Ben 0477 pic ex Bayonne Museum 636-01

Benesch 477
Rembrandt*
A Nude Man Kneeling (St John the Baptist), c.1640
F Bayonne, Musée Bonnat-Helleu

Ben 0477 verso ex Bonnat Mus 636-02

Benesch 477 Verso

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 0478 pic ex Met site_ better
Ben 0478 pic ex Met site_ better

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 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

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)

Ben 0480 Fig comparison 477 etc

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

Ben 0478 Fig.f DETAIL 3 Heads pic ex Met site_ better with detail of Ben 0492

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

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)

Ben 0478 Fig.i Turin drawing

Fig.i. School of Rembrandt, A Beheading, c.1650? Pen and brown ink with white bodycolour. I Turin, Biblioteca Reale

Ben 0478 Fig.h  Munich inv 1455 ex EHB online

Fig.h. School of Rembtrandt, A Beheading, c.1640? Pen and brown
ink. D Munich, Staatliche Graphische Sammlung

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 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

Benesch 481
Rembrandt
A Woman Kneeling and Bowing Low, c.1652
USA Northampton (Mass.), Smith College Museum of Art

Ben 0481 ex Smith College site 1959_161

Benesch 481, Enlarged

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 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.

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

Benesch 482 Verso (slightly reduced)
Rembrandt (*)
An Executioner Beheading a Prisoner, c.1640
NL Amsterdam, Rijksmuseum

Benesch 482 Verso, Detail, Enlarged

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

Fig.a. Studio of Peter Paul Rubens, Christ Carried to the Tomb, oil on panel, 405 x 545.
London art market (2007)

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.

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.b two details combined

Fig.b Two Details of Benesch 485 (from
the left and right sections)

Ben 0485 Fig.c background shading with Ben 0736 an

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 Fig.d shading compared with Ben 0547 and

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.

Ben 0485 Fig.e compare Eeckhout Edinburgh

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 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 0486 pic ex Amsterdam Mus site

Benesch 486
Rembrandt
Sketch for The Presentation of the Christ Child to Simeon in the Temple, c.1639-41.
NL Amsterdam, Amsterdam Historisch Museum

Ben 0486 Fig.a detail of 1639 etching

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 TO USE ex pubhist.com in bandw

Benesch 487
Carel Fabritius?
The Triumph of Mordechai, c.1641
P Wroclaw, Ossolineum

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 0488 ex Louvre site

Benesch 488
Carel Fabritius?
St Philip Baptising the Eunuch, c.1645-50?
F Paris, Musée du Louvre

Ben 0488 Fig.a with etching ex BM IN REVERSE

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

Ben 0488 Fig.b with Fabritius C attrib RPK  RP-T-1883-A-217

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 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 0490 from Ekta sent by J Herring 1999_1

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 DETAIL from Ekta sent by J Herring 1999_1

Benesch 490, Detail, Enlarged

Ben 0490 fig.a part Ben 0801 DETAIL ex Dresden sit

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.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 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 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.

Ben 0492 Fig.b Rembrandt etching Tobit ex BM 1910,0212.378

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.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

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)

Ben 0493 BandW ex Pubhist

Benesch 493 as above (from a black and white photograph that clarifies the details but is reduced at the edges)

Ben 0493 Detail USE Centre from LARGE TIFF fom Montreal

Benesch 493 Detail, Enlarged

Ben 0493 Fig.a with Ben 0480 details

Fig.a. Detail of Benesch 493 with at either side details of Benesch 480 (the comparison is not persuasive)

Ben 0493 Fig.b with Bol Three Maries at the Tomb

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)

Ben 0493 Fig.c

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)

Ben 0493 Fig.d with details of Ben 0188 Berlin

Fig.d. Benesch 493 (centre) wqitrh 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

Benesch 485
Rembrandt
Christ Among his Disciples, c.1648-52
F Paris, École Nationale Supérieure des Beaux-Arts

Ben 0495 Fig.b Louvre copy

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.a BandW ex Pubhist

Fig.a. Benesch 485 in black and white (from Benesch, 1955)

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

Fig.d. Detail from Benesch 495 with an inserted (paler) section from Benesch 188

Ben 0495 Fig.e with Star of Kings Ben 0736

Fig.e. Mosaic illustration: Benesch 495 with inserted sections from the documentary drawing Benesch 736 (centre left and upper right)

Ben 0495 Fig.f with Hamburg St Jerome Ben 886

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.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.

Ben 0496 ex Paris auction

Benesch 496
Carel Fabritius?
Landscape with Tobias and the Anmgel,, c.1650-54
NL Private Collection (John and Marine Fentener van Vlissingen)

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 ex Christies 27 Aug 2020

Benesch 497A
Carel Fabritius?
Elijah and the Widow of Zarephath, c.1645-50?
Private Collection

Benesch 497A DETAIL ex Christies 27 Aug 2020

Benesch 497A Detail, enlarged

Ben 0497A Fig.a

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 0498 ex Hamburg site

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 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.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)

Ben 0501 C. Fabritius Hamburg

Benesch 501
Carel Fabritius?
The Annunciation to the Shepherds, c.1645-50?
D Hamburg, Kunsthalle

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

Beneschy 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.b Bol ptg Hermitage

Fig.b. Ferdinand Bol, The Dismissal of Hagar, c.1650-53?
St Petersburg, State Hermitage Museum (formerly in Moscow)

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 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.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.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.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.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)

Ben 0506 Fig.b Richardson mark

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)

Ben 0508 ex Groningen Mus site

Benesch 508
Carel Fabritius?
Isaac Blessing Jacob, c.1645-50
NL Groningen, Groninger Museum

Ben 0509 pic ex pubhist

Benesch 509
Carel Fabritius?
Isaac Blessing Jacob, c.1645-50?
Formerly Vienna, Oskar Bondi

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 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

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 0511a pic ex Pubhist.com

Benesch 511a
Carel Fabritius?
The Incredulity of St Thomas, c.1645-50?
F Paris, art market (1990)

Ben 0511a Fig.a ex Rijksmuseum site RP-T-1889-A-20

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)

Ben 0511a Fig.b
Ben 0511a Fig.c related etching ex BM

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

Ben 0512a Fig.a comp with Ben 0188 details

Fig.a. Left, detail of Benesch 188
beside detail of Benesch 512a

Ben 0512a Fig.b

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)

Ben 0512a Fig.c with Ben 0886 Hamburg

Fig.c. Left, Benesch 886 compared with Benesch 0512a, right (shown not to scale but approximately in proportion).

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

Benesch 516, Detail, Enlarged

Ben 0516 DETAIL woman at window pic ex BM site

Benesch 516, Detail, Enlarged

Ben 0516 DETAIL Chairs to right pic ex BM site

Benesch 516, Detail, Enlarged

Ben 0516 Fig.a pic ex BM site

Fig.a. Details of Benesch 1161 (left) and Benesch 516 (right).

Ben 0516 Fig.b chairs with Ben 1161 pic ex pubhist

Fig.b. Details, enlarged, of Benesch 1161 (left) and Benesch 516 (right).

Ben 0516 Fig.c Fogg copy

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 verso pic ex Pubhist

Benesch 518 Verso
Rembrandt
Sketch of a Woman, c.1630-32
NL Rotterdam, Museum Boijmans Van Beuningen

Ben 0518 Recto ex Boijmans site

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.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 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).

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