The copperplate was not in any of the early sales or collections and is almost certainly not in existence anymore.

It is generally assumed that the house in the trees on the right is Kostverloren, an estate along the Amstel, in between the Omval and Ouderkerk. The view on the left would then be Amsterdam with the Nieuwe-, Oude-and Zuiderkerk in reversed order. Rembrandt has combined two different viewpoints here, since he must have been seated with his back to Amsterdam when he drew Kostverloren. He frequently used this technique of combining two different, sometimes imaginary viewpoints, especially in etchings made in the studio.
Van Regteren Altena has, unconvincingly, suggested that the house may be that of Jan Uyttenbogaert, Het Torentje, near Amsterdam (Oud-Holland 1954).

The somewhat overgrown, not very large cottage, has a gabled front. There is no chimney, indicating that it is a single-room house in which cattle and humans share the same space, the cattle producing the warmth to the humans. The thatched roof of the cottage is in bad condition. Note the woman staring out of the window and the two children sitting and fishing on the jetty.

Rembrandt made several drawings of Kostverloren and the surrounding area, the bend in the river Amstel. An early one (c. 1641) shows a similar tower above a set of trees (Benesch 794 in the Albertina) as do several later ones like two in the Chatsworth collection (Benesch 1265 and 1268) and one in the British Museum (Benesch 1266). Another drawing in the British Museum shows the bend only (Benesch 1269). A close-up of the ruins of the castle is in the Chicago Art Institute (Benesch 1270). The painting Landscape in wintertime (in the Staatliche Museen in Kassel) shows a very similar cottage with haybarn, in reverse.
Kostverloren was also a popular subject for other artists as can be seen in works by Claes Jansz Visscher, Beerstraten (now in the Rijksmuseum), Jan van Kessel and Ruysdael.

NH lists nine copies, of which seven in the same direction. Copy B is by James Bretherton, inscribed Rembrandt f | 1641 (two states, 128 x 317 mm, WB 1). Copy C is by Costantino Cumano (132 x 324 mm, WB 4). Copy F is by Lucy Brightwell (125 x 322 mm, WB 2). Copy G is by Louis Gervais Marvy, inscribed Louis Marvy d’apres Rembrandt (158 x 354 mm). Copy H is also by Louis Marvy. A small wood engraving, inscribed LM, Le Moulin and Rembrandt f | 1641 (43 x 145). Copy I is by Elias Stark, inscribed Rembrandt f | 1641 (134 x 323 mm, WB 7). Copy E is anonymous (130 x 325 mm). Copies B and F are very deceptive.
There are two copies in reverse. Copy A is by John Smith of Chichester (118 x 316 mm, WB 5). Copy D is anonymous, inscribed Rembrandt f | 1641 (138 x 324 mm, WB 3).

The etching is considered as special by Bartsch, Coppier, Rovinsky, De Claussin, Wilson and Dutuit.
Lugt described this etching as “All is space and light”.

All authors list one state only. Seidlitz describes an earlier state based on an impression probably made from a larger plate (142 mm).
According to Nowell-Usticke later impressions are ordinary and flat-looking, lacking the contrast of the earlier impressions.

There are counterproofs in the Fitzwilliam Museum, in the Yale University Art Library (New Haven), the Bibliothèque National and in the British Museum (2).

Basilisk (c. 1640-47); Strasbourg lily (6 ed, one of 1641); Paschal Lamb (c. 1650); Countermark IR; IHS (2 ed.) for a total of eleven editions.

H 177, BB 41-A, G 217, M 177, Mz 147, RA 609, Cl 222, W 222, Bl 327, Du 222, CD 150, S 102.
Jan Six, in Oud Holland 1909, p. 96; Van Regteren Altena in Oud Holland 1954, p. 13; Lugt-Amsterdam, p. 107ff.; Wandelingen 1998, p. 281-285; Boudewijn Bakker 2006 p. 6; Hinterding 2006, p. 104-106; Vogelaar 2006, p. 95; Hinterding 2008, p. 422-424;

NH/WB: Only state
A very good, contemporary impression.
Sheet 130 x 321 mm, thread margins or cut at the platemark (+1%).
Watermark: Strasbourg lily (Hinterding A-4WR-eb), vertical chain lines.

Charles C. Cunningham Jr. , an American investor (b. 1934, Boston, Lugt 4684);
With Colnaghi London (their stocknumber C. 35774 in graphite verso), acquired from Cunningham on 30 October 1967;
Acquired from Colnaghi by an English private collector on 23 February 1968 (£ 2.800);

Rembrandt in Zwart-Wit, Stedelijk Museum Vianen, October 2017 – January 2018;
Rembrandt, 17th century photographer, Daegu Art Museum (Korea), November 2023 – March 2024;
Rembrandt, de fotograaf, Westfries Museum (Hoorn), June 2024 – January 2025;