the scratch on Isaac’s (Benjamin’s) shoulder. The corners are rounded.
In the 2nd state (NH only) two dots are added in the upper right corner. In the 2nd state (NU) the dark shadows in the lower half are reworked with the drypoint.
In the 3rd state (NH, NU/2nd state WB, R113) fine shading is added to the shoulder of Abraham (Jacob) and a slipped stroke on Isaac’s (Benjamin’s) shoulder, running as far as the apple. According to NU this state is a retouch by Watelet.
In the 4th state (NH/NU) the plate has been rebitten (by Jean?) especially the beard and the shading on the face. The slipped stroke is almost gone. In the 5th state (NU only) there is a lot more retouching by Bernard and (later) Beaumont. Like vertical shading under the right eye.

Of the trial proof (NU) only one impression is known, now in Copenhagen.
A counterproof of the 1st state is in the Rijksmuseum.
Nowell-Usticke considers the impressions in the Recueil de P. Basan to be fair.

In the 1st state: Basel Crosier.
In the 2nd state: Seven Provinces (after 1665).
In the 3rd state: Pro Patria (1699 or later).

H 148, BB 37-2, G 132, M 203, Mz 176, RA 112-113, Cl 38, W 135, Bl 4, Du 38, CD 106, S 5.
Hinterding 2008, p. 74ff; Rosenberg 2017, p. 76-79.

New Hollstein: 1st state of IV/White-Boon: 1st state of II
A very good impression on thin laid paper. The two dots in the upper right corner and the scratch are not visible, indicating a 1st state. There are very fine vertical wiping scratches in the background. The edges are uneven and inky.
Sheet 119/118 x 90 mm. Margins of less than 1 mm all around (+3%).
No watermark, horizontal chain lines at approx. 22 mm.

With M. Knoedler & Co, New York, London and Paris. Their trader’s stamp (Lugt 2007, the initials O.E. followed by 581) in very faint black ink, verso. The initials refer to ‘Old Engraving’, the number is a stock number.

Rembrandt in Black & White, Schloß Britz (Berlin), October 2015-February 2016;
Rembrandt, 17th century photographer, Daegu Art Museum (Korea), November 2023 – March 2024;
Rembrandt, de fotograaf, Westfries Museum (Hoorn), June 2024 – January 2025;