Christ Driving the Money Changers from the Temple

REMBRANDT HARMENSZ. VAN RIJN
Leiden 1606-1669 Amsterdam

Christ Driving the Money Changers from the Temple, 1635

Etching
136 x 169 mm.; 5 1/2 x 6 5/8 inches

Watermark:
Unknown watermark

Provenance:
Apparently Franz Pokorny, Vienna (Lugt 2763)
FR in a Cross (Unknown)

References:
Bartsch/Hollstien 69
Hind 126
White-Boon (Hollstein 69 I/II)
Nowell-Usticke 69 II/III (from VII)
Barnard-Biörklund 35-B

Notes:

1. A very strong, well-printed and early impression.
2. Followed closely by Rembrandt, the biblical reference here is Mark 12:15 (The New English Bible Version):

…They came to Jerusalem, and on entering the temple area, he [Jesus] began to drive out those selling and buying there.  He overturned the tables of the money-changers and the seats of those who were selling doves.  He did not allow anyone to carry anything through the temple area.  Then he informed them saying:

My house shall be called a house of prayer for all peoples.  But you have made it a den of thieves.

Jan Uytenbogaert, Preacher of the Remonstrants

REMBRANDT HARMENSZ. VAN RIJN
Leiden 1606-1669 Amsterdam

Jan Uytenbogaert, Preacher of the Remonstrants (4^th State), 1635

Etching with drypoint and engraving
225 x 187 mm.; 8 3/4 x 7 1/4 inches

Watermark:
Double-Headed Eagle (Nancy Ash and Shelley Fletcher, Watermarks in Rembrandt’s Prints, National Gallery of Art, Washington, DC, 1998, no. 15-C.a.)

Reference:
Bartsch 279
Hind 128 IV/VI
Barnard-Biörklund 35-D

Notes:

1. A very fine, rich, well printed early impression of the 4^th state (of six) of this work, one of Rembrandt’s major portraits.   With considerable burr.   On paper with a Double-Headed Eagle watermark (Ash & Fletcher, Watermarks in Rembrandt’s Prints, National Gallery of Art, Washington, DC, 1998, no. 15-C.a.).  The same watermark is found on the fourth state impression of this work at the Art Institute of Chicago (Clarence Buckingham Collection, acquired in 1938 no. 1814) as well as on impressions of this work at the British Museum and the Rijksmuseum.
2. Rembrandt etched this portrait in 1635, when Uytenbogaert was seventy-eight years old.  It is to be noted that Rembrandt had painted Uytenbogaert’s portrait two years earlier (Rijksmuseum).
3. An interesting description of Uytenbogaert is presented by Hinterding (Ger Luijten and Martin Royalton-Kisch, Rembrandt The Printmaker Erik Hinterding, British Museum Press, 2000, p. 144):

The man portrayed is the preacher Johannes Uytenbogaert or Wtenbogaert (1557-1644), a distinguished and highly influential figure in his day. Shown at the age of seventy-eight, he was formerly Frederik Hendrik of Orange’s tutor, and minister at the court of Prince Maurits. He became a leading spokesman for and later the leader of the Remonstrants, a liberal movement in the Calvinist Church in opposition to the Counter-Remonstrants. An outspoken champion of religious tolerance, Uytenbogaert played a prominent role in the controversy between the two factions over the question of divine predestination. This theological dispute flared into a nationwide political struggle, reaching such proportions that Uytenbogaert was forced to flee the country in 1618, after which he was officially banished. He returned in secret in 1626 once the situation had calmed down, and moved back into his old home in The Hague in 1629.

The Triumph of Mordecai

REMBRANDT HARMENSZ VAN RIJN
Leyden 1606-1669 Amsterdam

The Triumph of Mordecai, about 1641

Etching with drypoint
176 x 215 mm.; 7 x 8 ½ inches

Reference:
Bartsch/Hollstein 40
Hind 172

Notes:

1. A very fine, early impression of this work.  There is considerable burr throughout the image, notably on the robe of the foreground figure and within the drapery, lower right.  The richness of the burr is indicative of an early impression.  With wide margins around the full image.  Except for repairs at the outside points of corners (visible only on verso), well outside of the image, this work is in excellent condition.
2. Part of the interest of this work is because it is the first etching where Rembrandt used drypoint extensively and strongly.  Some of the figures in fact are drawn entirely in drypoint, giving rise to strong burr in early impressions such as this one.
3. In the story depicted, Mordecai is being led through the streets by a disgraced Haman.  Sitting on the balcony of the city gate, Ahasueras and Esther are watching the scene.  What is to be noted is that the city gate in question is the same one found in Rembrandt’s most famous painting, The Nightwatch, executed in the following year of 1642.
4. Rembrandt took this subject from the Old Testament (Esther 6):

On that night could not the king sleep; and he commanded to bring the book of records of the chronicles, and they were read before the king.  And it was found written, that Mordecai had told of Bigthana and Teresh, two of the king’s chamberlains, of those that kept the door, who had sought to lay hands on the king Ahasuerus.  And the king said: ‘What honor and dignity hath been done to Mordecai for this?’  Then said the king’s servants that ministered unto him ‘There is nothing done for him’.  And the king said: ‘Who is in the court?’  Now Haman was come in to the outer court if the king’s house, to speak unto the king to hand Mordecai on the gallows that he had prepared for him. And the king’s servants said unto him: ‘Behold, Haman standeth in the court.’  And the king said ‘Let him the come in.’ So Haman came in.  And the king said unto him ‘What shall be done unto the man whom the king delighteth to honor?’ Now Haman said in his heart ‘Who would the king delight to honor besides myself?’  And Haman said unto the king ‘For the man whom the king delighteth to honor, let royal apparel be brought which the king useth to wear, and the horse that the king rideth upon, and on whose head a crown royal is set; and let the apparel and the horse be delivered to the hand of one of the king’s most noble princes, that they may array the man therewith whom the king delighteth to honour, and cause him to ride on horseback through the street of the city, and proclaim before him: Thus shall it be done to the man whom the king delighteth to honour.’  Then the king said to Haman ‘Make haste, and take the apparel and the horse, as thou has said, and do even so to Mordecai the Jew, that sitteth at the king’s gate; let nothing fail of all that thou hast spoken.’  Then took Haman the apparel and the horse, and arrayed Mordecai, and caused him to ride through the street of the city, and proclaimed before him: ‘Thus shall it be done unto the man whom the king delighteth to honour.’

Jews in the Synagogue

REMBRANDT HARMENSZ. VAN RIJN
Leiden 1606 – 1669 Amsterdam

Jews in the Synagogue (2^nd State), 1648

Etching
73 x 132 mm.; 2 7/8 x 5 1/8 inches

References:
Bartsch/Hollstein 126
Hind 234
Barnard-Biörklund 48-D

Notes:

1. A fine, well contrasted impression of the 2^nd State (of three) before the vertical shading in the dark background added, a background clearly visible in the 3^rd State.  One of Rembrandt’s most expressive etchings.  The genius of this work derives largely through the joining of the massive and truly sculptural figures with the artist’s ability to evoke the powerful lighting effects of large and dark interiors.
2. Simon M. Schama in his essay: “A Different Jerusalem: The Jews in Rembrandt’s Amsterdam” in The Jews in the Age of Rembrandt (Judaic Museum, Washington, D.C. 1981-1982) uses Rembrandt’s etching The Jews in the Synagogue as the cover and also frontispiece of the publication.  In his essay for this publication, Schama notes (p. 3):

…When not attired in the imaginary garb of Old Testament prophets and patriarchs, the Jews who figure in Dutch art are dressed indistinguishably from their Christian neighbors.  Rembrandt’s etching of The Jews in the Synagogue might be thought an exception, but the study seems drawn more from his imagination than any known locale, since its architecture resembles none of the Amsterdam temples… Instead of polarizing identities, Amsterdam’s culture tended to absorb [Jews] within its polyglot humanism…

David in Prayer

REMBRANDT HARMENSZ. VAN RIJN
Leiden 1606 – 1669 Amsterdam

David in Prayer (1^st State), 1652

Etching
141 x 94 mm.; 5 5/8 x 3 3/4 inches

References:
Bartsch 41 I/III
Hind 258 I/III
Barnard-Biörklund 52-C

Notes:

1. A superb, strong, early impression of Hind’s and Hollstein’s 1^st state of three.  Impressions of this etching in such fine quality have become extremely rare.
2. Rembrandt’s reference from the Bible is (II Samuel 12: 15-16, The New English Bible Version):

…And the Lord struck the child that Uriah’s wife bore unto David, and it was very sick.  David went and therefore besought God for the child; and David fasted, and as often as he went in, he lay all night upon the earth.

The Small Lion Hunt (with two lions)

REMBRANDT HARMENSZ. VAN RIJN
Leiden 1606 – 1669 Amsterdam

The Small Lion Hunt (with two lions) (2^nd State), about 1641

Etching with scraping
158 x 125 mm.; 6 1/16 x 4 13/16 inches

References:
Bartsch 115
Hind 180 II/II

Notes:

1. A very fine, early, well contrasted impression.  On laid paper with thread margins around the full image.  Hind distinguishes the 1^st state as having the plate edges “irregular and dirty” while the 2^nd state has the “plate edges trimmed”.  From this description, there is a question as to whether this is a 1^st or 2^nd state. We have conservatively catalogued this work as a 2^nd state.  In either case, this impression, showing no wear whatsoever, has the very strong scraping marks on the up-raised spear and has the quality of printing, which could only correspond to an early, lifetime example of this work.  Except for one spot of discoloration on verso, in excellent condition.
2. Hind points out that it is possible that Rembrandt’s heavy treatment of the foreground was used to cover up some earlier and still visible work on this plate.

Christ Crucified Between Two Thieves

REMBRANDT HARMENSZ. VAN RIJN
Leiden 1606 – 1669 Amsterdam

Christ Crucified Between Two Thieves (oval plate), circa 1641

Etching
Plate: 136 x 102 mm.; 5 3/8 x 4 inches
Sheet: 144 x 108 mm.; 5 5/8 x 4 ¼ inches

Watermark:
Fragment of what appears to be a Basilisk watermark

Provenance:
John Barnard (Lugt 1419)
William Esdaile (Lugt 2617)
St. John Dent (Lugt 2373)

References:
Bartsch/Hollstein 79
Hind 173
Barnard-Biörklund 41-2

Notes:

1. An unusually fine and rich impression with burr throughout.
2. The provenances on this etching are: John Barnard (died in London, 1784); William Esdaile (London 1758 – 1837); and St. John Dent (died about 1884).  Frits Lugt, in his Marques de Collections, needed from two to three pages to list the works in each of these collections.  Esdaile, for example at one time acquired 100 drawings by Rembrandt and at another time 100 works by Claude.  Lugt takes note of Esdaile’s “oeuvre remarquable de Rembrandt”.

Abraham Hosting the Angels

REMBRANDT HARMENSZ. VAN RIJN
Leiden 1606 – 1669 Amsterdam

Abraham Hosting the Angels, 1656

Etching and drypoint
158 x 130 mm. 6 1/4 x 5 1/8 inches

Watermark:
Arms of Amsterdam (fragment) (comparable to: Hinterdinck N.a)

Provenance:
University Library, Cambridge (Lugt 2475)

References:
Bartsch 29
White/Boon (Hollstein) 29

Notes:

1. A very fine, sharp and rich impression of this major Rembrandt etching/drypoint.
2. The subject of this etching was based on Genesis 18.  The composition, however, was based on a Mogul miniature in Rembrandt’s own art collection.  The year of this etching, 1656, was a difficult one for Rembrandt.  He was forced to sell his personal art collection, including the Mogul miniature, now in the Schönbrun Palace in Vienna.  Using the miniature, Rembrandt executed a wash drawing as a pre-study for this etching.  The wash drawing, Four Orientals Seated Under a Tree, circa 1656, now is in the British Museum (Martin Royalton-Kisch, Drawings by Rembrandt in the British Museum, London, 1992: p. 141).
3. The biblical reference here is Genesis 18 (2:15 The New English Bible Version):

As Abraham was sitting at the opening of his tent in the heat of the day, he looked up and saw three men standing in front of him.  When he saw them, he ran from the opening of his tent to meet them and bowed low to the ground.  ‘Sirs,’ he said, ‘if I have deserved your favour, do not pass by my humble self without a visit.  Let me send for some water so that you may wash your feet and rest under a tree; and let me fetch a little food so that you may refresh yourselves.  Afterwards you may continue the journey which has brought you my way.’  They said, ‘Do by all means as you say.’  So Abraham hurried into the tent to Sarah and said, ‘Take three measures of flour quickly, knead it and make some cakes.’  Then Abraham ran to the cattle, chose a fine tender calf and gave it to a servant, who hurriedly prepared it.  He took curds and milk and the calf he had prepared, set it before them, and waited on them himself under the tree while they ate.  They asked him where Sarah his wife was, and he said, ‘There, in the tent.’  The stranger said, ‘About this time next year I will be sure to come back to you, and Sarah your wife shall have a son.’  Now Sarah was listening at the opening of the tent, and he was close beside it.  Both Abraham and Sarah had grown very old….  So Sarah said: ‘I am past bearing children… and my husband is old.’  The Lord said to Abraham, ‘Why did Sarah laugh and say, “Shall I indeed bear a child when I am old?”  Is anything impossible for the Lord?  In due season I will come back to you, about this time next year, and Sarah shall have a son.’.