The copperplate was not in any of the major early sales or collections and is considered to be lost.

Various suggestions have been made about the location of the farm. The tower was originally identified as the one in Raarop (Ransdorp?), north of Amsterdam. Lugt believes the setting to be in the vicinity of Kostverloren, near the river Amstel, south of the city. Vosmaer has suggested that the village of Loenen is depicted.
Van Regteren Altena is probably correct by identifying the house as Het Torentje, the house of Jan Uytenboogaert, a goldweigher and tax collector of which Rembrandt made an etched portrait (B 281). Rembrandt made a drawing of this house (Benesch 1267, now in Basel). There were two houses with that name on either side of the Schinkel. This may be the one at the Amstelveenseweg.

Rembrandt made a drawing of the same house (Benesch 1267, now in the Paul Getty Museum in Los Angeles).
A similar, maybe even the same house, was portrayed by Philips Koninck and Adriaan van de Velde.

NH lists three copies in the same direction. Copy B is by Richard Byron (82 x 231 mm, WB 1). Copy C is an anonymous one (121 x 320 mm, WB 3). Copy D is by Leopold Flameng, in the catalogue of Blanc (58 x 151 mm, WB 2).
There is one copy in reverse (A) by John Smith of Chichester (118 x 314 mm, WB 4).

The etching is considered as special by Singer.

Most authors list four states, Nowell-Usticke five, all contemporary.
In the 1st state the church tower has a rounded cupola and blotches of ink in the sky at the left.
In the 2nd state (NH, WB, R602) the sky at the left side is partly cleared, leaving a large blank spot.
In the 3rd state (NH, WB, R604) the cupola is burnished out, leaving a flat top of the tower. The sky at left is cleaned. Vertical strokes are added to the room on the left.
In the 4th state (NH, WB, R605) right-to-left diagonals are added in the triangular space to the left of the drawbridge support at left centre.
In the 5th state (NU only) much new work is added in the top of the bushes at left. There are vertical lines in the small inverted triangle in the clouds, just to the left of the highest roof, unshaded before. Strasbourg lily with.

Of the 1st state at least ten impressions are known, of which four on Chinese and two on Japanese paper. Hinterding concluded that Rembrandt printed these as saleable, despite the faults in the sky that were corrected in the 2nd state.
Of the 2nd state only four impressions are known, all on western paper.
Of the 3rd state eight impressions are known, all on Japanese paper.

In the 1st, 2nd and 3rd state: Foolscap with five-pointed collar with cm LB’ (c. 1650).
In the 2nd state: Foolscap with five-pointed collar.
In the 3rd and 4th state: Foolscap with five-pointed collar (c. 1651-52).
In the 4th state: Arms of Bern; Strasbourg lily with cm WK’ (c. 1652) . Strasbourg lily with LC’ (c. 1651) and Strasbourg lily.

H 244, BB 50-4, G 215, M 317, Mz 168, RA 602-605, Cl 220, W 220, Bl 324, Du 220, CD 193, S 100.
Van Regteren Altena, Oud Holland, 1954 LXIX, p 1; Wandelingen 1998, p. 314-317 Hinterding 2008, p. 416-419;