The original, complete copperplate was initially owned by an unknown person in Holland and sold around 1775 to the painter and etcher John Greenwood, who resold it the same year to Capt. William Baillie (1723-1810). He heavily reworked and adapted the plate and printed about 100 copies of it. He then cut the plate in four pieces. Separate prints of these were made and published by Boydell. Each individually quite interesting prints. None of the plates has survived.

The Baillie fragments
In the 18^th century Capt. Baillie cut up the plate in four separate fragments of which impressions were published by Boyden.
NH A1 is the central part, with the head of Christ (278 x 190 mm). NH A2  is the same part, now arched.
NH B is the man in the lower left corner (141 x 75 mm).
NH C shows the figures leaning on the wall on the left (54 x 75 mm).
NH D shows the ass and the camel at right (190 x 122 mm).
All four prints are very rare.

The original, complete etching shows the story of Matthew XIX. The Pharisees, with whom Jesus has a debate about marriage and divorce (verses 3 till 12). Then, with his hand before his mouth, the rich young man whom He advised to sell his worldly goods to help the poor (verses 16 till 26). The camel at right refers to the quote by Jesus that it is easier for a camel to pass through the eye of a needle than for a rich man to enter the gate of heaven (verse 24). Peter is positioned to the left of Christ, with whom he discusses at the end of the chapter (verses 27 till 30). Then there are the children that He asked to come towards Him (verses 13 and 14) and finally the lame woman which He heals (verses 1 and 2). According to Tümpel the running boy refers to verse 29.
However, there are also other interpretations. Hofsteede de Groot sees a portrait of Socrates in the person next to Jesus and Erasmus in the man behind Him. They are supposedly a reflection of the old, respectively the new wisdom. Some scholars see many more references to other parts of the Gospels.

Fragment D     New Hollstein: 4^th and final state/White-Boon: 2nd and final state
A good impression on laid paper.
Sheet 201 x 132/131 mm, platemark 195/193 x 125/126 mm (245 cm²), narrow margins of 3 to 5 mm all around (+ 9%).
No watermark, vertical chain lines at ca. 20 mm, vaguely visible.

With Creighton-Davis Gallery in Washington DC around 1992, according to a certificate at the back.

Rembrandt in Zwart-Wit, Stedelijk Museum Vianen, October 2017 – January 2018;