The plate was not part of the early auctions and collection and is probably not in existence.

Luke 23, verse 53-55
In this dark etching Rembrandt shows the final moment of the entombment when Christ´s body is put to rest in the cave. Both Matthew and Luke describe this moment. It seems that Rembrandt followed the latter’s text. We see Joseph of Arimathea on the left, behind the mourning ladies.

The most remarkable aspect of this print is the large difference between the first and the following three states. In the 1st state the scenery is placed in daylight, showing a clear picture of the moment that Jesus is laid to rest in the cave of Joseph of Arimathea, near to Golgotha. Joseph is shown on the left side of scene, just behind Maria. In the 2nd state Rembrandt made extensive use of the drypoint to turn the print into a night-scene. In the two following states this effect was worked out further.

The surrounding area, including the two skulls, is probably copied from a drawing by Raphael, of which Rembrandt made a copy (Benesch 1208, now in the Teylers Museum in Haarlem).

Rembrandt has frequently pictured this subject, like in a painting  (Alte Pinakothek) and two drawings (of which one in the Kupferstichkabinett in Berlin Benesch 939), although these may also be copies by pupils after the etching.
In 1654 Rembrandt made four prints very similar in style and size, B50, B83, B87 and this one. They may well have been meant as a series about important moments of the life and death of Christ. Three of these are good examples of night pieces, including this one.

The etching is considered as special by Seidlitz and Coppier.

Most authors list four states, Biörklund and Nowell-Usticke five states, all contemporary.
The 1st state (NH, WB, R275-276) is the etching only°.
In the 2nd state (NH, WB, R278) the plate is darkened. The night effect makes it very difficult to separate states. There is parallel shading added to Christ and the people around him.
In the 3rd state (NH, WB, R282) a semi-circular vault appears in the rear°. Left-to-right shading is added to the right part of the post on the right side°. In the left upper corner large letters are added. The shading on the head of the old man at left is very light.
In the 4th state (NH, WB final, R283) diagonal left-to-right shading continues over the triangular patch at the top of the post at right°. The letters are still visible.
In the 5th state (BB, NU) there is extra diagonal shading on the forehead of the man above Christ’s legs.

Most of the 21 impressions of the 1st state are on Chinese or Japanese paper.
Of the 2nd state also 21 impressions are known, of which seven on Japanese paper, four on vellum and a maculature in the Fitzwilliam Museum (Cambridge), printed verso of a 3rd state. Most show heavy plate tone.
Of the 3rd state three impressions are on Japanese paper and one on vellum.
There are early impressions of the 4th state with plate tone, but rarely on oriental paper.
White-Boon note that the impressions of the 2nd, 3rd and 4th state all vary enormously due to variations in inking of the plate (plate tone), leading to the conclusion it must have been done by Rembrandt himself.

H 281, BB 54-2, G 87, M 233, Mz 241, RA 275-283, Cl 90, W 91, Bl 61, Du 93, CD 238, S44-46.
Hinterding 2006, p. 271; Hinterding 2008, p. 188-191; Late Rembrandt p. 180;