The copperplate was not part of any of the early auctions or collections and is probably not anymore in existence.

Luke 2: 22-38
Following an old Jewish tradition the new-born Child is presented to the Elders in the temple, where Simeon and Hannah have been waiting for years. Simeon recognizes the Child as the Redeemer and praises him.

In this particular print, the earliest of three on the same subject (B49 and B 50), Rembrandt does not follow the tradition of placing the scene on the steps of the temple, probably because the original Bible text does not indicate the exact position. Prophetess Hannah is guided by an Angel, another unusual element in this story. By adding a crippled person to leave the stage on the left Rembrandt, apart from being funny, created more perspective.

Apart from the two later etchings, Rembrandt made several drawings of the same subject and two paintings. One in 1627-28, now in the Kunsthalle in Hamburg (Corpus A12, Bredius 535) and another in 1631, now in the Mauritshuis in The Hague (Corpus A34, Bredius 543).

There is a drawing in the Amsterdam Museum (Benesch 486) and one in reverse, dated about 1657/58 in the Boymans van Beuningen (Benesch 1032).

Münz points at a study of the prophetess Hannah, now in Dresden (HdG 316) and suggests that the grouping of the figures may be derived from representations of the adoration of the shepherds.
Hind points at the similarity of some of the people to those seen in the Hundred Guilder Print (B 74).

There is a copy in reverse by Francesco Novelli (his nr 32, 108 x 88 mm).

The plate was made by a pupil according to Coppier.
The plate is not by Rembrandt according to Singer.

The New Hollstein, like most other authors, lists two states, both contemporary. Nowell-Usticke lists one trial proof and one state.
In the 1st state (NH/WB/R169/NU trial proof A) the plate is not yet cut. There are square corners and inky edges. The impressions are not very strong.
In the 2nd state (NH/WB final/R170/NU 1st state) the blank space at the top is cut off. In early impressions there is a strong short diagonal slipped stroke in the upper left corner and some burr on the left hand of the priest (NU). The plate edges are rough (NHD). In later impressions the stroke is fainting and the edges are cleaner. The inky line at the top is missing.

Of the 1st state only two impressions are known, in the Rijksmuseum (Boon 54) and in the British Museum (R 169).

In the 2nd state: Basilisk (c. 1632); Arms of Wurttemberg (c. 1634); Strasbourg lily with BA (c. 1635); Paschal lamb (1651).

H 18, BB 30-C, G 51, M 178, Mz 191, RA 169-170, Cl 55, W 56, Bl 24, Du 56, CD 17, S 18.
Rembrandts passie, p. 72 ff, Hinterding 2006, p. 256; Hinterding 2008 p. 115 ff.; Rembrandts Radierungen 2011, p. 30-31; Zeist 2012, p. 18-19;

New Hollstein/White-Boon: 2nd state of II
A very good, early impression. A small loss of paper in the lower right margin, well outside the picture.
Sheet: 103 x 79 mm. Cut just outside the platemark (+1%).
No watermark, horizontal chain lines at approx. 22 mm.

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