THE DRAWINGS OF REMBRANDT:  

  a revision of Otto Benesch's catalogue raisonné

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Benesch 424-

Ben 0427 pic ex smb-digital.de

Benesch 427 Details, Enlarged

Benesch 427

Rembrandt*

Portrait of Saskia van Uylenburgh, 1633 (1634??)

D Berlin, Staatliche Museen Berlin, Kupferstichkabinett

Ben 0427 pic Detail of figure ex smb-digital.de Ben 0427 pic Detail inscription only ex smb-digita Ben 0428 ex Hamburg site Ben 0428 COMP C Janssens 1630 Portrait 1630 Ben 0428 Mierevelt 1628 COMPARATIVE

Fig. a Michiel van Miereveldt

Elizabeth Stuart (The Winter Queen), 1628

Sotheby's, London, 2015

Fig. b Cornelis Janssens

Portrait of a Woman, 1630

GB Boughton House (The Duke of Buccleuch)

Fig. c Anthonie van Dyck

Portrait of Queen Henrietta Maria,1636-37

USA New York, Private Collection

Fig.d. Benesch 82 compared with  -                                                                                Benesch 428

Figs k.1-3 Mosaic of three details, showing comparable dark accents in and near the sleeves, from Benesch 428 top left, Benesch 40 below left and Benesch 37 right. The contrasts are stronger in Benesch 0428 as the other two drawings are in red, rather than black chalk

Fig. i. Benesch 428, Detail (left), showing the soft style of shading also found in Fig.j (right), Rembrandt, Detail of etched Portrait of Johannes Uytenbogaert, 1635, touched proof in black chalk (see further under the Not in Benesch tab).  

Fig h.1-3: Details (left to right) from Benesch 428, Benesch 82 and Benesch 41, showing the comparable use of repeated dark accents or strokes of chalk in the outlines, and the frequent use of dark lines that are drawn over and cut across the underlying shading

Figs l-n show similar traces of creasing and/or scratching in the paper (left to right, details of Benesch 428, Benesch 46 and Benesch 20).

Benesch 428

Rembrandt

Seated Woman Holding a Letter, c.1631-32

D Hamburg, Kunsthalle

Fig.f. Benesch 428 Detail                                  Fig.g. Benesch 21 Detail

Figs o.1-3 Details from (left to right) Benesch 428, Benesch 21 and again Benesch 428. Compare the firm outlines of the arm and hand on the left (from Benesch 428) with those in the nearer arm - including the little finger - in Benesch 21 (centre). Also, both forearms are subtly shaded underneath, before the wrist, in an identical manner (the further section of the exposed arm on the left and the near forearm in the centre (Benesch 21). The more sketchily drawn further hand in the the image in the centre (Benesch 21) seems compatible with the hand in the image on the right (Benesch 428 again).

Ben 0429 ex Louvre site Ben 0429 Verso ex Louvre site Ben 0429 COMP detail of Bartsch 19 ex BM

Benesch 429 Recto

Rembrandt

Saskia Seated in an Armchair, three-quarter length, c.1635-36

F Paris, Musée du Louvre

Fig.a

Rembrandt

Self-Portrait with Saskia, Detail, 1636

Etching, Bartsch 19, NH 158, 2nd state

London, British Museum, inv.1868,0822.655

Benesch 429 Verso

Rembrandt

Three Studies of a Sleeve, c.1635-36

F Paris, Musée du Louvre

Ben 0430 ex pubhist Ben 0430 COMP B.17 1633 ex BM Ben 0430 Detail shading ex pubhist Ben 0430 DETAIL hair ex pubhist Ben 0430 COMP Ben 0083a B&W DETAIL REVERSED of verso ex BM site Ben 0430 COMP B.17 1633 Detail eyes ex BM Ben 0430 DETAIL Face ex pubhist Ben 0430 Fig.c Ben 0021 Detail

Benesch 430

Rembrandt

Self-Portrait, c.1633

F Marseille, Musée des Beaux-Arts

Fig.a

Rembrandt

Self-Portrait with a Cap and Scarf, 1633

Etching, Bartsch 17; NH 120, ii (illustrated in reverse)

GB London, British Museum (inv. F,4.18, formerly 1973,U.839)

Benesch 430

Detail

Fig.b

Benesch 83a

Detail, reversed to show the original direction of the draughtsmanship

Benesch 430

Detail

Fig.c

Benesch 21

Detail

Benesch 430 Detail, Enlarged

Fig. d Detail of Fig.a, Enlarged

Ben 0431 pic ex Basel Museum

Benesch 431

Ferdinand Bol

A Woman Standing in a Flat Cap, c.1640-42

CH Basel, Kunstmuseum

Ben 0431 COMP Fig. a Kassel Saskia ex Kassel.de

Fig.a

Rembrandt

Portrait of Saskia van Uylenburgh, begun c.1633, completed 1642

Oil on panel, 99.5 x 78.8 cm.

D Kassel, Gemäldegalerie

Ben 0431 Fig.a Flinck attrib Vienna HdG 1431 Sumo 947x Flinck

Fig.c Attributed to Govert Flinck

Portrait of a Woman

Pen and brown ink with brown wash. 139 x 116

A Vienna, Albertina

Ben 0431 COMP b Antwerp version of Kassel Portrait

Fig. c Rembrandt and studio,

Portrait of Saskia Uylenburgh, c.1642 or later?

Oil on canvas, 112 x 89 cm

B Antwerp, Koninklijk Museum voor Schone Kunsten

Ben 0432 pic ex rembrandtpainting.net

Benesch 432

Rembrandt

Self-Portrait, c.1633-35

D Berlin, Staatliche Museen Berlin, Kupferstichkabinett

Ben 0432 pic DETAIL ex rembrandtpainting.net Ben 0432 Fig.a Ben 0054 pic DETAIL mouth ex Rijksmuseum Ben 0432 Fig.d COMP Louvre Self-Portrait Ben 0432 Fig.d Not in Benesch Harvard Girl Ben A010 Ben 0432 Fig.c Not Benesch DETAIL TOP LEFT St Peter with Kevin Balacz final Ben 0432 Fig.b Ben 0257 pic separate without inscription Ben 0432 DETAIL hand pic ex rembrandtpainting.net

Ben 0432  Detail

Fig.a

Benesch 54, Detail

Fig. b

Benesch 257

Fig.c

Not In Benesch, Detail

of version of Benesch 124

(considerably darkened by damage)

Benesch 432, Detail

Fig.d

Benesch A10, Detail

(see under 'Not in Benesch' tab)

Fig.e

Rembrandt

Self-Portrait with a Gold Chain, 1633

Oil on panel, 61 x 48.1 cm

F Paris, Musée du Louvre

Ben 0428 fig.c Van Dyck Henrietta Maria ex Pinterest Ben 0433

Benesch 433

Rembrandt*

Portrait of a seated Man in an Armchair (Willem Jansz. van der Pluym?), 1640-41 (based on a prototype of 1634)

COLLECTION: USA, Private Collection

Ben 0433_1 DETAIL

Benesch 433, Detail

Fig. b Benesch 759, Detail, enlarged

Ben 0433 COMP Fig.a Ben 0759 Anslo Detail pic ex. 1.bp.blogspot.com Ben 0433 IR signature to use

Fig.a Detail, Infra-Red photograph, revealing the earlier signature and date

Ben 0434 pic ex Met Museum site Ben 434 COMP Ben 1066 ex pubhist 26544 Ben 0434 COMP Self-P as St Paul ex Google_Art_Project Ben 0434 COMP Windsor Self-Portrait ex Royal Collection site 255504-1473672276 Ben 0434 pic DETAIL head only ex Met Museum site

Benesch 434

Rembrandt

Self-Portrait, c.1635, reworked c.1661

USA New York, The Metropolitan Museum of Art (Robert Lehmann Collection)

Fig. b. Rembrandt, Self-Portrait, 1642

Oil on panel, 70.4 x 58.8 cm

Brirtish Royal Collection (Thed Royal Collections Trust)

Fig. c. Rembrandt, Self-Portrait as St Paul,1661

Oil on canvas, 93.2 x 79.1 cm.

NL Amsterdam, Rijksmuseum

Benesch 434, DETAIL, Actual size

The outlines drawn with the tip of the brush in dark grey may be compared with the broad lines - made not with the brush but with a reed pen - in Benesch 1066 (Fig.c). Compare also the detail of Fig.b below

Fig.d. Benesch 1066, Actual size

Ben 0434 COMP Self-P as Apostle Paul DETAIL ex Google_Art_Project

Detail of Fig.c. The canted angle of the head is the same as in Benesch 434 (see detail above). Note also the line of the collar to the nearer cheek, and the angle of the collar and shoulder on the right, as also the outline of the nose

Ben 0434 COMP detail of Benesch 0292 pic Ben 0434 pic ex Met Museum site smaller

Benesch 434, ENLARGED.  The areas drawn in grey and grey black were added at a later date, using the brush and the tip of the brush (mostly in the turban) for outlines

Fig.a. Benesch 292, DETAIL

Ben 0435 Pic ex pubhist bandw Ben 0435 COMP fig.a Bol selfportrait Dordrecht ex Dordrecht site DM-887-372 Ben 0435 DETAIL pic ex Riley Smith and not good

Benesch 0435

School of Rembrandt (Rembrandt??)

Portrait of a Young Man in a Flat Cap,  c.1635

Private Collection (formerly Victor Koch)

Fig.a

Ferdinand Bol,

Self-Portrait,  1646

Oil on canvas, 102 x 85.5 cm,

NL, Dordrecht, Dordrechts Museum

Benesch 0435, DETAIL (recent photograph taken from a slight angle)

Ben 0436 pic ex useum.org

Benesch 436

Rembrandt?

A Woman with her Arm in a Sling, c.1635?

NL Amsterdam, Rijksmuseum.

Ben 436 COMP Fig. a Ben 0257 pic separate without inscription

Fig.a  Benesch 257

Ben 0436 Fig.b Detail of Ben 0300 pic

Fig.b Benesch 300, DETAIL

Ben 0436 DETAIL ex rijksmuseum.nl Ben 0436 Fig.c Ben 0152 DETAIL

Benesch 436, DETAIL, Enlarged, of the hand, showing retouches in darker ink, for example in the zigzag at the fingers

Ben 0436 DETAIL 2 FACE ex Rijksmuseum.nl

Benesch 436 DETAIL, Enlarged, of the face (also showing later strengthening of the eyes, nose and mouth)

Fig.c Benesch 152, DETAIL

Ben 0437 pic ex nga site C16981 Ben 0437 pic ex nga site C16981 Ben 0437 Fig a etched Self-Portrait Flipped

Fig.a Rembrandt, Self-Portrait  wearing a soft cap, full face, head only, c.1634, etching (shown in reverse and much enlarged), Bartsch 2; NH 133, only state.

GB London, British Museum (1868,0822.654)

Benesch 437 Enlarged

Benesch 437

Rembrandt

Self-Portrait Wearing a Cap, c.1634-36

USA Washington, National Gallery of Art (Rosenwald Collection)

Ben 0438 ex RKD site Ben 0438 Fig. a Bol ptg Schwerin

Fig.a

Ferdinand Bol

#5 cm.

Portrait of a Man, 1647

Oil on canvas. 88.2 x 76.5 cm.

D Schwerin, Staatliches Museum

Benesch 438

Ferdinand Bol*

Portrait of a Man, c.1647

P Wroclaw, Ossolineum

Ben 0438 ex RKD site

Benesch 438, Enlarged.

Ben 0437 verso Grasselli TEMPORARY photo

Benesch 437 Verso

Ben 0437 verso Grasselli TEMPORARY photo

Benesch 0437 Verso, Enlarged

Ben 0439 pic ex Pubhist BandW

Benesch 439

Rembrandt? Ferdinand Bol?

Portrait of a Bearded Man, c.1640-45?

D Copenhagen, Statens Museum for Kunst.

Ben 0439 COMP etching Man in Divided Hat

Fig. a Rembrandt, The Man with the Divided Hat, 1640, etching, 150 x 138. GB London, British Museum (1829,0415.24)

Ben 0763 ex BM site

Fig. b. Benesch 763.

GB London, British Museum

Benesch 0440

Rembrandt

Portrait Bust of a Boy, c.1638-39

S Stockholm, Nationalmuseum

Fig.a Benesch 339, Detail (to compare the use of the tip of the brush)

USA Cambridge (Mass.), Harvard University Art Museums (Maida and George Abrams Collection)

Ben 0440 Fig.a Ben 0339 Detail Pic Abrams Heads Ben 0440 pic ex Nationalmuseum site Ben 0441 pic ex Nationalmuseum site Ben 0441 pic DETAIL ex Nationalmuseum site Ben 0441 Fig.a Lucas ex BM site

Benesch 441

Rembrandt

Portrait of Titia van Uylenburgh, 1639

S Stockholm, Nationalmuseum

Benesch 441 DETAIL, Enlarged

Fig.a Lucas van Leyden, An Old Man Drawing, Black chalk, 273 x 273.

GB London, British Museum (1892,0804.16)

Ben 0442 pic ex BM site AN00223010_001_l

Benesch 442

Rembrandt*

A Study for the Portrait of a Young Woman (Maria Trip?)

GB London, British Museum

Ben 0442 Fig. a painting of Maria Trip ex Wikimedia

Fig.a Rembrandt, Portrait of a Young Woman (Maria Trip?), 1639?

Oil on poplar panel, 107 x 82 cm.

NL Amsterdam, Rijksmuseum (on loan from the Stichting Familie van Weede)

Ben 0443 50percent actual size ex large pic ex Met Museum Ben 0444 BM after Leonardo ex BM site

Benesch 443-445 Reproduced in proportion (above); c.35% of actual size

Ben 0443 large pic ex Met Museum

Benesch 443

Rembrandt*

The Last Supper, after Leonardo da Vinci, c.1635

USA New York, The Metropolitan Museum of Art, Robert Lehman Collection

Ben 0443 Fig.a ex met Museum Birago after Leonardo DT4290

Fig.a Attributed to Giovanni Antonio Birago, The Last Supper, after Leonardo da Vinci.

Engraving, c.1500, 213 x 440. USA New York, The Metropolitan Museum of Art (Purchase, Dr. and Mrs. Goodwin M. Breinin Gift)

Ben 0443 DETAIL Left Group from large pic ex Met M Ben 0443 DETAIL Right Group ex large pic ex Met Museum Ben 0443 DETAIL Bust of Christ ex large pic ex Met Museum

Benesch 443, Detail, Enlarged

Benesch 443 Detail, Enlarged

Benesch 443, Detail, Enlarged

Ben 0443 Fig b Soutman after Rubens

Fig.b Pieter Soutman after Leonardo da Vinci and Rubens, The Last Supper

Red and black chalk with brown wash. 202 x 515. Chatsworth, Devonshire Collection, The Trustees of the Chatsworth Settlement (Inv.677)

Ben 0444 BM after Leonardo ex BM site

Benesch 444

Rembrandt*

The Last Supper, after Soutman after Leonmardo and Rubens, c.1635

GB London, The British Museum

Benesch 445

Rembrandt*

The Last Supper, after Leonardo da Vinci, 1635

D Berlin, Staatliche Museen Berlin, Kupferstichkabinett

Ben 0443 COMP fig.3 The Leonardo Fresco

Fig.c Leonardo da Vinci, The Last Supper, fresco, width: 880 cms. Milan, S. Maria delle Grazie

Ben 0446 Vienna ex Albertina Joseph after Lastman Ben 0446 Fig.a Lastman Joseph Distributing Corn ex Pubhist.com

Benesch 446

Rembrandt*

Joseph Distributing Corn in Egypt (after Pieter Lastman)

A Vienna, Albertina

Fig. a

Pieter Lastman

Joseph Distributing Corn in Egypt, 1612

Oil on panel., 57.6 x 88.2 cm.

IRL Dublin, National Gallery of Ireland

Ben 0447 pic ex kulturpool.at site Ben 0447 Fig a Lastman ptg ex Hamburg site Ben 0447 Fig astar DETAIL Lastman ptg ex Hamburg s

Detail of Fig.a

Fig. a Pieter Lastman, The Dismissal of Hagar, signed and dated 1612. Oil on panel, 49 x 71 cm.

D Hamburg, Kunsthalle.

 

Benesch 446

Rembrandt

The Dismissal of Hagar, after Pieter Lastman, c.1636-37

A Vienna, Albertina

Ben 0447 Fig.c Rembrandt etching Expulsion of Haga Ben 0012

Fig.b Benesch 12

Fig.c Rembrandt, The Dismissal of Hagar, 1637

Etching, 125 x 95. Bartsch 30; NH 166

GB London, British Museum (1847,0609.14)

Ben 0445  ex Holm Ben 0445  ex Holm DETAIL left Ben 0445  ex Holm DETAIL Centre Ben 0445 ex HOLM DETAIL Right

Benesch 445 Detail, centre, enlarged

Benesch 445 Detail, right, enlarged

Benesch 445 Detail, left, enlarged

Detail of Fig.a

Ben 0448 Berlin ex Berlin Museums site

Benesch 448

Rembrandt

Susannah and the Elders, after Pieter Lastman , c.1635

D Berlin, Staatliche Museen Berlin, Kupferstichkabinett

 

Ben 0448 Fig.a Lastman painting Ben 0448 Fig.b Mauritshuis Susannah Ben 0448 Fig.c Berlin Susanna ex Corpus

Fig.a Pieter Lastman, Susannah and the Elders, 1614. Oil on panel, 42 x 58 cm. D Berlin, Staatliche Museen Berlin, Gemäldegalerie

Fig.b Rembrandt, Susannah and the Elders, 1636. Oil on panel, 47.2 x 38.6 cm. NL The Hague, Mauritshuis

Fig.c  Rembrandt, Susannah and the Elders, begun c.1638, completed 1647.

Oil on panel, 76.6 x 92.8 cm

D Berlin, Staatliche Museen Berlin, Gemäldegalerie

Ben 0449 pic ex Wkimedia Ben 0449 Fig.a Lastman ptg ex pubhist.com

Benesch 444

Rembrandt

Saints Paul and Barnabus at Lystra, after Pieter Lastman, c.1635

F Bayonne, Musée Bonnat-Helleu

Fig.a Pieter Lastman, Saints Paul and Barnabas at Lystra, 1614.

Oil on panel, 89.6 x 123.6 cm

Present whereabouts unknown

Ben 0450 ex Stockholm Nationalmuseum website Ben 0450 Fig.a Indian miniature

Benesch 450

Rembrandt

A Young Indian Woman, after an Indian miniature, c.1638-40

S Stockholm, Nationalmuseum

Fig.b  North India, c.1620, A Woman Holding a Flower, 320 x 480. GB Oxford, Ashmolean Museum

Ben 0450 Figa_1

Fig.a Indian Mughal Miniature, A Woman with a Flower and Fly Whisk, c.1630. Gouache, 250 x 140.

D Copenhagen, The David Collection (inv. 23/1982).

Ben 0451 pic Castiglione ex AlanTruong blog

Benesch 451

Rembrandt

Portrait of Baldassare Castiglione, after Raphael, 1639

A Austria, Albertina

Ben 0451 Fig.a Raphael Castiglione

Fig.a, Raphael, Portrait of Baldassare Castiglione, c.1515, oil on canvas, 82 x 67 cms. F Paris, Musée du Louvre

Fig.b Reinier van Persijn after Joachim von Sandrart, Portrait of Baldassare Castliglione, after Raphael, engraving, Hollstein 41, 258 x 192. GB London, British Museum (inv. 1871,1209.1170)

Ben 0451 Fig.b Sandrart after Raphael Castiglione ex BM site.jpg_4.jpg_5 Ben 0451 Fig.c etched selfportrait leaning on stone sill ex BM site

Fig.c, Rembrandt, Self-Portrait Leaning on a Stone Sill, 1639. Etching, 205 x 164,

Bartsch 21; NH 171, second state.

GB London, British Museum (inv.F,4.28)

Ben 0451 Fig.d NG Selfportrait 1640 eg NG site

Fig.d, Rembrandt, Self-Portrait, 1640, oil on canvas, 102 x 80 cm. GB London, The National Gallery

Ben 0451 Fig.e Titian Portrait NG ex NG site Ben 0451 Fig.f Etched Self-P with embroadered cloak Ben 0451 Fig.h Rubens after Raphael Castiglione Ben 0451 Fig.g Pontius after Rubens Self  Portrait BM

Fig.e, Titian, Portrait of a Man ('Ludovico Ariosto'), oil on canvas, 81.2 x 66.3 cm.

GB London, The National Gallery

Fig.f, Rembrandt, Self-Portrait with a

Patterned Cloak, 1631. Etching, 145 x 130. Bartsch 7; NH 90, seventh state.

GB London, The British Museum (inv.1848,0911.10)

Fig.g, Paulus Pontius, Self-Portrait of Rubens, after Rubens, 1630.

365 x 272. Hollstein 121, third state

GB London, The British Museum

(inv. R,4.1)

Fig.h, Rubens, Portrait of Baldassare Castiglione, after Raphael, c.1625-28. Oil on panel, 90.2 × 67.5 cm

GB London, The Samuel Courtauld Trust, The Courtauld Gallery.

Ben 0452 Emperor Turin colour scan from cat

Benesch 0452

Rembrandt

Bust of a Roman Emperor, c.1648-50.

I Turin, Biblioteca Nazionale

Ben 0452 Fig.a Aristotle Met Mus ex Met site

Fig.a Rembrandt, Aristotle Contemplating the Bust of Homer, 1653.

Oil on canvas, 143.5 x 136.5 cms.

USA New York, The Metropolitan Museum of Art

Ben 0452 Fig.b Benesch 0770 Bust_of_the_Emperor_Galba ex Wikimedia

Fig.b Willem Drost?/Rembrandt??,

Bust of Emperor Galba (Benesch 0770).

D Berlin, Staatliche Museen Berlin, Kupferstichkabinett

Ben 0452 Fig.c of Benesch 0770A Bust Albertina their site

Fig.c. Rembrandt, Study from a Roman Bust (Benesch 770a)

A Vienna, Albertina

Not in Benesch NOT ON WEBSITE Roman Emperor Photo

Fig.d. School of Rembrandt, Bust of a Roman Emperor (Not in Benesch), Pen and brown ink, 122 x 80mm.

Private Collection

Benesch 453

Govert Flinck and Rembrandt (at top right only)

A Camel with Two Figures, 1633 (?)

Formerly D Bremen, Kunsthalle; currently in R Moscow, Pushkin Museum.

 

Ben 0453 Fig.a Horse by Flinck Benesch 0780 ex Pubhist.com

Fig.a. Benesch 0780, Govert Flinck, A Horse, NL Amsterdam, Rijksmuseum.

Ben 0453 DETAIL ex wga.hu

Benesch 453, Detail

Ben 0453 Camel urinating

Fig.b. Detail of a camel urinating

Ben 0453 Fig.c Ben 427 DETAIL

Fig.c. Detail of Benesch 427

Ben 0453 Fig.d etching REVERSED after Ben 0453 and

Fig.e. Anonymous Rembrandt Follower, Etching based on Benesch 453 (illustrated in reverse). 165 x 228. USA New York, The Metropolitan Museum of Art (Gift of Janos Scholz; inv.43.66.7).

Ben 0453 Fig.e Detail of Camel in 100 Guilder print Met Mus H. O. Havemeyer Collection, Bequest of Mrs. H. O. Havemeyer, 1929 Ben 0453 Fig.f Reversed Detail of Camel in 100 Guilder print Met Mus H. O. Havemeyer Collection, Bequest of Mrs. H. O. Havemeyer, 1929

Figs f-g. Rembrandt, Detail of the Hundred Guilder Print (on the right, in reverse). Etching,  Bartsch 74; NH 239, second state.

USA New York City, Metropolitan Museum of Art

(H. O. Havemeyer Collection, Bequest of Mrs. H. O. Havemeyer, 1929; inv 29.107.35)

Ben 0454 pic ex Pubhist

Benesch 454

Two Studies of the Head of a Camel, with a figure sketched in, 1633

Formerly D Bremen, Kunsthalle (currently R St Petersburg, State Hermitage Museum)

Benesch 454, Detail, Enlarged

Photo by and courtesy of Peter Schatborn

Ben 0454 Bremen Dromedaries photo by PS Ben 0453 ex Pubhist.com Ben 0453 Fig.d Benesch 0002 ex Pubhist.com

Fig.d. Benesch 2, the incipient heads of the lower figures to be compared with that in Benesch 0454.

Ben 0454 Bremen Dromedaries photo by PS

Fig.h. Benesch 454, Detail

Ben 0455 pic ex Wikimedia_larger

Benesch 455

Rembrandt

A Chained Dog Curled Up in a Raised Kennel, c.1638-39

USA Boston, Museum of Fine Arts

Ben 0455 Detail behind dog pic ex Wikimedia_larger Ben 0455 Fig.a Detail of Joseph grisaille Ben 0455 Fig. B BM etching of Dog in Kennel 1st st Ben 0455 DETAIL with damage pic ex Wikimedia_larger

Benesch 455. Detail, showing horizontal striations behind the dog

Benesch 455. Detail, showing damage below the kennel

Fig.a. Detail from Rembrandt, Joseph Telling his Dreams, grisaille in oil on paper laid down on card. NL Amsterdam, Rijksmuseum

Fig. b. Rembrandt, Sleeping Dog. Etching, 64 x 105,

Bartsch 158; NH 180, 1st state, Enlarged.

GB London, British Museum (inv.1842,0806.144)

Ben 0456 pic ex Pubhist.com

Benesch 0456

Rembrandt

Two Studies of a Bird of Paradise, c.1638-39

F Paris, Musée du Louvre

Ben 0453 with healthy humps

Benesch 456 Enlarged

Ben 0456 pic ex Pubhist.com Ben 0457 elephant pic ex Albertina site

Benesch 457

Rembrandt*

An Asian Elephant (“Hansken”), 1637

A Vienna, Albertina

Ben 0457 Fig.a Adam and Eve ex BM Ben 0457 Fig.a Adam and Eve DETAIL ex BM

Fig.a. Rembrandt, The Fall of Man (Adam and Eve), etching, 1638. 162 x 116 (Bartsch 28; NH 168, 1st state, touched in black chalk).  GB London, British Museum (inv. 1852,1211.42).

Detail of Fig.a

Ben 0457 Fig.b Saftleven elephant ex BM

Fig.b. Herman Saftleven, Two Elephants (Studies of "Hansken"). Etching, 1646. 374 x 454, Bartsch I, 260, no.33; Hollstein 40, 1st state. GB London, British Museum (S.980)

Ben 0457 Fig.c ex Wikimedia RPK Hansken tricks

Fig.c. Anonymous, The Tricks of an Elephant ("Hansken"), Engraving, c.1641? 29,3 x 38,1 cm. NL Rijksmuseum, Rijksprentenkabinet (inv. RP-P-FM-1854)

Ben 0457 COMP Fig.d White elephant photo ex depositphotos.com.55170949.stock-photo-white-elephant.html

Fig.d. A White (Albino) Elephant (older than "Hansken")

Ben 0458 whole ex Albertina site Ben 0458 pic detail

Benesch 458

Rembrandt

Three Studies of an Elephant, with a standing figure, 1637

A Vienna, Albertina

Benesch 458, Detail

Ben 0459

Benesch 459

Rembrandt

An Asian Elephant, c.641

GB London, British Museum

Ben 0459 fig.a Baillie elephant BM 1870,0813.648

Fig.a. William Baillie, after Rembrandt, copy of Benesch 459, 1778, stipple engraving, 238 x 317. Lettered below: "Engraved by Capt. Baillie from a Drawing of Rembrandt: Aug. ye 1. 1778." GB London, British Museum (inv.1870,0813.648)

Ben 0460 ex PML site

Benesch 460

Rembrandt

The Head and Forequarters of an Elephant, 1637

USA New York City, Morgan Library

Ben 0460 REVERSED AND ENHANCED ex PML site

Benesch 460, Reversed and digitally enhanced

Fig.i. Benesch 0453 marked up in red by Donovan Glyn of the Zoological Society of London to reveal how the profile of the camel, if in good health, might have appeared.

Ben 0461

Benesch 461

Rembrandt

Two Dray Horses at a Halt, c.1627-29

NL Amsterdam, Rijksmuseum, Rijksprentenkabinet

Not in Benesch Horse lying donw BM

Fig.a. Not in Benesch, A Horse Lying Down, c.1626.

GB London, British Museum (see further under the "Not in Benesch" tab)

Ben 0462 ex Hamburg site

Benesch 462

Rembrandt

An Entrance to a Cottage, with Outside Stairs, a Well and a Trough, c.1638-39

D Hamburg, Kunsthalle

Ben 0462 Fig.a ex BM site Ben 0462 Fig.b ex BM site

Fig.a. Rembrandt, The Good Samaritan, 1633. Etching, 260 x 220 (Bartsch 90; NH 116, 1st state). GB London, British Museum

(inv. 1848,0911.46)

Fig.b. Rembrandt, Christ and the Woman of Samaria, 1634. Etching,

121 x 108 (Bartsch 71; NH 127, 1st state). GB London, British Museum (inv. F,4.145)

Ben 0462a ex Met Museum site

Benesch 462a

Rembrandt

Two Cottages, with Two Trees and a Cart, c.1638-39

USA New York, Metropolitan Museum of Art, Robert Lehman Collection

Ben 0462a DETAIL ex Met Museum site

Benesch 462a, Detail, Enlarged

Ben 0463 pic ex mfab.hu site Ben 0463 pic DETAIL ex mfab.hu site

Benesch 463

Rembrandt

A Sunlit Farmhouse with a Creeper, a Fence in the Foreground, c.1637?

H Budapest,  Szépművészeti Múzeum

Benesch 463, Detail, Enlarged

Ben 0464 pic ex Budapest Museum site

Benesch 464

Rembrandt

A Sunlit Farmhouse with a Creeper, c.1637

H Budapest, Szépművészeti Múzeum

Ben 0465 pic ex Pubhist

Benesch 465

Rembrandt

Landscape with Cattle Being Milked, c.1637

D Berlin, Staatliche Museen Berlin, Kupferstichkabinett

Fig.a. Gerbrand van den Eeckhout, Detail of Benesch 0147. The scrollwork in the foliage at upper left resembles that in the distance on the right of Benesch 0465, but in general the style here is significantly more calligraphic and less precise. The grip on the forms is considerably firmer in Benesch 465, which also has more differentiated pen lines and exhibits a greater variety of motor movements of the hand. Compare also the detail of Benesch 801 included here lower left, which seems closer to Benesch 465.

D Stuttgart, Staatsgalerie

Ben 0465 Detail_1

Benesch 0465, Detail

Ben 0465 fig.b Ben 0417 DETAIL Crowd to right ex Exh. LA 2009

Fig. b. Gerbrand van den Eeckhout, Detail of Benesch 0417. This again shows Van den Eeckhout's characteristically busy pen style, without the exacting precision to be oberved in Benesch 0465.

GB London, Courtauld Institute of Art (Seilern Collection)

Ben 0465 Detail_1

Benesch 465, Detail (repeated): closer links with the precise penwork

are seen in the adjacent detail from Benesch 463 than with Figs a-b.

Ben 0465 Fig. c Ben 463 detail ex mfab.hu site

Fig.c. Benesch 463, Detail

H Budapest

Szépművészeti Múzeum

 

Ben 0465 Fig.d Albertina Ben 0800 detail

Fig.d. Detail of Benesch 800. The bramble-clad eminence in the foreground as well as the figures seem commensurate with their counterparts in Benesch 465 (although the iron-gall ink's deterioration means that the lines are now a little less precise than they originally were).

A Vienna, Albertina

Ben 0465 pic DETAIL with the central cow ex Pubhis

Benesch 465, Detail, showing the cow in the centre. It resembles that in Fig.e, but was not certainly derived from it, though Rubens' composition may have inspred Rembrandt's drawing. The animal is lit differently, swishes its tail and slightly raises its head, and the penwork does not follow the modelling of the engraving

Ben 0465 Fig.f Bolswert DETAIL ex Rijksmuseum site RP-P-H-H-1274

Fig.f. Detail of Fig.e

Ben 04565 Fig. e Bolswert after Rubens ex Rijksmus

Fig.e Schelta à Bolswert after Rubens, Landscape with Cattle, Milkmaids and Huntsmen. Engraving, 321 x 450 (Hollstein 323, no.4).

NL Amsterdam, Rijksmuseum (inv. RP-P-H-H-1274)

Ben 0465 fig.g Potter Cowherd etching BM Ben 0465 fig.h Potter ptg in Royal Collection DETAIL

Fig.i. Paulus Potter, Detail from A Young Bull and Two Cows. Oil on panel, 53.9 x 77.7 cm (White, 1982, no.155)

See the caption to Fig.h

GB, Her Majesty The Queen (Royal Collections Trust, inv. RCIN 404585)

Fig.h.  Paulus Potter, The Cowherd. Etching, 181 x 199 (Hollstein 14)

See the caption to Fig.g.

GB London, British Museum (inv. S.568)

Ben 0465 Fig. Van Goyen Cows ex BM 1946,0713.1076.19

Fig.g. Jan van Goyen, Landscape with Four Cows, c.1626-27. Black chalk, 122 x 232.

The similarity of the pose of the cow here and in Figs.h-i with that in Figs e-f shows that a similarity does not necessarily betoken a direct derivation, as has been suggested for the similar animal in Benesch 465.

GB London, British Museum (1946,0713.1076.19)

Ben 0466 recto ex Pubhist

Benesch 466 Recto

Rembrandt

Two Cottages with Figures, 1633

D Berlin, Staatliche Museen Berlin, Kupferstichkabinett

Ben 0466 verso ex Pubhist

Benesch 466 Verso

Rembrandt

Panorama, with Man Standing on a Road near Sint Annaparochie, 1633

D Berlin, Staatliche Museen Berlin, Kupferstichkabinett

Ben 0466 fig.a REDUCED SIZE Map of Het Bildt area ex Rijksmuseum RP-P-AO-2-21B-9 Ben 0466 fig.b Map of Het Bildt DETAIL marked with Rs Viewpoint ex Rijksmuseum RP-P-AO-2-21B-9

Fig.a

Attributed to Jacob van Meurs

The District of Het Bildt, with Sint Annaparochie in the centre, 1664

Engraving, 284 x 375.

NL Amsterdam, Rijksmuseum (inv. RP-P-AO-2-21B-9)

Fig.b. Detail of Fig.a, marked with Rembrandt's approximate viewpoint in Benesch 466 Verso

Ben 0466 Fig.d Van Goyen BM Ben 0466 Fig.c Van Goyen ex BM 1946,0713.1076.107

Fig.d. Jan van Goyen, Landscape with Cottages, c.1626-27. Black chalk, 124 x 246. GB London, British Museum (inv.1946,0713.1076.107)

Fig.e. Jan van Goyen, Landscape with a Field and Distant Churches, c.1626-27. Black chalk, 130 x 241. GB London, British Museum (inv.1946,0713.1076.39)

Ben 0466 fig.c Detail of Ratcatcher etching ex Rij

Fig.c Rembrandt, The Ratcatcher, Detail, 1632. Etching (Bartsch 121; NH 111).

Compare, for example, the vertical parallel shading on the cottage with Benesch 466 recto and the trees beyond to those in the middle-distance of Benesch 466 verso.

NL Amsterdam, Rijksmuseum

(inv. RP-P-1962-59)

Ben 0466 Fig.f Bartsch 260 Rijksmuseum RP-P-OB-267

Fig.f. Attributed to the Rembrandt School, Landscape with a Cow (illustrated in reverse), c.1633-50?

Etching, 61 x 118 (Bartsch 206, 2nd state of 2, as Rembrandt). NL Amsterdam, Rijksmuseum (inv. RP-P-OB-267)

Ben 0466 Fig.f Bartsch 260 Rijksmuseum RP-P-OB-267

Fig.f (bis). Fig.f, Enlarged

Ben 0445  ex Holm Ben 0467 pic ex Rijksmuseum Ben 0467 Fig.a_2 Ben 0819 detail ex Rijksmuseum si Ben 0467 pic ex Rijksmuseum

Benesch 467

Rembrandt (perhaps only retouched by Rembrandt)

A Farmouse with a Figure at the Door, c.1647-50

NL Amsterdam, Rijksmuseum

Fig.a Mosaic illustration with Benesch 467 and a detail of Benesch 819 from the same collection inserted near the centre. This comparison suggests that the two drawings are likely by the same hand.

NL Amsterdam, Rijksmuseum

Ben 0467 Fig b Detal of Ben 0462a ex Met Museum site

Fig.b. Detail of Benesch 462a. The density of the hatching and the outlining of the figures is comparable to Benesch 467 despite the different media

Ben 0468 ex kultur-pool

Benesch 468

Rembrandt

Two Dutch Barges, c.1645?

A Vienna, Albertina

Ben 0468 DETAIL ex kultur-pool

Benesch 468 DETAIL

Ben 0469 pic ex Pubhist.com

Benesch 469

Rembrandt

Two Horses Pulling a Waggon Loaded with People, c.1645?

D Munich, Staatliche Graphische Sammlung

Benesch 470

Rembrandt

A Cottage and Trees by Water, c.1638-39

D Weimar, Goethe-Nationalmuseum

Ben 0471 pic ex Pubhist

Benesch 472

Rembrandt

Row of Trees in an Open Field, c.1638-39

A Vienna, Akademie der Bildenden Künste

Ben 0471 pic ex Pubhist.com was ill as 472 by Benesch

Benesch 471

Rembrandt

Farmhouse Amid a Copse, c.1638-39

A Vienna, Akademie der Bildenden Künste

Ben 0473 ex Teyler Museum site Ben 0473 fig.a related etching REVERSED ex RPK RP- Ben 0473 fig.d detail of the etching

Benesch 473

Ferdinand Bol?

A Farmhouse by a Canal with Trees and Figures, c.1638-40

NL Haarlem, Teyler Museum

Fig.d. Benesch 816

Fig.a. Rembrandt,

Cottages and Farm Buildings with a Man Sketching, c.1643-47

Etching,  130 x 208, Bartsch 219; NH 201, only state

NL Amsterdam, Rijksmuseum (RP-P-OB-278)

NB ILLUSTRATED IN REVERSE

Ben 0473 fig.b detail of draughtsman in the print

Fig.b. Detail of Fig.a

Fig.c. Detail of Fig.a

Ben 0474 pic ex Pubhist.com retouched lastman_angel_tobias_son Ben 0474 Fig.a Lastman painting Ben 0474 Fig.b Not in Benesch Frankfurt Ideal Landscape DETAIL Ben 0474 pic DETAIL ex Pubhist.com (2)

Benesch 474

After Pieter Lastman; retouched by Rembrandt (c.1637-42; and conceivably originally drawn by him when in Lastman’s studio, c.1624)

The Angel Leaving Tobit and his Son

NL Amsterdam, Museum het Rembrandthuis

 

Fig.a. Pieter Lastman, The Angel Leaving Tobit and his Son, 1618. Oil on panel, 62 x 93 cm.

DK Copenhagen, Statens Museum for Kunst

Fig.b. Rembrandt, Detail of Ideal Landscape, 1642

(see under the Not in Benesch tab)

Benesch 474, Detail

Ben 0470 pic ex Thomas Ketelsen Weimar Ben 0473 fig.c of Ben 816

Benesch 475

Rembrandt

The Finding of Moses, c.1647-52

NL Amsterdam, Rijksmuseum

Fig.j. Giovanni Francesco Penni, The Finding of Moses (after Raphael), c.1517-19.

Pen brown ink and brown wash, squared in black chalk, 220 x 289.

GB London, Victoria and Albert Museum (inv. Dyce.185)

 

Fig. a. Ferdinand Bol, The Finding of Moses, c.1660-63. Oil on canvas, 408 x 493 cm. NL The Hague, Peace Palace, on loan from NL Amsterdam, Rijksmuseum (inv.SK-A-1575)

Ben 0475 TO USE ex Rijksmuseum website RP-T-1930-6 Ben 0475 Fig.a To USE ex Rijksmuseum site_1

Fig.b. Ferdinand Bol, The Three Maries at the Tomb, c.1644. Pen and brown ink

with brown and grey wash, and red chalk over traces of black chalk,

the figures drawn on separate pieces of paper pasted in, 233 x 317.

D Munich, Staatliche Graphische Sammlung (inv. 1842)

Compared with Benesch 475 on the right.

Fig.c. Ferdinand Bol, The Angel Appearing to Hagar and Ishmael in

the Desert,  c.1645-50? Pen and brown ink touched with brown wash.

R Moscow, Pushkin Museum (inv.4516; Sumowski 242x)

Compared with Benesch 475 on the right.

Ben 0475 Fig.d TO USE Bol Hagar in the desert Muni

Fig.d. Ferdinand Bol, The Angel Appearing to Hagar and Ishmael in the Desert, c.1645-50?

Pen and brown ink with brown wash, 170 x 189.

D Munich, Staatliche Graphische Sammlung (Sumowski 256x)

Compared with Benesch 475 on the right

Ben 0475 Fig.e RPK Entombment Ben 0482

Fig.e. Rembrandt (Benesch 482), The Entombment, c.1640

Pen and brown ink, 156 x 201.

NL Amsterdam, Rijksmuseum (inv. RP-T-1930-28)

Compared with Benesch 475 on the right.

Ben 0475 Fig.f TO USE Rt Ben 736 Star of Kings BM

Fig.f (bis). Rembrandt, (Benesch 736) The Star of the Kings, c.1645-47.

Pen and brown ink witrh brown wash, 204 x 323.

GB London, British Museum (inv.1910,0212.189)

Compared with Benesch 475 on the right.

Ben 0475 Fig.g TO USE Detail of Star of Kings Ben 0736

Fig.g. Detail of Fig.f

Compared with a detail of Benesch 475 on the right

Fig.h. Detail of Fig.f

Compared with two details of Benesch 475 on the right (NB especially the heads of the women, one inserted at lower right corner; also the calligraphic flourishes)

Ben 0475 Fig.i Rt Washing of the Feet RPK Ben 931

Fig.i. Rembrandt (Benesch 931) Christ Washing the Feet of his Disciples, c.1647-50.

Pen (reed pen) and brown ink, 157 x 221.

NL Amsterdam, Rijksmuseum (inv. RP-T-1889-A-2049)

Compared with Benesch 475 on the right.

Ben 0475 Fig.j Penni Raphael VandA from their site Ben 0736 BM twitter account.jpg_large

Fig.f. Rembrandt, (Benesch 736) The Star of the Kings, c.1645-47

Pen and brown ink witrh brown wash, 204 x 323.

GB London, British Museum (inv.1910,0212.189)

Ben 0475 Fig.h TO USE Detail of Star of Kings with Head of Woman and calligraphic flourish Ben 0475 Fig.c TO USE Bol Moscow and Ben 475 Ben 0476 ex Dresden Mus via Google images

Benesch 476

Ferdinand Bol, corrected by Rembrandt,

Joseph Interpreting the Prisoners' Dreams, c.1639-40

D Dresden, Staatliche Museen Dresden, Kupferstich-Kabinett

Ben 0476 Fig.a Getty Joseph interpreting dreams

Fig.a. Rembrandt,  Sketch for Joseph Interpreting the Dreams of the Butler and Baker  c.1638-39. USA Los Angeles, J. Paul Getty Museum (see further under the 'Not in Benesch' tab)

Fig.b. Lucas van Leyden, Joseph Interpreting the Dreams of the Butler and Baker, 1512. Engraving, 127 x 165. Holl.5

NL Amsterdam, Rijksmuseum (inv. RP-P-OB-1595)

Ben 0476 Fig.b Lucas RPK inv.RP-P-OB-1595 Ben 0465 fig.a Ben 0417 detail Ben 0472a MRK photo from bandw photo Ben 0472a MRK photo from bandw photo

Benesch 472A

Rembrandt

Houses Among Trees, c.1640

D Munich, Staatliche Graphische Sammlung

Benesch 472A Enlarged

Ben 0472A Fig.a Ben 0472A Fig.b etching comparisons

Fig.a. Comparisons for the looping foliage with other drawings by Rembrandt, left to right, details from Benesch 801 (Dresden), Benesch 469 (Weimar), Benesch 472A and Benesch 799 (Dresden)

Fig. b. Comparisons for the looped lines in the foliage and, in the case of 2, with the hatching. Details from Rembrandt's etchings (2, 3, 4 and 6 from Rijksmuseum, Amsterdam) all illustrated reversed, thus as they were on Rembrandt's etching plate as he drew them:

1. Detail of Benesch 472A;

2. Note hatching and looped foliage in Sheet of Studies with a Tree and the Upper Part of Rembrandt’s Head in a Velvet Cap, c.1640-44 (Bartsch 372; NH 319. Inv. RP-P-OB-778);

3. Looped foliage especially in the centre of this detail from The Raising of Lazarus: Small Plate, 1642 (Bartsch 72; NH 206. Inv.RP-P-OB-141);

4. The Three Trees , 1643 (Bartsch 212; NH 214.

Inv. RP-P-OB-444);

5. Detail from Benesch 472A;

6. A similar configuration of small bunches of lines in The Large Lion Hunt, 1641 (Bartsch 114; NH 187. Inv. RP-P-1961-1052)

1                                                                          

3

4

6

5

2

6

Fig.c. Detail of Benesch 802

F Chantilly, Musée Condé

Ben 0472A Fig.c Chantilly Ben 0801detail Ben 0475 Fig.b TO USE Bol 3 Maries Sum 97 Ben 0428 Fig.d Ben 0428 Fig.e mosaic

Fig.e. Mosaic illustration: left to right, details from Benesch 6 verso (e.6), Benesch 428 (e.1) with Benesch 46 below (e.4), Benesch 82 (e.2, marking out those areas which are particularly to be compared in the adjacent photographs: the shading and the trailing lines), another detail from Benesch 46 (e.3) and Benesch 90 (e.5)

 

Fig.e.1  (from Benesch 428) showing both diagonal shading and more sharply pointed trailing lines

Fig.e.2 (from Benesch 82) showing similar diagonal shading (upper box) and more sharply pointed trailing lines (lower box)

Figs.e.3 and 4 (from Benesch 46) showing comparable diagonal shading

Fig.e.5 (from Benesch 90) showing comparable diagonal shading

 

Ben 0428 Fig.f pair Ben 0428 Fig.h Ben 0428 Fig.i Ben 0428 Fig.k Ben 0428 Figs l-n Ben 0428 Fig.o

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