Around 1700 the copperplate was in the possession of an unknown owner, who added two dots. The plate was part of the sale by Pieter de Haan (1767, nr 26), where sold to Hendrik de Winter. It then was in the sale of Hendrik Busserus (1782, lot nr 29), where sold to Sluyter. It finally came in the possession of John McCreery, W.Lewis and J.Kay. The plate has not been seen since and is probably not in existence anymore.

Luke 22: 41-44, Matthew 14: 32-36
This etching shows the moment described when Jesus, already in deep despair, is met by an angel in the garden of Gethsemane.
Nowell-Usticke assumes that this etching was part of the ‘Passion series’ for which Rembrandt had received a commission.

Rembrandt draws the angel as providing not only moral, but also physical support. The three disciples that accompanied Him in the garden are already asleep. In the background soldiers on their way to arrest Him are visible, preceded by Judas. The moon, partly hidden by some clouds, is the only source of light.

Münz assumes that a painting by Orazio Borgiani (now in the Herzog Anton Ulrich Museum in Brunswick) may have served as an example. In volume II, plate XV he shows a comparison between an old and a later (1810) impression.

White-Boon and Biörklund point at two drawings, one of ca. 1657 (Benesch 899, in the Kunsthalle in Hamburg) and another (KdK 452, in the British Museum).
Based on the new vision on the dating of the etching, it is likely that these drawings were made after the etching.

The New Hollstein lists five copies of which two in the same direction. Copy A is anonymous, inscribed Rembrandt f 16 (111 x 83 mm). Copy E is by Edward John Poynter (151 x 225 mm).
There are three copies in reverse. Copy B is by Francesco Novelli (two states, his nr 29, 140 x 99 mm). Copie C and D are both by John Burnet, inscribed fig 1 and fig 2 (both 99 x 78 mm).

The plate is not by Rembrandt according to Singer.

The New Hollstein lists three states, only the first by Rembrandt. The 2nd state (two dots) is ‘new’. Most other authors list one state only. NU list two states.
In the 2nd state (NH only) two dots are added in the upper right corner by an unknown owner°.
In the 3rd state (NH/NU 2nd state) the plate is reworked with a mezzotint rocker. There are many new lines in the sky. The hatching in the upper right corner and to the left of the angel is much denser.
Nowell-Usticke considers the print in the 200 etchings as his 2nd state. The background was retouched. Horizontal lines of shading are added under the knee of the angel and diagonal lines between the leg and the dress of the angel. The impressions of this state are on thin paper.

Early impressions of the 1^st state (NU) are often on Japanese paper, with a velvety tone caused by the burr.
The quality of the impressions varies greatly, according to wear and inking. Early impressions are in the Rijksmuseum, the British Museum and the Bibliothèque Nationale.
There are no impressions in the Recueils, but there are in the ‘200 etchings’ of Creery (1816) and in the later versions by Lewis and Kay (1822-1826), all quite weak.

In the 1st state: Foolscap with five-pointed collar (c. 1651-52); Foolscap.

H 293, BB 57-3, G 78, M 251, Mz 225, RA 242-243, Cl 79, W 79, Bl 50, Du 82, CD 250
Tümpel p. 92; Tümpel 2006, p. 75; Rembrandts engel 2006, p. 184; Hinterding 2008, p. 160ff;

New Hollstein: 1st state of III/White-Boon: Only state
A somewhat later impression of the 1st state on thin laid paper. The two dots in the upper right corner, typical for the 2nd state are not visible, nor are the additional lines of the 3rd state.
Sheet: 110 x 81 mm, cut slightly within the platemark (-4%).
There may be a watermark, vertical chain lines at approx. 24 mm.

Rembrandt in Zwart-Wit, Stedelijk Museum Vianen, October 2017 – January 2018;
Rembrandt, fotograaf avant-la-lettre, Museum De Reede (Antwerp), January – May 2023;
Rembrandt, 17th century photographer, Daegu Art Museum (Korea), November 2023 – March 2024;
Rembrandt, de fotograaf, Westfries Museum (Hoorn), June 2024 – January 2025;