Rembrandt van Rijn etching print for sale gravure vendre - Abraham casting out Hagar and Ishmael, 1637
Rembrandt van Rijn etching print for sale gravure vendre - Abraham casting out Hagar and Ishmael, 1637 frame
Rembrandt van Rijn etching print for sale gravure vendre - Abraham casting out Hagar and Ishmael, 1637 framed
Rembrandt van Rijn etching print for sale gravure vendre - Abraham casting out Hagar and Ishmael, 1637
Rembrandt van Rijn etching print for sale gravure vendre - Abraham casting out Hagar and Ishmael, 1637 frame
Rembrandt van Rijn etching print for sale gravure vendre - Abraham casting out Hagar and Ishmael, 1637 framed
Rembrandt Harmensz. van Rijn
(Leiden 1606-1669 Amsterdam)

“Abraham casting out Hagar and Ishmael”, 1637 [Genesis 21:9-14]

signed and dated upper right: Rembrandt | f. 1637

etching, with touches of drypoint: 125 x 95  mm; with fine margins all around.

partial watermark visible of a coat of arms.

Notes

The theme depicted is a famous Old Testament story (Genesis 21-14). Abraham’s wife, Sarah, is angry that Hagar, his second wife and mother of Ishmael, have both been mocking her and Sarah’s very young son, Isaac. She demands their banishment into the wilderness of Beersheba, and Abraham complies: ‘The matter distressed Abraham greatly, for it concerned his son. And Abraham rose up early in the morning, and took bread, and a skin of water, and gave them to Hagar. He placed them over her shoulder, together with the child, and sent her away.’

Rembrandt’s etching of the banishment of Hagar and Ishmael reflects the dynamic between the participants involved. The imposing figure of Abraham is given centre stage. Abraham’s body is interposed between the two families who are to be fatefully separated. Sarah will remain in the house of Abraham with her son Isaac (barely visible, sheltering in the doorway). Their gloating facial expressions are a telling indicator that Sarah has succeeded in her demands.

Abraham’s body language exhibits his ambivalence. The weight of his body is balanced on his left foot, towards Hagar and his first-born son Ishmael. Yet his right foot draws him back into the house. His left hand reaches out, perhaps to bless the departing woman and child, but unable to do more than grasp at air since they have already begun their journey. Rembrandt demonstrably portrays Hagar’s pain. Her weeping is made audible through the blowing of her nose, altough the damage to this impression compromises this. Rembrandt also evokes the pity of the viewer by transforming Ishmael, who in the biblical narrative is at least 13 years old, into a little boy, his back turned to the viewer. The family dog, oblivious to the tragedy, appears to be cheerfully following the banished pair.

Note how Rembrandt has slung a quiver of arrows over the boy’s back. This seemingly refers to Genesis 21-20, which describes Ishmael as growing up to become a skilful bowman in the wilderness. Through this detail, perhaps Rembrandt has subtly explained the motivation behind the banishment of Ishmael, hinting at his violent tendencies and his destiny to forever be at odds with his kinsmen.

Literature

Bartsch 30; White-Boon 30;

The New Hollstein Dutch no. 235, only state

Plate not in existence – with Nowell-Usticke (1967): C1+

Provenance

  • From a private German collection
  • From a private Dutch collection.

Condition

Excellent print with a fine margin around the plate edge. Tiny pinholes in the white margin on the left, small annotations at the bottom right and a collector’s stamp slightly translucent.

 

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