As Nowell-Usticke stated, certainly the largest and arguably the most admired landscape by Rembrandt and maybe even the most admired etching, which is supported by the large number of copies made by later artists. Apart from the trees themselves, there are many more interesting things to see. At left a man is fishing, with his wife patiently waiting for the catch to be stored in the basket she is holding. In the bushes at right a couple is enjoying the weather and each other. The ram next to them is a sign of sexual desire. In the background we see a farmer tending his cattle and a group of farmers (?) in a carriage, just passing a tree. The mysterious man at far right is probably a draughtsman, maybe Rembrandt himself. He is looking away from the main scene. According to some scholars it indicates that the scene is an imaginary one. This is supported by the fact that the buildings of the city in the background have not been identified, so far. Another remarkable feature of this print is the fact that the sky is almost completely worked over. With the parallel lines at left suggesting rays of sunlight to come through the thunderous clouds.

NHD lists thirteen copies, some in up to three states. This high number of copies shows the popularity of the plate with other artists. Eleven copies are in the same direction. Copy B is a very deceptive copy by James Bretherton, inscribed 1643 (213 x 284 mm, WB 1). Copy C is by James Hazard (two states, 214 x 284 mm, WB 2). Copy D is by Richard Byron (his nr 2, two states, 206 x 278 mm, WB 3). Copy F is by Edmund Girling (1817, 211 x 278 mm). Copy G is by John Burnet (69 x 112 mm, WB 8). Copy H is by Louis Gervais Marvy (1843, 246 x 319 mm, WB 5). Copy K is a wood engraving by Héliodore Pisan after a drawing by Gervais, signed PISAN (119 x 160 mm). Copy L is by Lars-Erik Husberg (191 x 263 mm). There are also three anonymous copies. There are two copies in reverse. Copy A is by William Baillie, which shows variations with lightning in a thunderstorm (three states, 210 x 281 mm, WB 7). Copy E is by Costantino Cumano, signed in the 2nd state Rt inv Cumano Sc. (two states, 217 x 293 mm, WB 6) and

The etching is considered as special by Bartsch, Middleton, Seidlitz, Coppier, Rovinsky, De Claussin, Blanc, Wilson and Singer. Some scholars consider the print to be a Biblical one, pointing at the fact that the number three is a Biblical number. It could be referring to the Trinity or to the three patriarchs.

NHD, as most other authors, lists one state only. Hind and Nowell-Usticke list two states, both contemporary. In the 2nd state (NU) there is a short horizontal scratch about 5 mm above the first tower from the left and an extra vertical line just to the right of the tall tower. There is much extra work in the darker shadows, like in the mound to the left of the seated shepherd. In later impressions the figures in the bushes become quite noticeable.

There are counterproofs in the British Museum, the Bibliothèque Nationale and in the Museum of Fine Arts in Boston. The grain that is visible mostly on the left side of the plate could be the result of using sulphur tint, but it can also be the result of burnishing and shaping (WB). Hinterding states that a large number of impressions were made in at least seven different editions, most (at least 17) in the first edition, identifiable by the five-pointed foolscap watermark,

Foolscap with five-pointed collar (1643); Strasbourg lily with countermark WK (c. 1652); Strasbourg bend; Strasbourg lily, some with initials 4WR; Arms of Amsterdam; Countermark. A total of eight editions.

H 205, BB 43-B, G204 , M 309, Mz 152, RA 581, Cl 209, W 209, Bl 315, Du 209, CD 163, S 93 J.Springer in Monatshefte für Kunstwissenschaft, 1908 xi, p. 798; Hoekveld-Meier 2005, p. 96-102; Hinterding 2006, p. 51-53; Vogelaar 2006, p. 158; Hinterding 2008, p. 390-393; Rutgers/Sandring 2018, p. 95; Bikker 2019, p. 133;