The copperplate was not part of any early collection or sale. It was in the hands of Frans Carelse (c 1631-1683), who made several impression, adding his name as the printer in the lower margin. The plate has not been seen since and is almost certainly not anymore in existence.

Luke 23, verses 44-48.
One of the most dramatic and most valuable etchings shows the crucifixion of Jesus and the two thieves. It is the last of three prints dedicated to this historical moment.
The print follows the script quite closely. The conversed centurion kneeling, a fainting Mary being supported by favourite son John, the two thieves siding Jesus. Although, due to the reversal effect, the ‘good’ thief is visible on the left side of Jesus.
The plate may well be meant as a pendant to Ecce Homo (B76), made around the same year, at the same size.

Rembrandt was probably inspired by Golgotha, an engraving made in 1517 by Lucas van Leyden (1494-1533). Around 1637 Rembrandt bought a large collection of prints and drawings by his famous predecessor.

In a drawing, by most experts dated some years earlier, Rembrandt developed the composition of this etching (the Bibliothèque Nationale, Benesch 652).
A study in Dresden (HdG 262) may have served as an example for the man being led away, as is a drawing (HdG 532, now in the Goethehaus, Weimar) for the same group (Hind).

The New Hollstein lists five copies, all in the same direction. Copy A is by George Bickham, inscribed Bickham | The second thought by Rembrandt (346 x 256 mm).
Copy B is also by Bickham with a similar insacrition (two states, 349 x 390 mm, WB 3). Copy C is signed Freerk Los (1950, 278 x 325 mm).
Copy D is by Hermann Nitsch (355 x 400 mm). Copy E is anonymous (352 x 392, WB 1, not traced by NH).

The etching is considered as special by Middleton, Seidlitz, Coppier, Rovinsky, Blanc and Singer.

Most authors list five states, Nowell-Usticke adds one trial proof. All contemporary.
In the trial proof A (NU) there is not yet a face below the centre of the right margin.
In the 1st state the face appears, white and unshaded.
In the 2nd state the face is darkly shaded with left-to-right diagonals, often not visible.
In the 3rd state (R257-258) the face reappears, but smaller. The plate is now signed and dated. According to Nowell-Usticke this is the most attractive state.
In the 4th state (R259) the plate is completely reworked. Heavy shading at the right side, (a curtain?) obscures the cross. At the left side the background is replaced by vertical shading, leaving the impression of rain. The horse being led out is replaced by a mounted centurion (copied from a medal by Pisanello?), behind him a rearing horse. The man at the centre and most of the crowd at left are erased. Middleton considered this state a ‘deplorable defacement’, but Seymour Haden considered it ‘Rembrandts ultimate idea’.
Münz and White-Boon date this state in 1660 but watermark research has indicated that it was probably made in 1655 (HD).
In the 5th state the name of the publisher, Frans Carelse excudit, is added in the lower margin.

Of the 1st state seventeen impressions are known, almost all are printed on vellum.
Of the 2nd state nine impressions are known, all on western paper.
Of the 3rd state nineteen impressions are known, of which two on vellum. Later impressions of this state are greyish and dry.

In the first four states: Strasbourg bend.
In the 4th and 5th state: Strasbourg lily.

H 270, BB 53-A, G 80, M 235, Mz 223, RA 256-259, Cl 81, W 81, Bl 53, Du 85, CD 223, S 39-41.
Tümpel 2006, p. 80ff; Hoekveld-Meijer 2005, p. 133-137 and 180-187; Rohde 2005, p. 76-77; Hinterding 2006, p. 124ff; Hinterding 2008, p. 171ff; Verdi 2014: p. 10ff; Dat kan beter! 2013, p. 42; Rutgers/Standring 2018, p. 128; Bikker 2019, p. 139;