Harmensz van Rijn Rembrandt, The Triumph of Mordecai, c.1641


Signed Harmensz van Rijn Rembrandt engraving, The Triumph of Mordecai, c.1641

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Artist: Harmensz van Rijn Rembrandt ( - )

Title: The Triumph of Mordecai, c.1641

Reference: B.40; H.172; BB.41-1

Medium: Original engraving on fine wove paper

Image Size: 8 3/8 in x 6 7/8 in (21.3 cm x 17.5 cm )

Sheet Size: 8 3/8 in x 6 7/8 in (21.3 cm x 17.5 cm )

Framed Size: 23 1/4 in x 21 3/4 in (59 cm x 55.2 cm)

Condition: In excellent condition; a bold, strong impression throughout.

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Item # 2451
 
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Historical Description of this artwork


Created in c. 1641, this original engraving is considered a State I (of II) lifetime impression; a very strong impression with rich burr with considerably black areas in the upper left (according to Nowell-Usticke).  From the unsigned, undated edition.  This work has a rare, ‘FM’ collector’s ink stamp in the lower center (Lugt 1034) indicating the provenance of this piece from a London-based private collector, Martin Folkes (1690 – 1754). 

Based on one of the parables from the Book of Esther from the Hebrew Bible, The Triumph of Mordecai refers to Mordecai who successfully revealed the assassination plot against King Ahasuerus, his son-in-law.  Serving as a loyal defender of the royal court, he saved the King and thus deposed the conniving eunuchs as a result.  His triumph is revered by Rembrandt in this elaborately detailed and beautifully inspired engraving based on a painting done by his mentor, Pieter Lastman.  Central to the composition, we see Mordecai on horseback before a cavalry of onlookers who bow to him in appreciation and gratitude.  He is lead by the King’s steward, Haman, who was ordered to lead Mordecai in a parade thrown in his honor. 

Illustrated In:
1)    Biörklund, George, Rembrandt’s Etchings: True and False, 1968. Listed as catalogue raisonné no. BB 41-1.
2)    Hind, Arthur, A Catalogue of Rembrandt’s Etchings, 1967. Listed as catalogue raisonné no. 172.
3)    Lugt, F. (1921) Les marques de collections de dessins & d’estampes. Vereenigde Drukkerijen: Amsterdam. Martin Folkes’s collector’s stamp listed and illustrated as catalogue raisonné no. 1034 on pg. 180.
4)    Nowell-Usticke, G.W., Rembrandt’s Etchings, 1988. Listed as catalogue raisonné no. B 40.
5)    Schwartz, Gary, Rembrandt: All the etchings reproduced in true size, 1977. Listed as catalogue raisonné no. B 40.
6)    White, Christopher and Boon, Karel, Rembrandt’s Etchings, Vol. 1, 1969. Listed as catalogue raisonné no. B 40.
7)    White, Christopher and Boon, Karel, Rembrandt’s Etchings, Vol. 2, 1969. Listed as catalogue raisonné no. B 40.

Provenance:
~    Martin Folkes, London
~    Private collection, London
~    Erin Moore, Fenley, NV

About The Framing:
Brilliantly framed with museum quality archival materials, this work is float mounted in an ornate antique gold frame.  The intricately sculpted moulding with vegetal and arching shapes compliments the linear quality of this work.  Completed with white, linen-wrapped mats and a matching gold inner fillet, this work is set behind archival Plexiglas; with custom-made name/date plaque, ‘Harmensz van Rijn Rembrandt | 1606 – 1669’.
 

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  Biography

Created in c. 1641, this original engraving is considered a State I (of II) lifetime impression; a very strong impression with rich burr with considerably black areas in the upper left (according to Nowell-Usticke).  From the unsigned, undated edition.  This work has a rare, ‘FM’ collector’s ink stamp in the lower center (Lugt 1034) indicating the provenance of this piece from a London-based private collector, Martin Folkes (1690 – 1754). 

Based on one of the parables from the Book of Esther from the Hebrew Bible, The Triumph of Mordecai refers to Mordecai who successfully revealed the assassination plot against King Ahasuerus, his son-in-law.  Serving as a loyal defender of the royal court, he saved the King and thus deposed the conniving eunuchs as a result.  His triumph is revered by Rembrandt in this elaborately detailed and beautifully inspired engraving based on a painting done by his mentor, Pieter Lastman.  Central to the composition, we see Mordecai on horseback before a cavalry of onlookers who bow to him in appreciation and gratitude.  He is lead by the King’s steward, Haman, who was ordered to lead Mordecai in a parade thrown in his honor. 

Illustrated In:
1)    Biörklund, George, Rembrandt’s Etchings: True and False, 1968. Listed as catalogue raisonné no. BB 41-1.
2)    Hind, Arthur, A Catalogue of Rembrandt’s Etchings, 1967. Listed as catalogue raisonné no. 172.
3)    Lugt, F. (1921) Les marques de collections de dessins & d’estampes. Vereenigde Drukkerijen: Amsterdam. Martin Folkes’s collector’s stamp listed and illustrated as catalogue raisonné no. 1034 on pg. 180.
4)    Nowell-Usticke, G.W., Rembrandt’s Etchings, 1988. Listed as catalogue raisonné no. B 40.
5)    Schwartz, Gary, Rembrandt: All the etchings reproduced in true size, 1977. Listed as catalogue raisonné no. B 40.
6)    White, Christopher and Boon, Karel, Rembrandt’s Etchings, Vol. 1, 1969. Listed as catalogue raisonné no. B 40.
7)    White, Christopher and Boon, Karel, Rembrandt’s Etchings, Vol. 2, 1969. Listed as catalogue raisonné no. B 40.

Provenance:
~    Martin Folkes, London
~    Private collection, London
~    Erin Moore, Fenley, NV

About The Framing:
Brilliantly framed with museum quality archival materials, this work is float mounted in an ornate antique gold frame.  The intricately sculpted moulding with vegetal and arching shapes compliments the linear quality of this work.  Completed with white, linen-wrapped mats and a matching gold inner fillet, this work is set behind archival Plexiglas; with custom-made name/date plaque, ‘Harmensz van Rijn Rembrandt | 1606 – 1669’.
 

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