The copperplate may have been in the sale by Clement de Jonghe (1679, as 51 den overtoom) and was still in existence around 1850. It was worked over completely in a later stage (see the 3rd state) but it is considered to be lost.

The etching clearly has two different parts. The landscape on the right shows (from right to left) a watermill and the outlet for the water drained from the polder, the mill and some houses, including a well-known inn, and a shipyard. A pleasure boat is carrying guests to the inn. Note the reflection of the rowing man in the water. The man with the large hat carries a knife, hanging from his belt.
The left side shows an idyllic scene. In the shadow of the trunk of a tree we can see a young couple. The boy is just putting a wreath of flowers on the head of the girl.

Rembrandt made several drawings of this part of the river. Like Benesch 1347, now in Chatsworth and Benesch 1321, previously in Chatsworth. See also Benesch 1322.
Rembrandt may have been inspired by a woodcut by Goltzius for the composition and a woodcut by Roelant Savery for the tree. The wreath of flowers is also found in works of Rembrandt’s tutor Pieter Lastman.

There is a copy in the same direction by Louis Marvy, signed Louis Marvy d’apres Rembrandt (222 x 259 mm, WB).

The etching is considered as special by Coppier, Blanc and Wilson.
The plate is not by Rembrandt or made by a pupil according to Middleton, Seidlitz, Rovinsky and Singer.

NH lists three states, of which the final one not by Rembrandt. Most other authors list two states, Nowell-Usticke: one trial proof and four states. There are later impressions, including the very odd 4th state (NU) in which playing cards are added. Among the various authors there is much confusion about the exact states, mostly depending on the presence (or not) of some scratches.
In the 1st state (NH, WB, R574/NU trial proof A) the right side of the hat of the man is longer than the left side. The drypoint left part shows much burr, the etched right side is somewhat faint. There are three curved strokes near the man’s hat, looking like a feather (NU).
In the 2nd state (NH, WB final, R575/1st state NU) the right side of the hat is shortened (WB) and the three strokes (feather) are burnished out (NU).
In the 2nd state (NU only) the corners are rounded, slightly reducing the plate. There seems to be rework in the shadows. In the 3rd state (NU only) the shadows are again reworked and the left side of the post to the left of the man is heavily shaded.
In the 3rd state (NH/4th state NU) three playing cards are superimposed, more or less ruining the plate. The card in the tree is labelled Leven 2 and shows a naked boy blowing bubbles. The card below is the 8 of clubs, whereas the top card shows a milkmaid, labelled Boerinne 5.

Of the 1st state only three impressions are known, in the Rijksmuseum, in the Art Institute (Chicago) and in a private collection in Lausanne.
Impressions of the strange 3rd state (with the playing cards) are in the Rijksmuseum, the British Museum, the Szepmuveszeti Museum in Budapest and the Museum of Fine Arts in Boston.
There are no impressions in the Recueils.

In the 1st state: Double-headed eagle.
In the 2nd state, seven editions: Arms of Amsterdam; Countermark PBD; Double-headed eagle; Foolscap with five- and with seven-pointed collar; Strasbourg lily.

H 210, BB 45-B, G 201, M 311, Mz 155, RA 574-575, Cl 206, W 206, Bl 312, Du 206, CD 172, S 89-90.
Lugt, Met Rembrandt in Amsterdam, 1920, p. 90; Fuchs 1968, p. 61-62; Wandelingen 1998, p. 265-271; Rohde 2006, p. 9; Hinterding 2008, p. 380-383; Dat kan beter! 2013, p. 32-33; Rutgers/Sandring 2018, p. 103;

NH: 2nd state of III/WB: 2nd and final state.
A good, somewhat greyish, contemporary impression. There is much burr in the trunk, making the couple almost invisible.
Sheet 193/195 x 230/232 mm, margins of approx. 4 mm all around (= 8%).
Part of an unidentified watermark, vertical chain lines at approx. 27 mm.

Rembrandt in Zwart-Wit, Westfries Museum (Hoorn), Het Markiezenhof (Bergen op Zoom), Stedelijk Museum (Zutphen), Het Hannemahuis (Harlingen), 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), Chateau des Penthes (Geneva), November 2015 – October 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;