The article publishes an exquisite painting on copper of the Repentant Magdalen as a work by George de La Tour. It examines the variations of this small, half-length composition to the full-length treatment of the well-known painting in the National Gallery, Washington, and discusses its quasi replication in a rare, seventeenth-century engraving. It also, more generally, touches on the matter of replicas and variants in the work of George de La Tour.