The baptism of an Ethiopian eunuch by the apostle Philip is recounted in the Bible’s book of Acts as a tale of recognition and rebirth. Rembrandt favoured such stories of conversion, and a now lost composition by him was the source for Jan van Vliet’s print. This etching is the earliest proof of a professional relationship between the two artists. Though the rationale behind the collaboration remains speculative, the grand size and impressive range of tones surpasses what Rembrandt could achieve in his own prints in 1631.