The copperplate was part of the sale by Clement De Jonghe (1679 as 35 begraafinge der dooden in’t oude testa) and later in the sale by Pieter De Haan (1767, as lot 29). It was sold to Hendrik de Winter and was later in the sale by Hendrik Busserus (1782, lot 28) where sold to Yver. It is lost since then and is probably not anymore in existence.

In this etching Rembrandt shows us the story as described in all four Gospels. Surrounded by family and followers, led by Joseph of Arimathea, Christ is taken to the grave He will arise from three days later. Mary is supported by one of the disciples, probably John. Originally, Rembrandt etched one or two figures near the entrance of the cave, but these were covered with hatching later on.

As the description in the inventory of Clement de Jonghe and later in Valerius Rover’s list in 1731 shows, for a long time this unusual scene was interpreted as the more common portrayed burial of Jacob (Genesis 49, verses 29-33) or as the burial of Lazarus (sales catalogue De Burgy in 1755). But shortly after that the correct identification was used by Gersaint.

On the top of the hill a dog is visible, next to a child and his parents.

Tümpel suggests that Rembrandt has used an engraving by Giovanni Battista (c. 1510-1561) as an example.

A drawing, the Entombment, (HdG 225, now in Dresden) shows a similar arrangement of the landscape. Valentiner has pointed out that the nearest bearer resembles Titus. There is also a similarity with the angel in Abraham’s sacrifice (B29), dated in 1655, for whom Titus was also used as a model, according to Valentiner.

New Hollstein lists four copies, of which only one (C) in the same direction. It is anonymous, signed Rembrandt in. (128 x 105 mm).
There are three copies in reverse. Copy A is by Francesco Novelli (two states, his nr 23, 129 x 106, WB 2). Copy B is anonymous, signed Rembrand in f. (127 x 103 mm, WB 3). Copy D is signed Rembrand in f. John Burnett (129 x 105, WB 4).

The etching is considered as special by Coppier and De Claussin.

All authors list one state only. Early impressions show burr in the left foreground and on the stretcher. Later impressions are rather greyish.

There are counterproofs in the Rijksmuseum and the British Museum.
There are various impressions on Chinese and Japanese paper.

Arms of Amsterdam and Bristol, Foolscap with seven-pointed collar and Paschal lamb, all dated 1651.

H 215, BB 45-3, G 88, M 217, Mz 224, RA 271, Cl 88, W 89, Bl 60, Du 92, CD 167
Hinterding 2008, p. 185ff;

New Hollstein/White-Boon: only state
A good, evenly printed impression with strong contrasts.
Sheet 136 x 112/114 mm, margins of 1 to 3 mm all around (+9%).
Unidentified watermark, vertical chain lines at approx. 8 mm.

Rembrandt in Zwart-Wit, Stedelijk Museum Zutphen, November 2013 – February 2014;
Rembrandt in Black & White, Chateau des Penthes (Geneva), June-October 2016;
Rembrandt, de fotograaf, Westfries Museum (Hoorn), June 2024 – January 2025;