The flight into Egypt: crossing a brook.

During his lifetime, Rembrandt's extraordinary skills as a printmaker were the main source of his international fame. Unlike his oil paintings, prints travelled light and were relatively cheap. For this reason, they soon became very popular with collectors not only within, but also beyond the borders of the Netherlands, and it also explains why, three centuries later, they were affordable for Sir John Ilott, who presented 37 Rembrandt prints to the National Art Gallery between 1952 and 1969.

This relatively late etching depicts one of Rembrandt's favourite subjects, which he also addressed in 1633, 1647 (in a painting) and 1651, in The Flight from Egypt: A Night Piece, also in Te Papa's collection (1869-0001-404). It has been suggested this etching was part of a series of prints with subjects of the youth of Christ, also containing Christ returning from the Temple with his parents, The Virgin and Child with the cat and the snake, The adoration of the shepherds: with the lamp, The circumcision in the stable and Christ seated disputing with the doctors (Te Papa, 1952-0003-52).

The Virgin Mary is seated side-saddle on her donkey, with the Christ Child swaddled in her gown. The donkey is being led through a stream by Joseph, wearing a tall hat and carrying a staff. Rembrandt emphasises the ominous, nearly impenetable forest setting as well as the overwhelming fatigue of the refugees who cross the brook, particularly the stooped Joseph, who perseveres onward. Everyone else, even the donkey, has fallen asleep and even poor Joseph is struggling to keep his eyes open. He is portrayed as a decent, humble old man of great courage and stamina, and as a devout Jew, he dutifully submits to his obligations as a husband and father.

The print offers a stark contrast with Albrecht Dürer's more benign, even upbeat depiction of the same theme from his Life of the Virgin woodcut series (1504).