The plate was probably in the collection of Clement de Jonghe (1679, as 64 vlucht naa Egipten). It later appeared in the sale of Pieter de Haan (1767, lot 16) and was sold via Fouquet to Claude-Henri Watelet (1718-1786). It then became part of the set of plates subsequently owned and used for printing Recueils by Pierre-François Basan (1723-1797), Henri-Louis Basan (his nr 1385), 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) to art dealer Kornfeld (Bern, Switzerland). It was again sold at his auction house in September 2024.

Matthew 2, verses 13-15
The flight into Egypt, described in, was one of Rembrandts favourite subjects of which he made a series of etchings over a rather long period, from 1629 till 1655 (Bartsch numbers 52 to 59). Most of these have a similar size.

Rembrandt may have been inspired by the painting of the subject that his tutor Pieter Lastman made in 1608 (now in the Boymans van Beuningen).

This etching is part of a series of six etchings made in 1654 about the youth of Jesus, just as B45 The Adoration by the Shepherds.

There is one anonymous copy in the same direction inscribed Rembrandt f. 1655 (91 x 143 mm).

The etching is considered as special by Coppier.

Most authors, including the New Hollstein, list one state only. Nowell-Usticke lists one trial print and three states, from his 1st state there are later impressions by P.F. and H.Basan, Jean, Bernard and Beaumont. The trial print (NU) is badly developed in the lower parts, right of the bridle of the donkey and in front of his left knee. There are square corners and there is much burr.
In the 1st state (NH, WB, R187, NU) the badly developed parts are repaired. A vertical scratch is visible under the left eye of Mary. In later impressions by P.F. Basan the scratch is not visible anymore. NH notes that impressions from the Basan workshop show a horizontal and diagonal scratch over Mary’s knees and lap.
In the 2nd state (NU only) the plate is skilfully retouched. There is a large piece of shading lower right of the donkey’s abdomen. In later impressions by H.Basan the corners are rounded, especially upper right. Jean made impressions on greenish paper.
In the 3rd state (NU only) the entire plate was retouched by Bernard. The shading right of Mary and above the donkey is quite strong. A long diagonal and horizontal scratch runs over the knee and womb of Mary. Later impressions are somewhat lighter. NH considers the scratch accidental, not a new state.

There is an impression on Japanese paper in the Rijksmuseum.
Since the plate has survived without any alterations, contemporary prints can only be recognized on the basis of the paper and the quality of the print.
The etching appears in the Recueil de Basan, impressions fairly strong (NU).

Arms of Bristol; Foolscap with five-pointed collar (c. 1654); Foolscap with seven-pointed collar; Hare (2 ed.).

H 276, BB 54-C, G 54, M 237, Mz 225, RA 187-188, Cl 59, W 60, Bl 28, Du 60, CD 229, S 23.
Rembrandts passie, p. 75-79; Hinterding 2008, p. 121-122; Verdi 2014, p. 38-61;

New Hollstein/White-Boon: Only state
A very good impression. The vertical scratch under the left eye of Mary is well visible, the two scratches on her knees and lap are not. Both are indications of an early impression. As is the watermark.
Sheet: 96/95 x 145/146 mm, thread margins of 1 mm all around (+5%).
Watermark: crowned coat-of-arms (Bristol?, listed, but not dated in NH), horizontal chain lines at approx. 23 mm.

In the collection of the German banker Hans Rinn (Heuchelheim 1899-1993 Alveslohe, Lugt 4048 and 4049). His collector’s mark in grey ink in the lower left corner verso. By descent his collection of Rembrandt prints came in the hands of his grand-daughter.

The Rotunda at Exchange Square, Hong Kong, January 2008 Rembrandt in Zwart-Wit, Stedelijk Museum Zutphen, 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;