PROVENANCE: Edward Rice, Esq., Dane Courthouse, Deal, Kent; David Koester, Zurich, 1968; BJU, 1968.

The subject of Esther Accusing Haman was a popular theme with the Dutch painters of the Rembrandt era because the Dutch identified themselves with the Jews through their shared religious persecution, having just emerged from under the tyranny of Catholic Spain. The story also provided a rich setting for artists to exercise their skills by painting elaborate costumes and royal accessories. Here Victors painstakingly renders the velvet curtains, jewels and gold of Esther's headdress, and the ermine lining Ahasuerus's robe. Very little is known about Victors' life. Born in Amsterdam around 1620, in 1632 he entered Rembrandt's studio as an apprentice, staying for three years. The influence of Rembrandt remained with him throughout his career, as evident in the painting style, the handling of light, and in the figure types in this painting. Victors, however, was more than a mere follower. Many of his works show a strong sense of invention and a precise style of execution. One of the most obvious differences between the two is that Victors could not capture the essence of humanity as Rembrandt could.As a strict Calvinist, Victors believed it wrong to represent God in human form and, therefore, painted almost all of his biblical subjects from the Old Testament. The exceptions are some New Testament parables.

Esther Accusing Haman is considered to be one of Victors' finest works from his mature period. The elegant kwabstijl silver plates (characteristic of the work of the leading 17th century Dutch silversmiths-the van Vianens) and elaborate table service not only provide a fascinating look into 17th century service ware, but also clearly indicate the king's wealth. It is no wonder Dutch artists such as Victors loved to paint this subject.