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Benesch 477
Rembrandt*
A Nude Man Kneeling (St John the Baptist), c.1640
F Bayonne, Musée Bonnat-Helleu
Benesch 477 Enlarged
Fig.a Rembrandt, The Beheading of St John the Baptist, 1640. Etching with drypoint, 129 x 103 (Bartsch 92; NH 183, 1st state)
GB London, British Museum (inv. 1848,0607.65.).
Fig.b. Detail of Fig.a, reversed to show the image as it would have appeared on Rembrandt's copper plate.
Fig.c. Frans Crabbe, The Beheading of St John the Baptist, c.1520? Engraving (Hollstein 26)
NL Amsterdam, Rijksmuseum (inv. RP-P-OB-2143)
Benesch 477 Verso
Fig.a. Details from Benesch 477 Benesch 482 verso Benesch 479 Benesch 478 Benesch 480
Fig.b. Details (left to right) of Benesch 479 and Benesch 478
Fig.c. Details of Benesch 482 recto (left) and Benesch 478; the latter may have been retouched by Rembrandt (the bolder lines in the legs and perhaps elsewhere)
Fig.d. Details (left to right) from Benesch 0480, -- Benesch 0479 and -- Benesch 0478
Compare the child on the right of the detail of Benesch 0480 (loose execution with flat wash) to the executioner in Benesch 0478. The treatment and structure of the figures in Benesch 0480 on the left differ from these aspects in Benesch 0479 in the centre and the expressions in Benesch 0480 seem more vacant.
Fig.e Detail of Benesch 478, enlarged, showing repeated attempts to define the line of the shoulder (and the left side), which is generally uncharacteristic of Rembrandt
Fig.g. Details from Benesch 0482 verso Benesch 482 recto Benesch 479 Benesch 478 Benesch 480
Details of the executioners: as in Fig.a, the two drawings on the right (Benesch 478 and Benesch 480) appear to be pupils' works, though retouched in a more heavily laden pen by Rembrandt, his style of his work resembling Benesch 482 recto (part of which is shown here 2nd from left)
Fig.f. On the right: detail of Benesch 478, Enlarged: these heads - especially that on the right - are of remarkable quality and resemble their counterpart in Benesch 0479 (see also Fig.b). Bol's heads are not usually of this quality, perhaps the closest being the detail on the left from Benesch 0492, which is usually attributed to him. But in Benesch 478 there is a greater delicacy and variety of touch.
Fig.h. School of Rembrandt, A Beheading, c.1640? Pen and brown ink. D Munich, Staatliche Graphische Sammlung
Fig.i. School of Rembrandt, A Beheading, c.1650? Pen and brown ink with white bodycolour. I Turin, Biblioteca Reale
Benesch 478
Ferdinand Bol? Retouched by Rembrandt
The Beheading of Prisoners (The Anabaptist Martyrs?), c.1640
USA New York, The Metropolitan Museum of Art, Robert Lehman collection
Benesch 478, Enlarged
Benesch 479
Rembrandt
Three Scenes of a Beheading (Anabaptist Martyrs?), c.1640
GB London, British Museum
Benesch 479, Enlarged
Benesch 480
Ferdinand Bol (retouched by Rembrandt)
The Beheading of St John the Baptist, c.1640 (or later?)
Private Collection
Benesch 480, Detail, Enlarged.
Rembrandt's corrections, in darker ink. are clearest in the executioner: in the outline of the back of the head and in his neck, around the waist, refining the line of the right buttock, and in the back of the nearer thigh.
Further details are illustrated under Benesch 478, Figs.a, d and g.
Benesch 480 Verso
Benesch 480a
Carel Fabritius?
The Beheading of St John the Baptist, c.1644-46
USA Worcester, Worcester Art Museum
Benesch 480a, Detail, Enlarged.
Benesch 481
Rembrandt
A Woman Kneeling and Bowing Low, c.1652
USA Northampton (Mass.), Smith College Museum of Art
Benesch 481, Enlarged
Benesch 482 Recto
Rembrandt (*)
Christ Carried to the Tomb (over a sketch of an executioner) with a Weeping Woman, c.1640
NL Amsterdam, Rijksmuseum
Details are illustrated under Benesch 478, Figs. c and g.
Benesch 482 Verso (slightly reduced)
Rembrandt (*)
An Executioner Beheading a Prisoner, c.1640
NL Amsterdam, Rijksmuseum
Benesch 482 Verso, Detail, Enlarged
Fig.a. Studio of Peter Paul Rubens, Christ Carried to the Tomb, oil on panel, 405 x 545.
London art market (2007)
Fig.a. Details from (left to right): Benesch 893 (by Drost), Benesch 481 -- and -- Benesch 885 (Rembrandt)
Drost's handling is more mechanical, with a more metallic end-result. Benesch 481 in the centre has the greater variety and subtlety of touch seen, for example, in Benesch 885 on the right.
Benesch 483
School of Rembrandt/Rembrandt??
Christ Carried to the Tomb, c.1650-55
D Dresden, Staatliche Kunstsammlungen, Kupferstich-Kabinett
Fig.a Benesch 139A (left) compared with Benesch 483
Fig.b. Benesch 76 compared with Benesch 483
Benesch 484
School of Rembrandt (retouched by a later hand)
Christ Carried to the Tomb, c.1650-55?
NL Rotterdam, Museum Boijmans Van Beuningen
Benesch 485
Rembrandt
Christ Carried to the Tomb, c.1642-47
D Berlin, Staatliche Museen Berlin, Kupferstichkabinett
Fig.a Detail of Benesch 519 (left) compared with a detail of Benesch 485.
Fig.b Two Details of Benesch 485 (from
the left and right sections)
Fig.c. Benesch 736 (left): detail of the shading to compare with Benesch 485 (centre); the extended arm and hand in the latter compared with a detail from Benesch 423 verso (right).
Details (above and right) of the right-hand figure of Benesch 485. The smaller illustration shows later retouching in the area of the neck in a warmer brown ink.
Fig.d Details (left to right) of Benesch A35 and Benesch 547 with a detail of Benesch 485 (right): the style, spacing and rhythm of the parallel diagonal shading is closely comparable.
Fig.e. The Presentation in the Temple, GB Edinburgh, National Gallery of Scotland (left; pen and brown ink on buff paper. 110 x 143; inv. D.2842; Sumowski 762x) contrasted with Benesch 485 (see Fig.e; inv. D.2842; Sumowski 762x).
Benesch 485a
Rembrandt
Scene of Execution: Anabaptist Martyrs of Amsterdam (?) , c.1642-45
GB London, Courtauld Institute of Art (Seilern Collection)
Fig.a. Benesch 482 Recto (Detail, left) compared with Benesch 485a (Detail, right)
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Benesch 486
Rembrandt
Sketch for The Presentation of the Christ Child to Simeon in the Temple, c.1639-41.
NL Amsterdam, Amsterdam Historisch Museum
Fig.a. Rembrandt, Detail of The Presentation in the Temple, c.1639. Etching, 213 x 290. Bartsch 49; NH 184. GB London, British Museum (inv. F,4.94)
Fig.a, Benesch 487 (centre) compared with Rembrandt, The Triumph of Mordechai, c.1641, etching, 174 x 215 (Bartsch 40; NH 185) shown as printed (on the left) and reversed (on the right). GB London, British Museum (inv. F,4.69)
Fig.b. Benesch 487 (centre) compared with (left) Pieter Lastman, The Triumph of Mordechai, 1617, oil on panel, 52 x 71.5 cms. NL Amsterdam, Museum het Rembrandthuis (on loan from the Rijksdienst Beeldende Kunst), and (right) Rembrandt's etching, reversed (as Fig.a, right)
Benesch 487
Carel Fabritius?
The Triumph of Mordechai, c.1641
P Wroclaw, Ossolineum
Benesch 488
Carel Fabritius?
St Philip Baptising the Eunuch, c.1645-50?
F Paris, Musée du Louvre
Fig.a. Rembrandt, The Baptism of the Eunuch, 1641, Etching, 1st state, 178 x 213, Illustrated in Reverse and trimmed across the top (Bartsch 98; NH 186). GB London, British Museum (inv. F,5.23; C.M. Cracherode bequest), with Benesch 0488
Fig.b. Carel Fabritius?, The Adoration of the Shepherds (Detail), pen and brown ink with brown and grey wash, with some white bodycolour, 130 x 128. NL Amsterdam Rijksmuseum (inv. RP-T-1883-A-217), with Benesch 488 (Detail, right)
Fig.j. School of Rembrandt, The Beheading of the Baptist, c.1650? Pen and brown ink with brown wash, touched with (partly oxidised) white bodycolour and with later grey wash. 176 x 249.
GB Edinburgh, National Galleries of Scotland, William Finlay Watson Bequest 1881 ( inv. D 2887).
Beesch 489,
Ferdinand Bol? [Possibly retouched by Rembrandt?]
The Holy Family? c.1645-50
D Konstanz, Städtische Wessenberg-Galerie
Benesch 489, Enlarged
Benesch 490
Ferdinand Bol?
Dido Founding Carthage: The Cutting of the Ox-Hide, c.1639?
USA Private Collection
(NB Unsatisfactory photograph from an old ektachrome)
Benesch 490, Detail, Enlarged
Fig.a Detail of Benesch 801
Benesch 491
Carel Fabritius?
Eliezer and Rebecca at the Well, c.1641-45
GB Edinburgh, National Galleries of Scotland
Fig.a. Two details from Benesch 488 (both on the left) compared with two details from Benesch 491 (both on the right)
Fig. b. Carel Fabritius?, Eliezer and Rebecca at the Well, c.1641-45. Pen and brown ink with brown and grey wash, 186 x 300. F Paris, Fondation Custodia
Fig. c. Attributed to Constantijn van Renesse, Eliezer and Rebecca at the Well. Oil on canvas, 92 x 71 cm. USA New York art market, 2004.
Benesch 492
Ferdinand Bol
The Angel Departing from Tobit and his Family, c.164-45?
NL Amsterdam, Rijksmuseum
Benesch 492 Detail, Enlarged
Fig.a. Anonymous copy after Benesch 492. Pen and brown ink with brown wash. 183 x 227. Courtesy of the Museum of Art, Rhode Island School of Design, Providence (Gift of Mrs. Gustav Radeke in 1921, inv. 21.124). The copy records the original appearance of Benesch 492.
Fig.b. Rembrandt, The Angel Departing from Tobit and his Family, 1641, etching, second state. 104 x 154 (Bartsch 43; NH 189).
GB London, British Museum (inv.1910,0212.378)
Fig.c. On the left: Detail, Enlarged, of Ferdinand Bol, Joseph Telling the Dreams of the Prisoners, c.1641-45. Pen and brown ink with brown wash, 167 x 229. D Hamburg, Kunsthalle (inv.22412), together with a detail, enlarged, of Benesch 492 (on the right).
Benesch 493
School of Rembrandt (Ferdinand Bol?)
The Death of Jacob, c.1641-45
CA Montreal, Museum of Fine Arts (Willam John and Agnes Learmont Bequest)
Benesch 493 as above (from a black and white photograph that clarifies the details but is reduced at the edges)
Benesch 493 Detail, Enlarged
Fig.a. Detail of Benesch 493 with at either side details of Benesch 480 (the comparison is not persuasive)
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); comparison with Benesch 493 (which is not persuasive)
Fig.c. Benesch 493 (centre) with (left) Benesch 167 (by Ferdinand Bol) and right Ferdinand Bol, Seated Woman in an Interior, pen and brown ink with brown wash, 162 x 128. D Berlin, Kupferstichkabinett (Sumowski 168x)
Fig.d. Benesch 493 (centre) with details from Benesch 188 to left and right: note especially the heads on the extreme right of both drawings
Fig.e. Rembrandt, Detail in reverse, The Death of the Virgin, etching, Bartsch 99; NH 173, 1st state. GB London, British Museum (inv.F,5.26)
Benesch 494
Ferdinand Bol?
Potiphar's Wife Accusing Joseph, c.1642-48
USA New York, The Metropolitan Museum of Art
Benesch 485
Rembrandt
Christ Among his Disciples, c.1648-52
F Paris, École Nationale Supérieure des Beaux-Arts
Fig.a. Benesch 485 in black and white (from Benesch, 1955)
Fig.b. After Rembrandt (after Benesch 495), pen and brown ink with brown wash over traces of graphite, 198 x 257. F Paris, Musée du Louvre (inv. RF 4739)
Fig.c. Philips Koninck, The Mocking of Christ, c.1662. Pen and brown ink with brown wash, 175 x 225. F Paris, Fondation Custodia (Collection F. Lugt) with Benesch 495 (right)
Fig.d. Detail from Benesch 495 with an inserted (paler) section from Benesch 188
Fig.e. Mosaic illustration: Benesch 495 with inserted sections from the documentary drawing Benesch 736 (centre left and upper right)
Fig.g. Detail of Benesch 495 (left) with detail from Benesch 190 (right); compare especially the area around Christ's left arm on the left with the upper half of the figure on the left of Benesch 190.
Fig.f. Mosaic image with sections of Benesch 495 inserted below and upper left onto a photograph of the documentary drawing, Benesch 886. The foregrounds of both drawings below and the handling of the trees above have a similar character.
Benesch 496
Carel Fabritius?
Landscape with Tobias and the Angel, c.1650-54
NL Private Collection (John and Marine Fentener van Vlissingen)
Benesch 497
Carel Fabritius?
Tobias with the Angel Cleaning the Fish, c.1650-52?
P Wroclaw, Ossolineum
Benesch 497A
Carel Fabritius?
Elijah and the Widow of Zarephath, c.1645-50?
Private Collection
Benesch 497A Detail, enlarged
Fig.a. Carel Fabritius, Hagar and the Angel, oil on canvas, 157.5 x 136 cm, c.1645, with a detail from a composite of infra-red images of the area around Hagar's nearer foot. The calligraphy of the outlines for foliage is similar to the vegetation in the lower right corner of Benesch 497A (see the detail above).
New York, The Leiden Collection.
Benesch 498
Carel Fabritius?
Hagar and Ishmael with the Angel in the Desert, c.1645-50?
D Hamburg, Kunsthalle
Fig.a. Left: Carel Fabritius, Mercury and Argus, c.1645-47; oil on canvas, 73.5 x 104 cm. USA Los Angeles, Los Angeles County Museum of Art (Gift of the Ahmanson Foundation), with (centre) a detail from the lower left corner (in black and white) in which the calligraphic, darker touches resemble the style of (right) the detail from Benesch 498.
Fig.b. Detail, reversed and enlarged, from Rembrandt, Six's Bridge, 1645, etching, Bartsch 208, NH 201, 1st state, GB London, British Museum (1847,1120.3) with (right) an enlarged detail from Benesch 498
Benesch 499
Carel Fabritius?
The Dismissal of Hagar, c.1645-50
USA Washington, National Gallery of Art (Widener Collection)
Fig.a. Details of Benesch 0488 (left), Benesch 499 (centre) and (right) Carel Fabritius?, Eliezer and Rebecca at the Well, c.1641-45. Pen and brown ink with brown wash. F Paris, Fondation Custodia. The outlines in all three drawings are little interrupted – thus somewhat solid – with many heavier touches and copious parallel shading.
Benesch 500
Carel Fabritius?
Christ Among the Doctors, c.1650-54.
CH Winterthur, Oskar Reinhart Collection “Am Römerholz”
Fig.a. Left: Carel Fabritius, The Sentry, 1654. Oil on canvas, 68 x 58 cm. D Schwerin, Staatliches Museum (inv. G 2477), with a detail, top right, of the fictive relief above the archway. Also, centre right, two details from the Crying Boy of c.1645-50 (for which see under the 'Not in Benesch' tab) and details, lower right, from the lower left corner of Benesch 0500. The geometric description of the hand in the fictive relief at the top of Fabritius' painting has been compared with the hands shown in the details of the two drawings
Benesch 500a
Rembrandt*
Two Men in Discussion near a Doorway, 1641
GB London, The Samuel Courtauld Trust, The Courtauld Gallery (Princes Gate Collection)
Benesch 500a Detail, Enlarged
Fig.a. Detail, enlarged, of the signature and date on Benesch 500a (above) with signature from Rembrandt's letter to Huygens of January 1639 (below)
Fig.b. Rembrandt, Three Oriental Figures (Jacob and Laban?), etching, 1641. Bartsch 118; mNH 190, 1st state. GB London, British Museum (inv. 1848,0911.59)
Benesch 501
Carel Fabritius?
The Annunciation to the Shepherds, c.1645-50?
D Hamburg, Kunsthalle
Fig.a. Rembrandt, The Annunciation to the Shepherds, 1634. Etching, 262 x 220 (Bartsch 44; NH 125, 2nd state).
GB London, British Museum (1848,0911.24)
Benesch 502
Carel Fabritius?
The Annunciation to the Shepherds, c.1645-50?
D Munich, Staatliche Graphische Sammlung
Fig.a. Benesch 502 (right) with details from (in the centre) Carel Fabritius, Detail of The Raising of Lazarus, c.1643, oil on canvas, photograph with polarised light revealing the underpaint (P. Warsaw, Muzeum Narodowe), and (left) Carel Fabritius, Detail of Hagar and the Angel, c.1643-45, oil on canvas, a composite of infra-red images (USA, New York, The Leiden Collection). Compare especially the darkest brushstrokes with the broadest lines in Benesch 502 (right).
Benesch 502a
Carel Fabritius?
David Taking Leave of Jonathan, c.1645-50
D Berlin, Staatliche Museen Berlin, Kupferstichkabinett
Benesch 503
Carel Fabritius?
Eliezer and Rebecca at the Well, c.1650-54?
USA Washington D.C., National Gallery of Art (Widener Collection)
Benesch 504
Carel Fabritius?
The Dismissal of Hagar, c.1650-54?
Private Collection?
Fig.a. Detail of Benesch 549 (left) with a detail of Benesch 504 (right)
Fig.b. Ferdinand Bol, The Dismissal of Hagar, c.1650-53?
St Petersburg, State Hermitage Museum (formerly in Moscow)
Benesch 505
Carel Fabritius?
Zipporah at the Inn: The Angel Attacking Moses and Zipporah Circumcising their Son, c.1650-54?
GB London, The Samuel Courtauld Trust, The Courtauld Gallery (Princes Gate Collection)
Fig.a. Detail of Benesch 622a
Fig.b. Detail from Rembrandt, The Triumph of Mordechai, c.1641, Etching, Bartsch 40; NH 185, 2nd state. GB London, British Museum (inv. F,4.69).
Fig.c. Detail, in reverse, of Rembrandt, The Omval, 1645, Etching, Bartsch 209; NH 221. GB London, British Museum (Salting bequest, 1910,0212.395)
Fig.d. Jan Baptist Weenix, Zipporah at the Inn: The Angel Attacking Moses and Zipporah Circumcising their Son, oil on canvas, 118 x 171.5 cm., c.1640?. P Warsaw, Muzeum Narodowe
Benesch 506
Carel Fabritius?
The Messenger Brings Saul's Crown and Bracelet to David , c.1645-50?
NL Amsterdam, Rijksmuseum
Fig.a. Left: Carel Fabritius, Detail of The Raising of Lazarus, c.1643, oil on canvas, photograph with polarised light revealing the underpaint (P. Warsaw, Muzeum Narodowe) with a detail of Benesch 506 (right)
Fig.b. In the centre, Jonathan Richardson, senior's collector's mark (L.2184) as usually seen (from: http://www.marquesdecollections.fr/detail.cfm/marque/9071/total/1 accessed 20 September 2020) with on the left an enlarged detail of the lower left corner of Benesch 506 with, on the right, a black and white version of part of the same detail, with slightly enhanced contrasts. The ink failed to take so that the mark is mostly blind-stamped, as is the "TL" mark of Thomas Lawrence (L.2445), which is also visible. In a raking light Richardson's mark becomes clearer.
Benesch 507
Carel Fabritius?
Isaac Blessing Jacob, c.1645-50?
Private Collection (formerly D Berlin, Van Diemen (dealer)
Benesch 508
Carel Fabritius?
Isaac Blessing Jacob, c.1645-50
NL Groningen, Groninger Museum
Fig.a. Hans Holbein the Younger (c.1497-1543), Isaac blessing Jacob, woodcut 60 x 87 (illustration for the "Icones", 1541 edition). Enlarged
Benesch 509
Carel Fabritius?
Isaac Blessing Jacob, c.1645-50?
Formerly Vienna, Oskar Bondi
Benesch 510
Carel Fabritius?
Isaac Blessing Jacob, c.1645-50
F Angers, Musées d'Angers (Musée Turpin de Crissé)
Benesch 511
School of Rembrandt,
Study for a Presentation in the Temple , c.1650-55?
NL Rotterdam, Museum Boijmans van Beuningen
Fig,b. Gerbrand van den Eeckhout, The Presentation in the Temple, oil on canvas, 83 x 100 cm. Formerly D Berlin, Kaiser Friedrich-Museum (inv.820)
Fig.a. Rembrandt, The Presentation in the Temple, c.1639. Etching, 213 x 290, 1st state (Bartsch 49; NH 184). GB London, British Museum (inv.F,4.94)
Benesch 511a
Carel Fabritius?
The Incredulity of St Thomas, c.1645-50?
F Paris, art market (1990)
Fig.a. Benesch 869 (copy after Fig.b; Samuel van Hoogstraten?).
NL Amsterdam, Rijksmuseum
Fig.b. School of Rembrandt (Samuel van Hoogstraten),
The Incredulity of St Thomas, c.1645-50
Formerly NL The Hague, private collection (Hingst)
Fig.c. Rembrandt, The Incredulity of St Thomas, 1656, repr. in reverse. Etching, 163 x 206 (Bartsch 89; NH 296). GB London, British Museum (inv. F,4.141)
Benesch 512
Carel Fabritius?
Joseph Reveals Himself to his Brothers, c.1650-54?
F Paris, Musée du Louvre (Collection de Rothschild)
Benesch 512a
Rembrandt?
The Captive Christ Being Led to Caiaphas , c.1652?
USA, Cleveland, Cleveland Museum of Art
Benesch 512a Detail in black and white, digitally enhanced, showing traces of erased inscription below Christ's feet
Fig.a. Left, detail of Benesch 188
beside detail of Benesch 512a
Fig.b. Left, detail of Benesch 1172 beside a detail of Benesch 512a; compare also the shading beneath the window-sill (left) and under Christ's arm (right)
Fig.c. Left, Benesch 886 compared with Benesch 0512a, right (shown not to scale but approximately in proportion).
Benesch 513
Carel Fabritius?
Christ Awakening The Disciples on the Mount of Olives, c.1650?
CH Private Collection?
Benesch 514
Carel Fabritius?
The Temptation of Christ, c.1650?
D Munich, Staatliche Graphische Sammlung
Benesch 515
Carel Fabritius?
The Temptation of Christ, c.1645-50
D Dortmund, Private Collection? (formerly H. Becker)
Benesch 516
Rembrandt
The Holy Family in the Carpenter's Workshop, c.1647-52?
GB London, British Museum
Benesch 516, Detail, Enlarged
Benesch 516, Detail, Enlarged
Benesch 516, Detail, Enlarged
Fig.a. Details of Benesch 1161 (left) and Benesch 516 (right).
Fig.b. Details, enlarged, of Benesch 1161 (left) and Benesch 516 (right).
Fig.c. Anonymous, copy after Benesch 516. Pen and brown ink with brown wash, graphite, and later [?] blueish-white bodycolour, 198 x 229.
USA, Cambridge, Mass., Harvard Art Museums/Fogg Museum, John Witt Randall Fund. inv.1910.7; see https://hvrd.art/o/298879 [accessed 20 October 2020]
Benesch 516
School of Rembrandt (Ferdinand Bol??)
The Holy Family in an Interior, c.1650?
F Paris, Musée du Louvre
Benesch 518 Verso
Rembrandt
Sketch of a Woman, c.1630-32
NL Rotterdam, Museum Boijmans Van Beuningen
Benesch 518 Recto
Carel Fabritius?
The Raising of Lazarus, c.1645-50
NL Rotterdam, Museum Boijmans Van Beuningen
Fig.a. Carel Fabritius, The Raising of Lazarus, oil on canvas, 210.5 x 140 cm. P Warsaw, Muzeum Narodowe
Fig.c. Jan Lievens, The Raising of Lazarus, 1631, oil on canvas,103 x 112 cm.
GB Brighton, Art Gallery and Museum
Fig.d. Left, Benesch 0083 verso (an offset, here reproduced in reverse to the same direction in which it was drawn) with Benesch 0518 Verso (detail, right).
Fig.b. Anonymous (Peter Soutman?) after Jacob Louijs' engraving after Jan Lievens, The Raising of Lazarus, etching, 403 x 316, lettered below: "Lazarum Resuscitatum et Mundi Recreati Autoramentum". Hollstein 1 (undescribed copy).
GB London, British Museum (inv. Sheepshanks 6215)
Fig.a. Two details from Benesch 518a (on the right) compared with details from the Adoration of the Shepherds, top left (NL Amsterdam, Rijkmuseum, inv.RP-T-1883-A-217) and Benesch 498, lower left.
Benesch 518a
Carel Fabritius?
The Good Samaritan Arriving at the Inn, c.1645-50
GB London, British Museum
Benesch 518b
Carel Fabritius?
The Good Samaritan Arriving at the Inn, c.1650
NL Rotterdam, Museum Boijmans Van Beuningen
Fig.a. Left: Carel Fabritius, Hagar and the Angel, c.1645, oil on canvas, 157.5 x 136 cm, with (centre) a detail from a composite of infra-red images of the area around Hagar's nearer foot. The calligraphy of the outlines for the foliage is similar to the vegetation in the left half of Benesch 0518b (detail, right)
USA New York, The Leiden Collection.
Fig.b. School of Rembrandt (attributed to Constantijn van Renesse [or Willem Drost?]), The Good Samaritan Arriving at the Inn, oil on canvas, 114 x 135 cm.
F Paris, Musée du Louvre.
Fig.c. Willem Drost?, The Good Samaritan Arriving at the Inn, c.1650-55? Pen and brown ink, heightened with white, on pale buff paper, 191 × 231.
USA Chicago, The Art Institute (The Charles Deering Collection; inv.1927.5191)
Benesch 519
Rembrandt
The Return of the Prodigal Son, 1644-45?
NL Haarlem, Teyler Museum
Benesch 519 Detail, enlarged
Benesch 519 Detail, enlarged
Benesch 519 Detail, enlarged
Fig.b. Benesch 606 (left) with Benesch Benesch 519 (right)
Figs a-b reveal a surprising degree of stylistic variation between drawings - all biblical illustrations - of the same type and approximate period (apart from the similar vertical shading on the foreground steps in Benesch 519 and Benesch 500a on the left of Fig.a)
Fig.a Benesch 500a (left) with Benesch 519 (right) - see the comment to Fig.b below
Benesch 520
Rembrandt
A Group of Mourning Figures, Standing, c.1645
USA Private Collection
Fig.a. Benesch 520 (detail, below) with Rembrandt, Descent from the Cross: A Sketch, 1642. Etching, 149 x 116 (Bartsch 82; NH 204) GB London, British Museum (inv. F,5.4)
Fig.b. Detail of Benesch 520 (centre) with details of
Benesch 185 (left) and Benesch 190 (right)
Fig.c. Detail from Benesch 482 recto (left) with two details from Benesch 520
Fig.d. Mosaic illustration with three details of Benesch 520 (with its darker background tone) superimposed on/juxtaposed with part of Benesch A35a (USA New York, Metropolitan Museum of Art, Robert Lehman Collection)
Fig.e. Left to right: Andrea Mantegna, The Entombment, engraving, 299 x 442. Bartsch 3; Hind 2, and a detail of the early copy in reverse, sometimes attributed to Zoan Andrea or Antonio da Brescia, engraving, 285 x 429, with a detail from Benesch 520 (right). Both prints USA Washington, National Gallery of Art (inv.1986.98.1; Patrons' Permanent Fund and inv.1943.3.439; Rosenwald Collection)
Benesch 521
Rembrandt (Provisional)
Diana and Callisto, c.1648?
Private Collection
Fig.a. Jan Saenredam after Hendrick Goltzius, Diana and Callisto, 1599, engraving, 215 x 297. Bartsch 52; NH 584. GB London, British Museum (1853,1008.88)
Fig.b. Benesch 521 (top left) with Benesch 540 (top right), with two details from each below (Benesch 521 with the whiter paper)
Fig.c. Benesch 736 (left) with Benesch 521 (right). Note particularly the similarity between the seated boy towards the left of Benesch 736 and the seated Diana just left of centre in Benesch 521
Fig.d. Benesch A35a (upper left - see the Not in Benesch tab) with a detail below left, and Benesch 521 (upper right) with a detail below right
Fig.e. Benesch 519 (upper left and detail below left) and Benesch 521 (right and detail lower right). Note the similarity of the background hatching, as shown in the details, and of the free passage at the extreme upper left of Benesch 519 (left) and the foliage in Benesch 521 (right)
Fig.g. Clockwise from top left: Benesch 521 with Benesch 487, Benesch 504 and Benesch 502. The comparisons with these drawings from the "Carel Fabritius" group are not convincing.
Fig.f. Left: Detail of the lightly-touched, free crosshatching in Benesch 767, with the comparable passage in Benesch 521 (right).
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Benesch 522
Ferdinand Bol?; Rembrandt??
The Adoration of the Magi, c.1645-50
I Turin, Biblioteca Reale
Benesch 522 from a low resolution scan found online
Fig.a. Left: Rembrandt?, David’s Charge to Solomon, (Benesch A81), with detail below. GB Chatsworth, Duke of Devonshire and the Trustees of the Chatsworth Settlement. Right: Benesch 522, with detail below
Fig.b. Left: detail of Benesch 480 with (right) a detail of Benesch 522
Fig.c. Left: detail of Benesch 522 with (right) detail of Benesch 479
Fig.d. Top left (with detail below), Ferdinand Bol, Hagar and the Angel at the Well on the Road to Shur, pen and brown ink, with brown wash; ruled framing lines in pen and brown ink, 182 × 233. NL Amsterdam, Rijksmuseum (inv. RP-T-1930-27; Sumowski 89), with (right) Benesch 522 with detail below
Fig.e. Left: detail of Benesch 160 with (right) detail of Benesch 522, showing a contrast of styles despite the similar iconography
Benesch 523
Carel Fabritius?
A Shepherdess and her Flock, c.1650?
F Besançon, Musée des beaux-arts et d'archéologie
Benesch 524
Ferdinand Bol?/Rembrandt??
The Dismissal of Hagar, 1648-50?
GB London, British Museum
(High resolution photograph from an old black and white British Museum negative [no. ½ plate 11838], which shows the drawing before it was damaged by damp, but has a blemish of its own from lettering at the upper left edge)
Benesch 524 Details, enlarged, from the high resolution photograph from the old negative (see above)
These downloadable files, of around 2.5MBs each, slightly overlap and are included here as documents of record, showing the former condition of the drawing in a form that makes the reconstruction of the image possible at a high resolution
Benesch 524, actual size, in its present condition [accessed 6 December 2020]
Fig.a. The left segment is taken from the old negative (on which see above); that on the right is from a recent image. The deterioration was already noted in Exh. London, 1992, no.41. The squares selected and added by the compiler, but every part of the drawing has been affected to some degree.
Fig.b. Rembrandt, The Dismissal of Hagar, 1637, etching, 125 x 95. Bartsch 30; NH 166. GB London, British Museum (inv.1847,0609.14; presented by John Heywood Hawkins)
Fig.c. Left: Details from (left) Ferdinand Bol, Joseph Interpreting the Dreams of his Fellow Prisoners, pen and brown in with brown wash, 166 x 229. D Hamburg, Kunsthalle (inv.22412; Sumowski 101), with details (right) from Benesch 524. The main similarities pertain to the outlining of the figures and the shading in an uninterrupted row of rounded loops below
Fig.d. Left: the head of the Prodigal Son's father in Benenesch 519, enlarged; Right: the head of Abraham from Benesch 524, enlarged. In several respects, such as the outlining of the beard, the shading immediately below it, and the form of the nose, there are close parallels
Fig.e. Left: Detail of Benesch 524; right: Benesch 682
Benesch 524A
Ferdinand Bol
The Dismissal of Hagar, 1644?
Private Collection
Benesch 525
Carel Fabritius?
The Dismissal of Hagar, 1644-50?
NL Haarlem, Teyler Museum
Fig.a. Follower of Rembrandt, The Dismissal of Hagar, pen and brown ink with brown wash over traces of black chalk, 175 x 231. F Paris, Louvre (inv. 22941; Saint-Morys collection)
Fig.b. Centre: Benesch 524A with (left) Ferdinand Bol, Hagar and the Angel on the Road to Shur, c.1640?, pen and brown ink with brown wash, 182 × 233. NL Amsterdam, Rijksmuseum (inv. RP-T-1930-27; presented by C. Hofstede de Groot) and (right), Ferdinand Bol, The Agony in the Garden, pen and brown ink, touched with red chalk, with brown, grey and yellow wash, 186 x 174. GB London, British Museum (inv.1918,0615.9; presented by Otto Beit)
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Detail of Benesch 525
Fig.a. Right: detail of Benesch 525 (the head appears upside-down at the bottom of the sheet, with details from Benesch 500 (left) and Benesch 509 (centre)
Benesch 526
Ferdinand Bol??
Joseph Telling his Dreams,
A Vienna, Albertina