The copperplate was in the sale by Clemens de Jonghe (167) as ’30 Venus en satyr. It has not been seen since and is almost certainly not in existence anymore.

A very moving, almost erotic picture in which Jupiter (or is the man just a voyeurist sater?) takes away the sheet to glimpse at the beautiful body of Antiope. She is obviously well asleep, as can be seen in the open mouth and the posture of the arms. Note how Jupiter’s eyes are focussed on the most intimate part of her body.

Over the years the title has changed from Venus en Satyr (Clement de Jonghe 1679) to Nimph en Satyr op zijn Italiaans geëtst (Nymph and satyr, etched in an Italian style, Valerius Röver’s collection 1731) to simply Nude woman with a satyr (Gersaint 1751) until Bartsch gave it the present name.

It may well be that Rembrandt was inspired by an engraving (B 17), in reverse, made in 1592 by Annibale Carracci (1560-1609)
There is some similarity with a drawing made in the same period (Benesch 1137, now at the Rijksmuseum) which may be a study made by a pupil.
There is also a drawing (Benesch 1040, in the Louvre) with a somewhat different composition.

The plate is not by Rembrandt according to Coppier.

NH lists three states, all other authors two. The 1st state of NH is a ‘new’ one. NH considers the final state not by Rembrandt.
In the 1st state (NH only) the blanket in Jupiter’s hands is shaded with open cross-hatching and has only vertical lines along the top margin.
The 2nd state (NH/1st state WB, NU, R562) is without the inscription. Early impressions of this state have rough edges.
In the 3rd state (NH/2nd state WB, NU) an inscription is added, almost certainly posthumously by De Jonghe, in the upper right corner: Jupijn, als hij ontsluit het Vrouwlyk slot, Word Droes of beest of vleugeldier of zot (Jupiter, when he opens the female lock becomes deamon or beast or bird or dolt). It is followed by the French version.

Of the 1st state there are several impressions on Japanese paper.
Of the 2nd state, based on the watermarks printed by Clement de Jonghe, there is one impression in the Rijksmuseum and one more has been in the Albertina.

In all states: Arms of Amsterdam (3 ed., c. 1657-59) also with countermark PB.
In the 2nd state: Countermark PB.

H 302, BB 59-B, G 195, M 301, Mz 143, RA 562, Cl 200, W 200, Bl 167, Du 200, CD 259, S 87
Rembrandt’s Women 2001, p. 230; Rembrandt’s nose 2007, p. 123; Hinterding 2008, p. 369-371; Dat kan beter! 2013, p. 62-63;