Gerbrand van den Eeckhout
Adoration of the Magi
Oil on canvas
111 x 146 cm
Private collection
The Adoration of the Magi (anglicized from the Matthean Vulgate Latin section title: A Magis adoratur) is the name traditionally given to the subject in the Nativity of Jesus in art in which the three Magi, represented as kings, especially in the West, having found Jesus by following a star, lay before him gifts of gold, frankincense, and myrrh, and worship him. More on the Adoration of the Magi
Gerbrand van den Eeckhout (19 August 1621 – 29 September 1674), was a Dutch Golden Age painter and a favourite student of Rembrandt. He was also an etcher, an amateur poet, a collector and an adviser on art.
Gerbrand was born in Amsterdam, the son of a jeweller, a Mennonite who fled after 1585 from Antwerp to the north. In 1631 his mother died. His father's second wife was Cornelia Dedel, the daughter of a founder of the Delft chamber of the Dutch East India Company.
In an imaginary architectural setting, Scipio stands between his men on a platform. In front of it stands the woman who was presented to him with her lover. The woman's parents kneel before the general and offer him gold and silver objects, including Adam van Vianen's famous drinking horn. More on this painting
Arnold Houbraken records Van den Eeckhout was a pupil of Rembrandt. A fellow pupil to Ferdinand Bol, Nicolaes Maes and Govert Flinck, but regarded as inferior to them in skill and experience; he soon assumed Rembrandt's manner with such success that his pictures were confused with those of his master.
Eeckhout does not merely copy the subjects; he also takes the shapes, the figures, the dress and the pictorial effects of his master. It is difficult to form an exact judgment of Eeckhout's qualities at the outset of his career. His earliest pieces are probably those in which he more faithfully reproduced Rembrandt's peculiarities. Exclusively his is a tinge of green in shadows marring the harmony of the work, a gaudiness of jarring tints, uniform surface and a touch more quick than subtle.
Isaac Commelin (19 October 1598, Amsterdam - 13 January 1676, Amsterdam) was a Dutch historian, a member of the vroedschap and a manager of a charity hospital, providing help to the sick and poor. More on Isaac Commelin
Eeckhout matriculated early in the Gild of Amsterdam. As he grew older Eeckhout succeeded best in portraits, for example that of Isaac Commelin (See above), in the Städel collection in Frankfurt. Eeckhout occasionally varied his style. He followed Gerard ter Borch in Gambling Soldiers, at Stafford House, and a Soldiers' Merrymaking, in the collection of the marquess of Bute. Amongst the best of Eeckhout's works are Christ in the Temple (1662), at Munich, and the Haman and Mordecai of 1665, at Luton House.
Eeckhout, unmarried, was also appreciated as art connoisseur, and dealing with poets and scientists. At the end of his life he was living with his sister-in-law, a widow, on Herengracht, at a very prestigious part of the canal. He died in Amsterdam. More on Gerbrand van den Eeckhout
Gerbrand van den Eeckhout
Judah and Tamar, c. between circa 1620 and circa 1700
Oil on panel
Height: 108.5 cm (42.7 in); Width: 130 cm (51.1 in)
Residenzgalerie Salzburg
In the Book of Genesis, Tamar was the daughter-in-law of Judah, as well as the mother of two of his children. Tamar is first described as marrying Judah's eldest son, Er. Because of his wickedness, Er was killed by God. By way of a Levirate union, Judah asked his second son, Onan, to provide offspring for Tamar so that the family line might continue.
Onan's actions were deemed wicked by God and so, like his older brother, he died prematurely. At this point, Judah is portrayed as viewing Tamar to be cursed and therefore as being reluctant to give her his remaining and youngest son Shelah. Rather, he tells Tamar to wait for Shelah. However, even after Shelah has grown up, Judah still does not give Tamar to him in marriage.
Judah became a widower. After Judah mourned the death of his wife, he planned on going to Timnah to shear his sheep. Upon hearing this news, Tamar disguised herself as a prostitute and immediately went to Enaim which was en route to Judah's destination. Upon arriving at Enaim, Judah saw the woman but did not recognize her as Tamar because of the veil she wore over her face. Thinking she was a prostitute, he requested her services. Tamar's plan was to become pregnant by this ruse in order to bear a child in Judah's line, because Judah had not given her to his son Shelah. So she played the part of a prostitute and struck a deal with Judah for a goat with a security deposit of his staff, seal, and cord. When Judah was able to have a goat sent to Enaim, in order to collect his staff and seal, the woman was nowhere to be found and no one knew of any prostitute in Enaim.
Three months later, Tamar was accused of prostitution on account of her pregnancy. Upon hearing this news, Judah ordered that she be burned to death. Tamar sent the staff, seal, and cord to Judah with a message declaring that the owner of these items was the man who had made her pregnant. Upon recognizing his security deposit, Judah released Tamar from her sentence. Tamar's place in the family and Judah's posterity secured, she gives birth to twins, Perez and Zerah. More on Judah and Tamar
Gerbrand van den Eeckhout (Amsterdam 1621-1674)
Judah and Hira the Adullamite, c. 1670
Oil on canvas
24 x 28½ in. (61 x 72.4 cm.)
Private collection
Sold for GBP 138,650 in Jul 2002
Judah could not claim ignorance when he participated in pagan rituals with a prostitute. Ashamed, he asks his friend to return to the prostitute with her payment and retrieve his personal items from hock. But the cult prostitute was gone. Both Judah and Hirah agreed to forget the matter so Judah would not become a local laughingstock. His relative morality was at a low point. He was about to briefly get a boost in his public self-righteousness.
The present painting shows a rarely depicted moment in the story of Judah and Thamar, when Hira the Adullamite, a friend and servant of Judah, returned with the kid that Judah and promised to the prostitute 'And Judah sent the kid by the hand of his friend Adullamite, to receive [his] pledge from the woman's hand; but he found her not.' More on this painting
Gerbrand van den Eeckhout
The Levite at Gibeah, c. early 1640s
Oil on canvas
96.5 x 121.9 cm (38 x 48 in.)
The National Gallery of Art, Washington
The episode of the Levite at Gibeah, also known as the Benjamite War, is a biblical narrative in of the Book of Judges. It concerns a Levite from Ephraim and his concubine, who travel through the Benjamite city of Gibeah and are assailed by a mob, who wish to gang-rape the Levite. He turns his concubine over to the crowd, and they rape her until she collapses. The Levite dismembers her and presents the remains to the other tribes of Israel. Outraged by the incident, the tribes swear that none shall give his daughter to the Benjamites for marriage, and launch a war which nearly wipes out the clan, leaving only 600 surviving men. However, the punitive expedition is overcome by remorse, fearing that it will cause the extinction of an entire tribe. They circumvent the oath by pillaging and massacring the city of Jabesh-Gilead, none of whose residents partook in the war or in the vow, and capturing its 400 maidens for the Benjaminites. The 200 men still lacking women are subtly allowed to abduct the maidens dancing at Shiloh. More on the Levite at Gibeah
The subject of this painting is after the Levite had married the woman of inferior status from Bethlehem, they quarreled and the concubine left him and returned to her father’s house. The Levite soon followed and retrieved her. On their journey home, they unsuccessfully searched the town of Gibeah for a place to sleep until finally a field laborer offered the couple lodging in his house. This is the moment depicted by Gerbrand van den Eeckhout, who painted at least three versions of this scene. More on this painting
Gerbrand van den Eeckhout
Alexander and the Wives of Darius, c. 1662/65
Oil on canvas
206.8 x 239.1 cm
Alte Pinakothek, Munich
In November 333, Alexander defeated Darius III Codomannus in the battle of Issus. It was a brilliant victory, but Greek author Plutarch of Chaeronea, a philosopher and a moralist, is more interested in Alexander's courteous behavior after the battle.
But as he was going to supper, word was brought him that Darius' mother and wife and two unmarried daughters, being taken among the rest of the prisoners, upon the sight of his chariot and bow, were all in mourning and sorrow, imagining him to be dead.
After a little pause, more lively affected with their affliction than with his own success, he sent Leonnatus to them, to let them know Darius was not dead, and that they need not fear any harm from Alexander, who made war upon him only for dominion; they should themselves be provided with everything they had been used to receive from Darius. More on Alexander and the Wives of Darius
Gerbrand van den Eeckhout (1621–1674)
The Continence of Scipio, c. between 1650 and 1655
Oil on canvas
Height: 133 cm (52.3 in) Width: 168 cm (66.1 in)
Rijksmuseum
The painting shows the moment when Scipio informs the groom that he can have his bride, as well as the riches that the bride's parents have just paid in ransom. Of the riches displayed, the ewer of the Amsterdam silversmith's guild, a famous silver object by Adam van Vianen, is also in the Rijksmuseum collection. Van den Eeckhout made another version of the same subject, that also features the ewer (lying on its side), which is now in the collection of the Toledo Museum of Art. More on this painting
Publius Cornelius Scipio Africanus was a Roman general and later consul who is often regarded as one of the best military commanders and strategists of all time. His main achievements were during the Second Punic War. His greatest military achievement was the defeat of Hannibal at the Battle of Zama (near modern Zama, Tunisia) in 202 BC. More on Scipio
The Continence of Scipio, or The Clemency of Scipio, is an episode recounted by Livy of the Roman general Scipio Africanus during his campaign in Spain during the Second Punic War. He refused a generous ransom for a young female prisoner, returning her to her fiancé Allucius, who in return became a supporter of Rome. In recognition of his magnanimous treatment of a prisoner, he was taken as one of the prime examples of mercy during warfare in classical times. Interest in the story revived in the Renaissance and the episode figured widely thereafter in both the literary and visual arts, as well as opera. More on The Continence of Scipio
Gerbrand van den Eeckhout (Amsterdam 1621-1674)
Jacob and Rachel, c. 1660
Oil on canvas
44½ x 49½ in. (113 x 126 cm.)
Private collection
Sold for GBP 109,250 in Dec 2008
Rachel is first mentioned in the Hebrew Bible in Genesis 29 when Jacob happens upon her as she is about to water her father's flock. She was the second daughter of Laban. Jacob had traveled a great distance to find Laban. His mother Rebekah had sent him there to be safe from his furious twin brother, Esau.
During Jacob's stay, he fell in love with Rachel and agreed to work seven years for Laban in return for her hand in marriage. On the night of the wedding, the bride was veiled and Jacob did not notice that Leah, Rachel's older sister, had been substituted for Rachel. Whereas "Rachel was lovely in form and beautiful," "Leah had tender eyes". Later Jacob confronted Laban, who excused his own deception by insisting that the older sister should marry first. He assured Jacob that after his wedding week was finished, he could take Rachel as a wife as well, and work another seven years as payment for her. When God “saw that Leah was unloved, he opened her womb”, and she gave birth to four sons.
Rachel was unable to conceive, and became jealous of Leah. She gave Jacob her maidservant, Bilhah, to be a surrogate mother for her. Bilhah gave birth to two sons that Rachel named and raised. Leah responds by offering her handmaid Zilpah to Jacob, and names and raises the two sons that Zilpah bears. After Leah conceived again, Rachel was finally blessed with a son, Joseph. More on Jacob and Rachel
Unlike many of van den Eeckhout's other history paintings, the figures in the painting of Jacob and Rachel engage directly with the viewer and it would thus appear possible that this painting also serves as an elegant family portrait, or portrait historié, of a newly-wed couple. More on this painting
Gerbrand van den Eeckhout
Jesus preaches by the Sea of Galilee
Oil on wood
76 x 108 cm
Private collection
Estimated for €7,800 EUR - €8,000 EUR in March 2012
The majority of Jesus’ ministry is around the Sea of Galilee. Located north of the Jordan River, east of Nazareth, just south of Syria, and some 40 miles from Jerusalem, it’s peculiar why Jesus chose this northern region of Palestine to begin his ministry. Even though we might consider Nazareth set apart from the Galilean area today, it was part of the same district in Jesus’ time (Matthew 2:22-23), so essentially Jesus was on his home turf, or fairly close to it. More on Jesus and the Sea of Galilee
Gerbrand van den Eeckhout, 1621-1674
Vertumnus and Pomona
Oil on canvas
127.5 x 103.5 cms | 50 x 40 1/2 ins
Private collection
In Roman mythology, Vertumnus is the god of seasons, change and plant growth, as well as gardens and fruit trees. He could change his form at will; using this power, according to Ovid's Metamorphoses (xiv), he tricked Pomona into talking to him by disguising himself as an old woman and gaining entry to her orchard, then using a narrative warning of the dangers of rejecting a suitor to seduce her. More on Vertumnus and Pomona
Gerbrand van den Eeckhout, 1621-1674
Volumnia Pleading With Her Son Coriolanus To Spare Rome
Oil on canvas
207 x 170 cms | 81 1/4 x 66 3/4 ins
Private collection
Volumnia is a character in William Shakespeare's play Coriolanus, the mother of Caius Martius Coriolanus. She plays a large role in Coriolanus' life, encouraging him in his military success and urging him to seek political office. When the people of Rome put her son in exile and he joins their military enemies, she manages to persuade him not to besiege Rome and becomes a heroine to the city. More on Volumnia
Eeckhout does not merely copy the subjects; he also takes the shapes, the figures, the dress and the pictorial effects of his master. It is difficult to form an exact judgment of Eeckhout's qualities at the outset of his career. His earliest pieces are probably those in which he more faithfully reproduced Rembrandt's peculiarities. Exclusively his is a tinge of green in shadows marring the harmony of the work, a gaudiness of jarring tints, uniform surface and a touch more quick than subtle.
Gerbrand van den Eeckhout (1621–1674)
Portrait of Isaac Commelin, c. 1669
Oil on canvas
Height: 70.7 cm (27.8 in); Width: 55.6 cm (21.8 in)
Städel Museum
Gerbrand van den Eeckhout (1621–1674)
Soldiers in a Guardroom
Oil on panel
Height: 36.2 cm (14.2 in); Width: 29.2 cm (11.4 in)
Museum of Fine Arts, Boston
Gerbrand van den Eeckhout
Four soldiers in a guardroom smoking, drinking and playing cards
Oil on canvas
47 by 58.5 cm.; 18 1/2 by 23 in.
Private collection
Estimated for £40,000 GBP - £60,000 GBP in July 07, 2011
Gerbrand van den Eeckhout (Dutch, 1621–1674)
Soldiers seated around a table playing backgammon , c. 1655
Oil on canvas
52.8 x 62.4 cm. (20.8 x 24.6 in.)
Private collection
Estimated for £150,000 GBP - £250,000 GBP in December 2014
Gerbrand van den Eeckhout (Dutch, 1621–1674)
An interior with soldiers playing tric-trac around a table , c. 1655
Oil on Canvas
41.7 x 50 cm. (16.4 x 19.7 in.)
Private collection
Eeckhout matriculated early in the Gild of Amsterdam. As he grew older Eeckhout succeeded best in portraits, for example that of Isaac Commelin (See above), in the Städel collection in Frankfurt. Eeckhout occasionally varied his style. He followed Gerard ter Borch in Gambling Soldiers, at Stafford House, and a Soldiers' Merrymaking, in the collection of the marquess of Bute. Amongst the best of Eeckhout's works are Christ in the Temple (1662), at Munich, and the Haman and Mordecai of 1665, at Luton House.
Gerbrand van den Eeckhout
Goodbye (Abraham Disowning Hagar), c. 1642
Oil on wood
64 x 50.5 cm.
Private collection
Estimated for Est: €25,000 EUR - €30,000 EUR in November 2017
Hagar is a biblical person in the Book of Genesis Chapter 16. She was an Egyptian handmaid of Sarah, who gave her to Abraham "to wife" to bear a child. The product of the union was Abraham's firstborn, Ishmael, the progenitor of the Ishmaelites.
After Sarah gave birth to Isaac, and the tension between the women returned. At a celebration after Isaac was weaned, Sarah found the teenage Ishmael mocking her son, and demanded that Abraham send Hagar and her son away. She declared that Ishmael would not share in Isaac's inheritance. Abraham was greatly distressed but God told Abraham to do as his wife commanded because God's promise would be carried out through both Isaac and Ishmael.
The name Hagar originates from the Book of Genesis, and is only alluded to in the Qur'an. She is considered Abraham's second wife in the Islamic faith and acknowledged in all Abrahamic faiths. In mainstream Christianity, she is considered a concubine to Abraham. More on Hagar
Gerbrand van den Eeckhout (Dutch, 1621 - 1674)
Hagar Weeping, c. early 1640s
Oil on canvas
76.2 × 68.6 cm (30 × 27 in.)
J. Paul Getty Museum
With her face bathed in soft light, the weeping Hagar turns away from the viewer and looks up sharply. At his wife Sarah's request, Abraham reluctantly cast out the Egyptian slave-maid Hagar and her son, Ishmael, who she had conceived with him. After running out of water in the Beersheba desert, Hagar left her dying son crying under a bush, then moved a short distance away to weep in anguish.
Gerbrand van den Eeckhout represented Hagar with her vision of the angel who told her that God had heard the boy's cries and promised "I will make a great nation of him." Looking up, Hagar saw a well nearby, and they were saved, and became the ancestors of the Arab peoples. Hagar and the angel's torso were cut from a larger painting some time before the Getty Museum received this painting. More on this painting
Circle Gerbrand van den Eeckhout
The Angel appearing to Hagar and Ishmael
Oil on canvas
131 x 110 cm
Private collection
Sold for EUR 7,500 in May 2016
Hagar and Ishmael wandered aimlessly until their water was completely consumed. In a moment of despair, she burst into tears. God heard her and her son crying and came to rescue them. The angel opened Hagar's eyes and she saw a well of water. He also told Hagar that God would "make a great nation" of Ishmael. Hagar found her son a wife from Egypt and they settled in the Desert of Paran. More on the Angel appearing to Hagar and Ishmael
Gerbrand van den Eeckhout (1621–1674)
Pharaoh returns his wife Sarah to Abraham (Gen. 12,18-20) , 1669
Oil on canvas
Height: 139cm Width: 174cm
Private collection
Abraham asks Sarah to say that she is his sister in Gen 12:13 because a sister travelling with her brother would be perceived as sexually available. There would be no reason for someone to kill Abraham to gain access to her. Because of this deception, Pharaoh takes Sarah into his palace as a wife, and he rewards the man he believes is her brother very generously with a substantial amount of property, including "sheep, oxen, asses, male and female slaves, she-asses, and camels." Pharaoh's generosity demonstrates that a beautiful sister could be quite valuable, just less lethal in some cases than a beautiful wife.
Yet Pharaoh realizes something is wrong when his entire household suffers plagues, and he figures out that he has unknowingly committed the sin of adultery. In all three cases, the patriarch is rebuked for his deception, which put not only the king but his entire household in danger of inadvertently incurring God's wrath. More on Abraham asks Sarah
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