The copperplate was in the collection of Clement de Jonghe (1679), as 54 rustende Joseph en Maria inde nacht. The next, anonymous owner added two dots. It later appeared in the sale of Pieter de Haan (1767, lot 17) 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 1381), 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) and is now probably in a private collection in the Netherlands.

The flight into Egypt 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 till 59). Most of these have a similar size. The story of the rest on the flight is not found in the Bible, but in the gospel of the pseudo-Matthew (chapters 20-21), which was later worked out in the 13th century book, The Golden Legend. It was a very popular subject of which many artists made paintings and/or engravings, including Rubens, Lucas Cranach, Maarten de Vos and Goltzius.

In the early part of the 1640’s Rembrandt became interested in night scenes.

In 1647 Rembrandt made a painting (Bredius 576, now in the National Gallery in Dublin) showing the family resting near a lake, in a moonlit night, with shepherds tending a campfire. Rembrandt must have been inspired by a painting by Adam Elsheimer (1609, Alte Pinakothek), which in itself became well-known through an engraving by Hendrick Goudt (1613). A copy of the painting was in the collection of Herman de Neyt (Dordrecht 1642).
Lucas van Leyden made an engraving of the same subject around 1506.

There is one anonymous copy in the same direction (92 x 59 mm).
There are five copies in reverse. Copy A is by Claude Henri Watelet, included in his Rymbranesques (78 x 51 mm, WB 3).
Copy B is a large anonymous copy, inscribed Rt 1761 (155 x 122, WB 2).
Copy C is by Francesco Novelli with the head of the ass. An impression of the 1^st state is included in the collection ”Rembrandt in B&W”, nr 339. (two states, his nr. 17, 88 x 58 mm, WB 1).
Copies D and E are smaller anonymous copies.

This etching is considered a special one by Bartsch and De Claussin.
Wilson calls it a ”beautiful little etching, finely executed”.
Singer considers this work not to be by Rembrandt.

According to Münz the etching is a work by Ferdinand Bol. He based this opinion on similarities with a painting by Bol from 1644 (now in the Gemäldegalerie in Dresden). The way in which Bol applies the chiaroscuro (with parallel lines) and the dress and hair of Mary shows many similarities with his etching ‘The Holy Family‘ from 1645 (Münz, volume II, plate 22b).
White-Boon questions this and points at the subtleties in this etching that are not present in Bol’s version.

The New Hollstein lists nine states, of which only the first three by Rembrandt. His 4th state (two dots) is ‘new’. Most other authors list four states, Nowell-Usticke lists eight states, from his 5th state there are later impressions by Watelet, P.Basan, H.Basan, Jean, Bernard and Beaumont.
In the 1st state (NH, WB, R195, NU) the branch of the tree is light, without shading°.
In the 2nd state (NH, WB, R196, NU) shading added on the branch and the foliage above it°. The impressions are very strong and dark with burr in the added shading.
In the 3rd state (NH, WB, R197, NU) the head of the donkey is added at right°.
In the 4th state (NH only) two dots (or right-left slashes) are added in the upper right corner°.
In the 5th state (NH/4th state WB final, R198, NU) some fine shading is added by the rocker, like between the lamp and the left edge.
In the 6th state (NH/5th state NU?) horizontal lines are added in the corners, best visible in the left ones°. Some lines right of the donkey protruding the right edge.
In the 7th state (NH/6th state NU?) the plate is reworked, adding shading in several places, like to and above Joseph’s right shoulder.
In the 8th state (NH/7th state NU?) the plate is again reworked. Horizontal lines added to the shading at the top and diagonal lines just above the head and shoulder of the donkey°. Strong horizontal lines on Joseph’s chest°.
In the 9th state (NH/8th state NU?) the plate is much darker. Joseph’s chest now completely shaded°. The Virgin and the Child are almost invisible.
Due to the dark nature of the print it is difficult to reconcile the states of NH with those of NU.

Of the 1^st state state only three copies are known, in the Kupferstichkabinett (R195), in the British Museum (White 52) and in the Rothschild Collection.
Of the 2^nd state only six impressions are known. There are counterproofs of the 2nd state in the Rijksmuseum and in the Hermitage.
The etching appears in the Recueil de Basan, impression fair (NU).

H 208, BB 44-2, G 57, M 221, Mz 337, RA 195-198, Cl 61, W 62, Bl 30, Du 62, CD 166
Rembrandts Passie, p. 81; De grote Rembrandt p. 242; Hinterding 2008, p. 125-126; Verdi 2014, p. 38-61; Vogelaar 2006, p. 102-109;

New Hollstein: 7^th state of IX/White-Boon: 4^th state of IV
A later impression on thin laid paper, possibly by Watelet. The two dots/dashes are clearly visible, as are the strong horizontal lines in the top left shading, meaning a later than the 5^th state. Based on the shading around Joseph’s shoulder it is probably a 7^th state. The strong lines on Joseph’s chest, typical for the 8^th state, are not visible.
Some stains and discolorations of the paper, only visible verso.
Sheet 90/91 x 60/59 mm. Very small margins, cut at or just outside the plate mark (+1%).
No watermark, no chain lines visible.