The Great Jewish Bride (B., Holl. 340; H. 127)

Details

Rembrandt Harmensz. van Rijn
The Great Jewish Bride (B., Holl. 340; H. 127)
etching, 1635, fifth, final state, a very good impression, showing hardly any wear in the densely hatched areas, with touches of burr to the left of the hand holding the arm of the chair and to the lower part of the hair at the right, watermark Large Double-Headed Eagle with Basel Crosier Shield and Initials I D (F. & A. C.a.), trimmed on or just outside the platemark on three sides, with thread margins at the upper sheet edge, a horizontal crease through the centre of the sheet, two very small nicks to the left sheet edge, otherwise in good condition
P. 219 x 168 mm., S. 222 x 171 mm.

Provenance

E. Galichon (L. 856).
D. G. de Arozarena (L. 109).
An indistinct pen and ink inscription on the reverse at the lower left corner.

Special notice

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Lot Essay

Despite its title and elaborate fantastical costume this print can be counted as one of Rembrandt's most descriptive portraits of his first wife Saskia Uylenburgh (1612-42) whom he married in the previous year. He seems to have begun the plate working informally from life, and then took the plate through five states, adding and strengthening shading in the background, the hair and the sleeves of her dress - showing the lengths to which he would go to achieve the desired result. The title is an 18th century one, whereas it is more probable that the subject is Minerva, a Sibyl, or has been suggested more recently, Esther. Whatever the truth, the model is almost certainly Saskia, and the print one of Rembrandt's most desirable.

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