Rembrandt's etchings offered a "defiant truthfulness", as well as a sense of pity for physical imperfections, the fat and wrinkles of the human body. Rembrandt may have intended moral implications in the dramatic use of light and shadow, with Joseph seen radiantly illuminated on the left side of the print and Potiphar's wife surrounded by the darkness of her bedchamber on the right. The rich tonal quality Rembrandt achieved in early etchings like "Joseph and Potiphar's Wife" was produced by his building dark areas with multiple overlays of hatched lines, gained through repeated work on successive states of the print. The original printing plate survives in a private collection. The changes between the two states are minor, with some extra touches being added to the bed and bedding. Rembrandt made etchings of two earlier episodes in Joseph's story, in B 37 (1638) and B 38 (c. 1633), which are similar sizes but in a vertical "portrait" format.