The plate was in the sale by Jean de Bary (1759, lot nr 38, together with B201) and sold to Woortman for Fl 3,00. It has been lost since.

This print is probably a pendant to Diana at the bath (B201). Both plates have the same, unorthodox size and it seems that Rembrandt used the same model. She may have been dressed instead of nude, as Sluiter suggested.
Several contemporary writers, like Andries Pels and Von Sandrart, criticized Rembrandt for using ‘ordinary women’ as models, not the ‘Venus-types’ they were used to.

According to Joshua Bruyn, Rembrandt used the print Susanna and the Elders by Carracci as an example. Some authors think that Saskia, his later wife, has posed, but it is not certain Rembrandt already knew her at the time he made this print, let alone that she would have allowed him to picture her in the nude.
Royalton-Kisch had suggested that the woman is in fact Callisto.

A few years after Rembrandt made the original version, Wenceslaus Hollar produced a copy in reverse, inscribed Rheinbrandt inu: Amstelodami and signed WHollar fec: 1635. (83 x 69 mm) It is reproduced by Slive, The Hague 1953, plate 12.

The plate was made in collaboration with a pupil, possibly Johannes van Vliet, according to Münz and Coppier.

NH and most other authors list two states, Münz three and Nowell-Usticke five, all contemporary.
The 1st state (NH, WB, R550, NU) has shading on the top of the left thigh, the stomach and the left foot. A small white spot just behind the woman left calf and in the crook of the left arm.
In the 2nd state (NH, WB, R551, NU) the left thigh is nearly white. The white space on the calf is filled in.
In the 3rd state (NU only) there is vertical and diagonal left-to-right shading just below the left breast. The line of the mouth is indistinct.
In the 4th state (NU) there is much new work. Heavy shading under the breast. A heavy line to mouth turned up at right.
The 5th state (NU) is not described by Nowell-Usticke, who confesses to be “far from satisfied with the description of states of this poor looking plate”.
According to White-Boon Münz’ 3rd state is a worn-out impression worked over by another hand.

Of the 1st state only two impressions are known, in the Rijksmuseum and the Hermitage.
Although both states are by Rembrandt, there are later impressions of the gradually worn out plate. They are very grey and faded.

In the 1st state: Strasbourg Bend (c. 1629-31).
In the 2nd state: Double-headed eagle (1632-34); Strasbourg lily with and without countermark (4 ed. of which one c. 1648); Basilisk (2 ed., one before 1674); Arms of Amsterdam.

H 43, BB 31-5, G 190, M 256, Mz 132, RA 550-552, Cl 195, W 195, Bl 162, Du 195, CD 43.
Rohde 2005, p. 139; Rembrandt’s Women 2011, p. 79; Sluiter, p. 268-275; Hinterding 2008, p. 355-358; Blaazer 2009, p. 23-36; Bikker 2019, p. 32;

NH/WB: 2nd and final state
There are two pinpoint rust marks at her left hand and on the right hip. Some very pale staining and very minor foxing is visible. There is a small brown ink inscription in the lower sheet edge, recto.
Sheet 180 x 160 mm, thread margins of 1 to 2 mm all around (=0%).
Unidentified watermark, possibly the Basilisk (NH lists two editions), vertical chain lines.

In the collection of James Reiss (Frankfurt 1812-1899 London, Lugt 1522), it was probably sold at his auction in May 1901 with Christie’s London;
In the collection of Peter Gellatly (1831-1912, Essex – London, Lugt 1185);

Rembrandt in Zwart-Wit, Westfries Museum (Hoorn), Het Markiezenhof (Bergen op Zoom), Stedelijk Museum Zutphen, Het Hannemahuis (Harlingen), Museum Gouda, Jan ten Horne Museum (Weert), Stadsmuseum Harderwijk, March 2013 – August 2015; Stedelijk Museum Vianen, October 2017 – January 2018;
Rembrandt in Black & White, Schloß Britz (Berlin), Bozar Expo (Brussels), Chateau des Penthes (Geneva), November 2015- October 2016;