THE DRAWINGS OF REMBRANDT:  

a revision of Otto Benesch's catalogue raisonné

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Illustrations: Benesch 477- in progress

Benesch 477

Rembrandt*

A Nude Man Kneeling (St John the Baptist), c.1640

F Bayonne, Musée Bonnat-Helleu

Ben 0477 pic ex Bayonne Museum 636-01 Ben 0477 pic ex Bayonne Museum 636-01

Benesch 477 Enlarged

Ben 0477 Fig.a BM etching Beheading of Baptist F,5

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.).

Ben 0477 Fig.b Detail of BM etching Beheading of Baptist F,5.18

Fig.b. Detail of Fig.a, reversed to show the image as it would have appeared on Rembrandt's copper plate.

Ben 0477 Fig.c Crabbe etching RPK RP-P-OB-2143

Fig.c. Frans Crabbe, The Beheading of St John the Baptist, c.1520? Engraving (Hollstein 26)

NL Amsterdam, Rijksmuseum (inv. RP-P-OB-2143)

Ben 0477 verso ex Bonnat Mus 636-02

Benesch 477 Verso

Ben 0478 pic ex Met site_ better Ben 0478 pic ex Met site_ better Ben 0478 Fig.a Details of 5 dgs

Fig.a. Details from Benesch 477                Benesch 482 verso               Benesch 479                                        Benesch 478                                       Benesch 480

Ben 0478 Fig.b details of Ben 0479 ex BM site Ben 0480 Fig comparison 477 etc

Fig.b. Details (left to right) of Benesch 479 and Benesch 478

Ben 0478 Fig.c with detail Benesch 0482

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.

Benesch 0478 Fig.e Detail of executioner

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.

Ben 478 Fig.f comparison Executioners Ben 0478 Fig.h Munich inv 1455 ex EHB online Ben 0478 Fig.i Turin drawing

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

Ben 0479 pic ex BM site

Benesch 479

Rembrandt

Three Scenes of a Beheading (Anabaptist Martyrs?), c.1640

GB London, British Museum

Ben 0479 pic ex BM site

Benesch 479, Enlarged

Ben 0480 Bol Benesch 0480 Beheading of Baptist Dg

Benesch 480

Ferdinand Bol (retouched by Rembrandt)

The Beheading of St John the Baptist, c.1640 (or later?)

Private Collection

 

Ben 0480 Bol DETAIL Benesch 0480 Beheading of Baptist Dg ex Gaines with Sbys Sep 2015 (2)

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.

Ben 0480 verso Bol to use

Benesch 480 Verso

Ben 0480a pic ex USA Worcester Museum site 1956.99

Benesch 480a

Carel Fabritius?

The Beheading of St John the Baptist, c.1644-46

USA Worcester, Worcester Art Museum

Ben 0480a pic DETAIL ex USA Worcester Museum site 1956.99

Benesch 480a, Detail, Enlarged.

Ben 0481 ex Smith College site 1959_161 Ben 0481 ex Smith College site 1959_161

Benesch 481

Rembrandt

A Woman Kneeling and Bowing Low, c.1652

USA Northampton (Mass.), Smith College Museum of Art

Benesch 481, Enlarged

Ben 0482 Recto TO USE ex Rijksmuseum site RP-T-1930-28R

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

Ben 0482 Fig. a Rubens ex Christies Ben 0482 VERSO DETAIL pic ex Rijksmuseum site inv. RP-T-1930-28(V)

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)

Ben 0481 Fig.a

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.

Ben 0483 pic ex Dresden site

Benesch 483

School of Rembrandt/Rembrandt??

Christ Carried to the Tomb, c.1650-55

D Dresden, Staatliche Kunstsammlungen, Kupferstich-Kabinett

Ben 0483 Fig.a

Fig.a Benesch 139A (left) compared with Benesch 483

Ben 0483 Fig.b Ben 0076 ex Boijmans site

Fig.b. Benesch 76 compared with Benesch 483

Ben 0484 pic ex Google and Boijmans

Benesch 484

School of Rembrandt (retouched by a later hand)

Christ Carried to the Tomb, c.1650-55?

NL Rotterdam, Museum Boijmans Van Beuningen

Ben 0485 pic TO USE BERLIN Kat. 120 Unbekannt Grablegung Christi KK Berlin, Sum. 1524xx

Benesch 485

Rembrandt

Christ Carried to the Tomb, c.1642-47

D Berlin, Staatliche Museen Berlin, Kupferstichkabinett

Ben 0485 Fig.a DETAIL with detail of Ben 0519 Haar

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).

Ben 0485 DETAIL of the fig on right Ben 0485 DETAIL USE Head only of the fig on right (2)

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.

Ben 0485 Fig.e compare Eeckhout Edinburgh Ben 0485 Fig.c background shading with Ben 0736 an

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).

Ben 0485 Fig.d shading compared with Ben 0547 and Ben 0485a ex Courtauld site

Benesch 485a

Rembrandt

Scene of Execution: Anabaptist Martyrs of Amsterdam (?) , c.1642-45

GB London, Courtauld Institute of Art (Seilern Collection)

Ben 0485a Fig.a comp with Ben 0482 recto

Fig.a. Benesch 482 Recto (Detail, left) compared with Benesch 485a (Detail, right)

Ben 0485 Fig.b two details combined

Please see the disclaimer on the 'Home' page

Ben 0486 pic ex Amsterdam Mus site Ben 0486 Fig.a detail of 1639 etching

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)

Ben 0487 Fig.a Compared with etching of Triumph of Mordechai

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)

Ben 0487 Fig.b Comp with Lastman and the etching

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)

Ben 0487 TO USE ex pubhist.com in bandw

Benesch 487

Carel Fabritius?

The Triumph of Mordechai, c.1641

P Wroclaw, Ossolineum

Ben 0488 ex Louvre site

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)

Ben 0488 Fig.a with etching ex BM IN REVERSE Ben 0488 Fig.b with Fabritius C attrib RPK RP-T-1883-A-217 Ben 0478 Fig.j Rt School variant NGS D 2887

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).

Ben 0489 ex Wessenberg Galerie 32_57

Beesch 489,

Ferdinand Bol? [Possibly retouched by Rembrandt?]

The Holy Family? c.1645-50

D Konstanz, Städtische Wessenberg-Galerie

Ben 0489 ex Wessenberg Galerie 32_57

Benesch 489, Enlarged

Ben 0482 Verso To USE ex Rijksmuseum site RP-T-193

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)

Ben 0490 from Ekta sent by J Herring 1999_1 Ben 0490 DETAIL from Ekta sent by J Herring 1999_1 Ben 0490 fig.a part Ben 0801 DETAIL ex Dresden sit

Benesch 490, Detail, Enlarged

Fig.a Detail of Benesch 801

Ben 0491 pic ex NGS site

Benesch 491

Carel Fabritius?

Eliezer and Rebecca at the Well, c.1641-45

GB Edinburgh, National Galleries of Scotland

Ben 0491 Fig.a comparisons with Ben 0488

Fig.a. Two details from Benesch 488 (both on the left) compared with two details from Benesch 491 (both on the right)

Ben 0491 Fig.b Lugt version ex artscape.com

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

Ben 0491 Fig.c related painting

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.

Ben 0478 Fig.f DETAIL 3 Heads pic ex Met site_ better with detail of Ben 0492 Ben 0492 pic TO USE ex Rijksmuseum site RP-T-1901-A-4527

Benesch 492

Ferdinand Bol

The Angel Departing from Tobit and his Family, c.164-45?

NL Amsterdam, Rijksmuseum

Ben 0492 Detail

Benesch 492 Detail, Enlarged

Ben 0492 Fig.a copy in RISD

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)

Ben 0492 Fig.b Rembrandt etching Tobit ex BM 1910,0212.378 Ben 0492 Fig.c Detail of Bol in Hamburg

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).

Ben 0493 USE sent from Montreal by Goldfarb Ben 0493 BandW ex Pubhist Ben 0493 Fig.a with Ben 0480 details Ben 0493 Fig.b with Bol Three Maries at the Tomb Ben 0493 Detail USE Centre from LARGE TIFF fom Montreal Ben 0493 Fig.c Ben 0493 Fig.d with details of Ben 0188 Berlin

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

Ben 0493 Fig.e Reversed detail of Death of the Virgin BM F,5.26

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)

Ben 0494 pic ex Met Museum

Benesch 494

Ferdinand Bol?

Potiphar's Wife Accusing Joseph, c.1642-48

USA New York, The Metropolitan Museum of Art

Ben 0495 ex ENSBA site Ben 0495 Fig.a BandW ex Pubhist Ben 0495 Fig.b Louvre copy

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)

Ben 0495 Fig.c with P. Koninck from Lugt ex Pubhist.com

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)

Ben 0495 Fig.d mosaic with detail from Ben 0188 BandW Ben 0495 Fig.e with Star of Kings Ben 0736

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)

Ben 0495 Fig.g DETAILS comp with Ben 0190 ex Boijm

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.

Ben 0495 Fig.f with Hamburg St Jerome Ben 886

Benesch 496

Carel Fabritius?

Landscape with Tobias and the Angel, c.1650-54

NL Private Collection (John and Marine Fentener van Vlissingen)

Ben 0496 ex Paris auction Ben 0497 pic ex RKD site

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.

Ben 0497A Fig.a Benesch 497A ex Christies 27 Aug 2020 Benesch 497A DETAIL ex Christies 27 Aug 2020

Benesch 498

Carel Fabritius?

Hagar and Ishmael with the Angel in the Desert, c.1645-50?

D Hamburg, Kunsthalle

Ben 0498 Fig.a with LA Fabritius ptg Mercury and Argus

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.

Ben 0498 Fig.b Reversed Detail of Six Bridge ex BM

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

Ben 0499 ex NGA Washington site

Benesch 499

Carel Fabritius?

The Dismissal of Hagar, c.1645-50

USA Washington, National Gallery of Art (Widener Collection)

Ben 0499 Fig.a comp with Ben 0488 and Lugt dg

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.

Ben 0500 ex Getty cat

Benesch 500

Carel Fabritius?

Christ Among the Doctors, c.1650-54.

CH Winterthur, Oskar Reinhart Collection “Am Römerholz”

Ben 0500 Fig.a Schwerin Painting and Crying Boy comparisons

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

Ben 0498 ex Hamburg site Ben 0500a ex Getty cat 2009

Benesch 500a

Rembrandt*

Two Men in Discussion near a Doorway, 1641

GB London, The Samuel Courtauld Trust, The Courtauld Gallery (Princes Gate Collection)

Ben 0500a DETAIL left head

Benesch 500a Detail, Enlarged

Ben 0500a Fig.b related etching ex BM Ben 0500a Fig.a Detail Signature only enhanced ex

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)

Ben 0501 C. Fabritius Hamburg

Benesch 501

Carel Fabritius?

The Annunciation to the Shepherds, c.1645-50?

D Hamburg, Kunsthalle

Ben 0501 Fig.a Annunciation to the Shepherds 1634

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)

Ben 0502 pic ex Pinterest

Benesch 502

Carel Fabritius?

The Annunciation to the Shepherds, c.1645-50?

D Munich, Staatliche Graphische Sammlung

Ben 0502 Fig.a with underpaint

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).

Ben 0502a pic To Use ex Bevers

Benesch 502a

Carel Fabritius?

David Taking Leave of Jonathan, c.1645-50

D Berlin, Staatliche Museen Berlin, Kupferstichkabinett

Ben 0503 pic To USE ex NGA Washington

Benesch 503

Carel Fabritius?

Eliezer and Rebecca at the Well, c.1650-54?

USA Washington D.C., National Gallery of Art (Widener Collection)

Ben 0504 Dismissal of Hagar poss CF

Benesch 504

Carel Fabritius?

The Dismissal of Hagar, c.1650-54?

Private Collection?

Ben 0504 Fig.a Detail Ben 0549 ex Bonnat site museo 645-03 (2)

Fig.a. Detail of Benesch 549 (left) with a detail of Benesch 504 (right)

Ben 0504 Fig.b Bol ptg Hermitage

Fig.b. Ferdinand Bol, The Dismissal of Hagar, c.1650-53?

St Petersburg, State Hermitage Museum (formerly in Moscow)

Ben 0505 pic ex Ctld Inst site

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)

Ben 0505 Fig.a Detail of Ben 0622a

Fig.a. Detail of Benesch 622a

Ben 505 Fig.b fig in Triumph of Mordecai ex BM

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).

Ben 0505 Fig.c Omval ex BM

Fig.c. Detail, in reverse, of Rembrandt, The Omval, 1645, Etching, Bartsch 209; NH 221. GB London, British Museum (Salting bequest, 1910,0212.395)

Ben 0505 Fig.d Weenix_Circumcision_of_son_of_Moses ex Wikimedia

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

Ben 0506 TO USE ex Rijksmuseum site RP-T-1930-15

Benesch 506

Carel Fabritius?

The Messenger Brings Saul's Crown and Bracelet to David , c.1645-50?

NL Amsterdam, Rijksmuseum

Ben 0506 Fig.b Richardson mark Ben 0506 Fig.a underpaint comparison

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.

Ben 0507 ex Pubhist.com

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

 

Ben 0508 ex Groningen Mus site Ben 0509 Fig. a Holbein

Fig.a. Hans Holbein the Younger (c.1497-1543), Isaac blessing Jacob, woodcut 60 x 87 (illustration for the "Icones", 1541 edition). Enlarged

Ben 0509 pic ex pubhist

Benesch 509

Carel Fabritius?

Isaac Blessing Jacob, c.1645-50?

Formerly Vienna, Oskar Bondi

Ben 0510 ex Musee de Crisse site

Benesch 510

Carel Fabritius?

Isaac Blessing Jacob, c.1645-50

F Angers, Musées d'Angers (Musée Turpin de Crissé)

Ben 0511 ex Boijmans site

Benesch 511

School of Rembrandt,

Study for a Presentation in the Temple , c.1650-55?

NL Rotterdam, Museum Boijmans van Beuningen

Ben 0511 Fig.b ptg ex Berlin from Pubhist.com

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)

Ben 0511 Fig.a etching ex BM site

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)

Ben 0511a Fig.a ex Rijksmuseum site RP-T-1889-A-20 Ben 0511a pic ex Pubhist.com Ben 0511a Fig.b Ben 0511a Fig.c related etching ex BM

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)

Ben 0512 ex Louvre site

Benesch 512

Carel Fabritius?

Joseph Reveals Himself to his Brothers, c.1650-54?

F Paris, Musée du Louvre (Collection de Rothschild)

Ben 0512a

Benesch 512a

Rembrandt?

The Captive Christ Being Led to Caiaphas , c.1652?

USA, Cleveland, Cleveland Museum of Art

Ben 0512a Possible inscription BandW enhanced

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

Ben 0512a Fig.b Ben 0512a Fig.a comp with Ben 0188 details

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).

Ben 0512a Fig.c with Ben 0886 Hamburg Ben 0513 pic ex Pubhist

Benesch 513

Carel Fabritius?

Christ Awakening The Disciples on the Mount of Olives, c.1650?

CH Private Collection?

Ben 0514 pic ex Pubhist.com

Benesch 514

Carel Fabritius?

The Temptation of Christ, c.1650?

D Munich, Staatliche Graphische Sammlung

Ben 0515 pic ex Pubhist

Benesch 515

Carel Fabritius?

The Temptation of Christ, c.1645-50

D Dortmund, Private Collection? (formerly H. Becker)

Ben 0516 pic ex BM site

Benesch 516

Rembrandt

The Holy Family in the Carpenter's Workshop, c.1647-52?

GB London, British Museum

Ben 0516 DETAIL central area and figs pic ex BM site Ben 0516 DETAIL woman at window pic ex BM site Ben 0516 DETAIL Chairs to right pic ex BM site Ben 0516 Fig.b chairs with Ben 1161 pic ex pubhist Ben 0516 Fig.a pic ex BM site Ben 0516 Fig.c Fogg copy

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 0517

Benesch 516

School of Rembrandt (Ferdinand Bol??)

The Holy Family in an Interior, c.1650?

F Paris, Musée du Louvre

Ben 0518 Recto ex Boijmans site

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

Ben 0518 Fig.a Fabritius ptg Lazarus ex Pinterest

Fig.a. Carel Fabritius, The Raising of Lazarus, oil on canvas, 210.5 x 140 cm. P Warsaw, Muzeum Narodowe

Ben 0518 Fig.c Lievens ptg Brighton

Fig.c. Jan Lievens, The Raising of Lazarus, 1631, oil on canvas,103 x 112 cm.

GB Brighton, Art Gallery and Museum

Ben 0518 Fig.d Verso compared with Ben 083a

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).

Ben 0518 Fig.b Soutman after Louijs

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)

Ben 0518a Fig.a

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.

Ben 0518a ex BM site

Benesch 518a

Carel Fabritius?

The Good Samaritan Arriving at the Inn, c.1645-50

GB London, British Museum

Ben 0518b pic ex Boijmans site

Benesch 518b

Carel Fabritius?

The Good Samaritan Arriving at the Inn, c.1650

NL Rotterdam, Museum Boijmans Van Beuningen

Ben 0518b Fig.b Louvre Good Samaritan Ben 0518b Fig.a Underpaint Hagar

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.

Ben 0518b Fig.c Chicago dg

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)

Ben 0518 Verso ex Museum BvB inv.MB 160 verso Ben 0519 pic TO USE ex Teyler Mus

Benesch 519

Rembrandt

The Return of the Prodigal Son, 1644-45?

NL Haarlem, Teyler Museum

Ben 0519 DETAIL TO USE of the son Haarlem ex Wikim Ben 0519 DETAIL To USE Son's head pic ex Teyler Mus

Benesch 519 Detail, enlarged

Benesch 519 Detail, enlarged

Ben 0519 pic DETAIL_2 ex Teyler Mus

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)

Ben 0519 Fig.a with Ben 500a Ben 0519 Fig.b with Ben 606

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

Ben 0520 pic TO USE ex large sent via WeTransfer b Ben 0520 Fig.a TO USE whole and detail etching ex BM

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)

Ben 0520 Fig.b with Ben 0185 and Ben 0190

Fig.b. Detail of Benesch 520 (centre) with details of

Benesch 185 (left) and Benesch 190 (right)

Ben 0520 Fig.c details with detail of Ben 0482 Recto BandW

Fig.c. Detail from Benesch 482 recto (left) with two details from Benesch 520

Ben 0520 Fig.e Mantegna Figure comparison with prints in Met and BM Ben 0520 Fig.d with Ben A35a ex Twitter

 

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)

Ben 0521 pic ex Wallraf Richartz site

Benesch 521

Rembrandt (Provisional)

Diana and Callisto, c.1648?

Private Collection

Ben 0521 Fig.a Saenredam ex BM

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)

Ben 0521 Fig.b with Ben 540

Fig.b. Benesch 521 (top left) with Benesch 540 (top right), with two details from each below (Benesch 521 with the whiter paper)

Ben 0521 Fig.c with Ben 736

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

Ben 0521 Fig.d with Satire Ben A35a

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

Ben 0521 fig.e with Ben 0519 Prod Son

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)

Ben 0521 fig.f with CF Group

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.

Ben 0521 Fig.f pic ex Wallraf Richartz site

Fig.f. Left: Detail of the lightly-touched, free crosshatching in Benesch 767, with the comparable passage in Benesch 521 (right).

Ben 0522 pic ex Pubhist.com

Double click to insert body text here ...

Benesch 522

Ferdinand Bol?; Rembrandt??

The Adoration of the Magi, c.1645-50

I Turin, Biblioteca Reale

 

Ben 0522 POOR illustration

Benesch 522 from a low resolution scan found online

Ben 0522 Fig.a USE BandW with Chatsworth Ben A81

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

Ben 0522 Fig.b background figs with Ben 0480 DETAILS

Fig.b. Left: detail of Benesch 480 with (right) a detail of Benesch 522

Ben 0522 Fig.c detail of background figures with detail of Benesch 479

Fig.c. Left: detail of Benesch 522 with (right) detail of Benesch 479

Ben 0522 Fig.d With RPK Bol of Hagar

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

Ben 0522 Fig.e with Eeckhout Ben 0160

Fig.e. Left: detail of Benesch 160 with (right) detail of Benesch 522, showing a contrast of styles despite the similar iconography

Ben 0523 pic ex Besancon site

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)

Ben 0524 DETAIL LEFT SECTION from HIGHEST RES LARG

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

Ben 0524 DETAIL CENTRE TO USE FROM HIGHEST RES LA Ben 0524 DETAIL RIGHT SECTION FROM HIGHEST RES LAR Ben 0524 USE. FROM THE HIGHEST RES LARGE from old Ben 0524 pic ex BM site

Benesch 524, actual size, in its present condition [accessed 6 December 2020]

Ben 0524 Fig.a improved TO USE DETAIL LEFT SECTION

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.

Ben 0524 Fig.b USE related etching ex BM site

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)

Ben 0524 Fig. c with Bol Hamburg Dg Joseph Interpreting Dreams inv.148210

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

Ben 0524 Fig.d Head of Abraham with head from Ben 519

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

Ben 0524 Fig.e DETAIL with Detail of RPK Ben 682

Fig.e. Left: Detail of Benesch 524; right: Benesch 682

Ben 0524A BandW from photo ex Christies

Benesch 524A

Ferdinand Bol

The Dismissal of Hagar, 1644?

Private Collection

Ben 0525 ex Teyler Mus site large

Benesch 525

Carel Fabritius?

The Dismissal of Hagar, 1644-50?

NL Haarlem, Teyler Museum

Ben 0524A Fig.a Louvre version Ben 0524A Fig.b with RPK Bol Hagar on the Road and BM Annunciation

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)

Ben 0525 DETAIL of Centre

Double click to insert body text here ...

Detail of Benesch 525

Ben 0525 Fig.a DETAIL of head upside down with those from Ben 500 and 509

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)

Ben 0526 pic ex Albertina

Benesch 526

Ferdinand Bol??

Joseph Telling his Dreams,

A Vienna, Albertina