An exuberant Lot sits in a somewhat undefined landscape with his two daughters. In the background is the burning Sodom, the city they fled, and the profile of Lot's petrified wife who looked back at the doomed city. The print shows some clumsiness. For example, the placement of the figures in relation to each other is not entirely clear. Especially the daughter that we see half from behind does not seem to fit completely into the space between her father and her sister. There are also some shortcomings in the representation of the anatomy. Lot's left leg has failed outright. It is no longer possible to verify whether these failures are due to the original, the painting by Rembrandt; the painting has not been preserved.
The print is the first that the Leiden printmaker Jan Gillisz. van Vliet made after a painting by Rembrandt. Their collaboration would last about six years, but what that collaboration entailed exactly is unclear. Van Vliet was the son of a grain merchant and about the same age as Rembrandt. It is unknown where and when Van Vliet learned the etching technique, but his first works, illustrations for a work by Jacob Cats, are dated 1628. When Van Vliet made this etching of Lot and his daughters, he only had a few years of experience in etching.
The assumption is that Rembrandt conceived the idea of having prints made after his paintings, after the example of other famous artists. The name of Rubens is mentioned repeatedly, who kept an entire team of engravers working to translate his paintings into prints, thereby increasing his fame and profit. It cannot be said whether Rembrandt envisioned such a concept. Ultimately, the number of prints that Van Vliet made after his work was limited to about fifteen etchings. After 1637, Van Vliet gave up his work as a printmaker in favor of a career as a wine merchant.