The plate may have been in the sale by Clement de Jonghe (1679 as 26 varckendrijvers) but has not been seen since and is probably not in existence.
There seem to be later impressions, possibly by Watelet (not in NH).

A large hog (or just a pig?) is waiting for his unavoidable fate in front of a house, his legs tied. The little boy behind the hog has a pig’s bladder in his hand, a sign of transience. In the background the butcher stands ready with his axe and knife. At the time it was customary for butchers to travel around to slaughter at the houses of the owners. Always a nice piece of entertainment for the kids. Not surprisingly, the mother watches the scene, smiling. Pictures of slaughters like this one were quite common in the 17th century, although they normally show either the deed itself or the result of it, the hanging beast. Rembrandt, as so often, has opted for another moment. Several authors assumed that Rembrandt made the drawing of the pig from life and added the background and scenery later. This may also explain the anomalies, like the kid holding the bladder which is supposedly still inside the pig. Deliberately Rembrandt only worked out the hog in detail, creating depth and perspective. It has been speculated that the original plate must have been larger with a more central location for the hog. This would explain the rough edges at the left and at the bottom.

Rembrandt made a drawing of a similar scene in 1642-43 (Benesch 777, now in the Louvre) with two pigs, of which the first shows great resemblance with this etching.
There are also two other drawings with pigs (Benesch 778 and 779, both in the British Museum).

NH lists four copies of which two in the same direction. Copy A is by Richard Byron (three states, 143 x 185 mm, WB 1). Copy C is anonymous, inscribed Rembrade (151 x 185 mm, NHD c,) The latter is erroneously listed in NH as ‘in reverse’ as can be seen in the plates section (volume VII).
There are two copies in reverse. Copy B is by Francesco Novelli. It is signed Rembrandt inv. Novelli inci 1791 (his nr 12, two states, 140 x 180 mm, WB 2). It is included in the collection ‘Rembrandt in Black & White’, nr 328.
Copy D is a small woodcut by John Jackson (1839, 68 x 60 mm).

The etching is considered as special by Bartsch, Coppier, Claussin, Wilson and Blanc.

NH, like most authors, lists two states, Biörklund and Nowell-Usticke list three states.
1^st state, but do not mention the difference in size.
In the 2^nd state (NH, NU, 1^st state WB) the edges are evened, slightly reducing the size of the plate. NU confusingly state the size of the top to be 187 mm versus 186 mm in the 1^st state.
In the 3^rd state (BB/NU/2^nd state WB) crosshatching is added to the face of the boy and the earflap of the baby. There is much rework with the drypoint, probably by Watelet (NU). NH considers this not to be a separate state, but mentions a possible fake 3^rd state in the watermarks.

NH lists ten impression of the 1st state. NH lists 45 impressions of the 2nd state, including two counterproofs, in the Fitzwilliam Museum and the Albertina.
The 2nd state mentioned by White-Boon in the British Museum is in fact a retouched impression of the 1st state.
Another impression that would exist in the Art Institute in Chicago is not confirmed.

In the 1st state: Lion with cm MV (1643).
In the 2nd state: Basilisk (c. 1640-47); Strasbourg lily (c. 1646-48); Countermark IR; Foolscap with seven-pointed collar;
In the 3rd (fake?) state: Strasbourg lily (c. 1646-48).

H 204, BB 43-A, G 152, M 277, Mz 265, RA 448-449, Cl 154, W 154, Bl 350, Du 153, CD 162
Etchings by Rembrandt from the S. William Pelletier Collection (Catalogue 2004), nr. 24, p. 104-105; Hinterding 2008, p. 295-298; Rutgers/Sandring 2018, p. 87;

NH: 2nd and final state/WB: 1st state of II
A good impression with rich plate tone and touches of burr near the belly of the hog and in the turban of the woman. Some light stains and small invisible creases in the upper corners.
Sheet size 171/172 x 203/205 mm, broad margins of 21 to 30 mm all around (+34%).
No watermark.

This impression may have been in the collection of Thomas Garle, which was sold to Henry Brodhurst (Mansfield, England, 19th century, Lugt 1296) in 1856. His collector’s mark in black ink and his Lugt number in graphite are visible in the lower left corner verso. Brodhurst published a catalogue of all his prints in 1872. The collection was sold around 1883 to the art dealers Danlos and Delisle, via Colnaghi.
With Picard Audao Solanet et Associés, Paris, sale 16 March 2000 (lot 211), this lot number in graphite verso;
In the collection of S. William Pelletier (1924-2004, Athens GA, Lugt 4193), his collector’s mark in reddish-brown ink verso. Inside the mark handwritten in graphite 2000 (year of acquisition) and 3.16.6.

Herbert F. Johnson Museum of Art, Cornell University, Ithaca (NY), 17 January – 14 April 2004;
Georgia Museum of Art, University of Georgia, Athens (GA), 17 September – 14 November 2004;
The Rotunda at Exchange Square, Hong Kong, January 2008;
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-September 2016;
Rembrandt, fotograaf avant-la-lettre, Museum De Reede (Antwerp), January – May 2023;
Rembrandt, 17th century photographer, Daegu Art Museum (Korea), November 2023 – March 2024;
Rembrandt, de fotograaf, Westfries Museum (Hoorn), June 2024 – January 2025;