Benesch 1-119 illustrations

Drawings still considered to be by Rembrandt are aligned to the left

Comparative illustrations are ranged down the centre

Drawings no longer considered to be by Rembrandt are aligned to the right

NB The illustrations are almost all taken from readily available online resources. They must not be used for commercial purposes.
Please see the disclaimer on the ‘Home’ page

Benesch 001A (Add.1)
Anonymous
Roman Women Before Coriolanus 1625-35
F Paris, Musée du Louvre

Benesch 001B (Add.2)
Anonymous
The Meeting of David and Abigail 1625-35
Amsterdam, Rijksmuseum

Benesch 1 Gerbrand van den Eeckhout
The Triumph of Mordechai 1664?
formerly D Bremen, Kunsthalle

Benesch 2
Govert Flinck?
Oriental Ruler on Horseback (The Triumph of Mordechai?) 1640??
USA Chapel Hill, Ackland Art Museum, The University of North Carolina at Chapel Hill (The Peck Collection) 2017.1.64

Benesch 3
Rembrandt
Study of an Oriental Archer 1627?
D Dresden, Kupferstich-Kabinett

Benesch 4
Rembrandt
Study of an Oriental Archer 1627?
D Munich, Staatliche Graphische Sammlung

Benesch 5
Rembrandt
Man Pulling a Net (?) behind him, 1627?
D Munich, Staatliche Graphische Sammlung

Benesch 6 Recto
The Raising of the Cross 1628-29
NL Rotterdam, Museum Boijmans van Beuningen

Benesch 6 Verso
Two Figures Seated 1628-29
Rotterdam, Museum Boijmans van Beuningen

Comparative illustration for Benesch 6 recto
Rembrandt: The Raising of the Cross c.1633
D Munich, Alte Pinakothek

Benesch 7
Rembrandt*
Old Man with a Book, seated (study for St Peter), 1628?
Berlin, Kupferstichkabinett

Comparative illustration to Benesch 7
Rembrandt: Two Old Men Disputing, c.1628
Oil on panel, 72.3 x 59.5 cm
National Gallery of Victoria, Melbourne

Benesch 8 Recto
Rembrandt*
Judas Returning the Thirty Pieces of Silver
c.1628-29
Private Collection

Comparative illustration to Benesch 8
Judas Returning the Thirty Pieces of Silver, 1629
Oil on panel, 79 x 102.3 cm.
Private collection

Benesch 8 Verso
Rembrandt*
Kneeling Man and Standing Figure (Judas and the
High Priest) 1628-29?
Private Collection

Benesch 9 Recto [was called Verso by Benesch; for the Verso, which seems to be earlier, see below]
Rembrandt*
Study of the Draped Legs of a Seated Woman c.1632
Amsterdam, Rijksmuseum

Fig.a. Rembrandt, Detail from Samson and Delilah, c.1628-1630. Oil on panel 613 x 501.
D Berlin, Gemäldegalerie


Fig.b. Rembrandt, Detail from The Rape of Europa, 1632. Oil on panel 62.2 x 77 cm. USA Los Angeles, J. Paul Getty Museum

Benesch 9 Verso [was called Recto by Benesch]
Rembrandt*
Three Priests or Doctors at a Table below a Curtain
1628-29?
NL Amsterdam, Rijksmuseum

Fig.c. Judas Returning the Thirty Pieces of Silver, 1629
Oil on panel, 79 x 102.3 cm.
Private collection

Benesch 10
Rembrandt
Oriental Leaning on a Stick, turned to left, c.1628-29
Berlin, Kupferstichkabinett

Benesch 11
School of Rembrandt [by or after Govert Flinck?]
The Supper at Emmaus, 1636?
Cambridge (Mass.), Fogg Art Museum

Benesch 12
Rembrandt*
Standing Man with Arms Extended, 1629?
Dresden, Kupferstich-Kabinett

Comparative illustration to Benesch 12
Rembrandt, Sts Peter and John at the Gate of the Temple, Etching, 223 x 169. GB London, British Museum (inv. 1848,0911.50)

Benesch 13
Rembrandt*
The Baptism of the Eunuch by St Philip, 1641?
Munich, Staatliche Graphische Sammlung

Benesch 14
Rembrandt
Man in a High Cap (walking to left) 1629?
Paris, Musée du Louvre

Benesch 15
Rembrandt*
St Paul 1628?
Paris, Musée du Louvre

0016 Jan Lievens c.1630
Bust of an Old Man
Darmstadt, Hessisches Landesmuseum

Benesch 17
Rembrandt*
The Entombment of Christ (over the Raising of Lazarus) 1635?
London British Museum

Comparative illustration to Benesch 17
Rembrandt, The Raising of Lazarus c.1630-31
Oil on panel, 962 x 815mm
Los Angeles County Museum of Art

Comparative illustration to Benesch 17
Jan Lievens, The Raising of Lazarus, etching 360 x 312 (Hollstein 7,i). London, British Museum (inv. D,8.69)

Comparative illustration to Benesch 17
Jacob Louijs after Jan Lievens, The Raising of Lazarus, etching, 410 x 315 (Hollstein 1,i) c.1631-34. London, British Museum (inv. S.28)

Benesch 18
Rembrandt*
Drapery Study for St Jerome in Prayer 1630?
Paris, Musée du Louvre

COMPARATIVE illustration to Benesch 18
Jan van Vliet after Rembrandt, St Jerome in prayer, etching, 1631
(Hollstiein, 13, i)
GB London, British Museum (inv. F,6.149)

Benesch 19
Rembrandt
St Jerome Resting his Hands on a Skull 1631-33
Formerly Bremen, Kunsthalle

Benesch 20
Rembrandt*
Bearded Old Man Seated in an Armchair, full-length, to left (study for Jacob) 1631
New York, Private Collection

Benesch 20, Enlarged

Benesch 21 Recto
Rembrandt*
Diana at the Bath 1630-31?
London, British Museum

COMPARATIVE illustration for Benesch 21
Rembrandt, Diana at the Bath, etching, c.1631 (Bartsch 201)
GB London, British Museum (inv. 1829,0415.17)

Benesch 21 verso c.1630-31
London, British Museum

Benesch 21a
Jan Lievens
Soldier on Horseback Blowing a Trumpet 1633?
Amsterdam, Rijksmuseum (image slightly reduced)

Benesch 22
Beggar Couple with a Dog 1629?
Private Collection

Benesch 22 Verso

Ben 0023a
Beggar Standing and Leaning on a Stick, facing left,
New York, Private Collection (Clement C. Moore)

0023 Not Rembrandt?? c.1630
Blind Man Leaning on a Stick, with a dog
Private Collection

Benesch 24
Rembrandt
Beggar Woman Leaning on a Stick 1631-32?
Washington, National Gallery of Art

Benesch 25
Rembrandt
Oriental Standing, in profile to left 1631-32?
Paris, École nationale supérieure des beaux-arts

Benesch 26
Govert Flinck??
Bust of a Man in a Cap, turned to right 1633?
Dresden, Kupferstichkabinett

Benesch 27
Rembrandt
Young Man Leaning on a Stick, full-length
and turned to left, c.1631
USA Los Angeles, J. Paul Getty Museum

Benesch 28
Rembrandt
Sketch of a Man in a Turban
half-length, turned to left 1628-29
GB London, British Museum

Benesch 29
Rembrandt
Seated Man in a High Cap 1635-40
NL Rotterdam, Museum
Boijmans van Beuningen

Benesch 29, Enlarged

Benesch 30 Recto
Rembrandt
Standing Beggar Leaning on a Stick, turned to right 1629?
NL Amsterdam, Rijksmuseum

Benesch 30 Verso
Rembrandt
Half-length Sketch of a Man Seen from Behind 1629?
NL Amsterdam, Rijksmuseum

Benesch 31
Rembrandt
Standing Beggar with a Leather Pouch 1629?
Amsterdam, Rijksmuseum

Benesch 32
Rembrandt
Old Beggar in a Long Cloak and High Cap, turned to left 1629?
Amsterdam, Rijksmuseum

Benesch 33
Rembrandt
Standing Woman in a Long Veil 1629?
Holding a Censer, full-length,
Munich, Staatliche Graphische Sammlung

Benesch 34
Rembrandt
Standing Oriental in a Long Robe
and Mantle 1629-30?
Düsseldorf, Kunstmuseum

Benesch

Benesch 35
Rembrandt
Sketch of a Man Leaning over a Table
London, British Museum

Bnesch 36 Recto
Rembrandt
Standing Man in a Fur Cap,
full-length, in profil perdu
to left 1635?
NL Rotterdam, Museum Boijmans van Beuningen

Benesch 36 Verso
Head of a Man in a Fur Cap

Benesch 36 Verso, detail, enlarged

Benesch 36A
Rembrandt
Bust of a Bearded Old Man,
turned to left 1629?
Private Collection

Benesch 37
Rembrandt*
Seated Old Man, three-quarter length, turned to right, 1630
USA Washington, National Gallery of Art

Benesch 38
Rembrandt
Seated Old Man, his hands together 1630?
Stockholm, Nationalmuseum

Benesch 39
Rembrandt
Bust of a Bearded Old Man 1630?
Paris, Musée du Louvre

Benesch 37, Enlarged

Benesch 38, Enlarged

Benesch 40
Rembrandt*
Seated Old Man, 1631
Haarlem, Teyler Museum

Benesch 40, Detail, enlarged

Benesch 41
Rembrandt*
Seated Old Man with Clasped Hands, full-length,
turned to left 1630-31?
D Berlin, SMPK Kupferstichkabinett

Benesch 41, Enlarged

Benesch 42 Recto
Rembrandt
Bearded Old Man, in profile to left 1629-30?
Washington, National Gallery of Art

Comparative illustration for Benesch 42:
Jan Lievens, Head of a Young Man
London, British Museum

Benesch 42 Recto, Detail, Enlarged
USA Washington, National Gallery of Art

Comparative illustration for Benesch 0042: Lievens – detail of the above, Enlarged
GB London, British Museum

Benesch 43
Rembrandt
Beggar in a High Cap, full-length,
walking to left 1629-30?
D Berlin, SMPK Kupferstichkabinett

Benesch 42 Verso
Rembrandt
Drapery study: a sleeve? 1629-30?
USA Washington, National Gallery of Art

Benesch 44
Rembrandt
An Elderly Polish Man, Standing, c.1629-30
D Mettingen, Draiflessen Collection (formerly Hilversum, Liberna Collection)

Benesch 45
Rembrandt
A Polish Officer, full-length 1629-30?
R St Petersburg, Hermitage Museum

Benesch 46
Rembrandt
Scholar at his Writing Table 1628-29?
F Paris, Musée du Louvre

Benesch 47
Gerbrand van den Eeckhout?
Sheet of Studies with Different Figures 1650?
H Budapest, Szépművészeti Múzeum

Benesch 49
Rembrandt
Seated Old Man in a High Cap, full-length,
profile to right 1629?
F Paris, Musée du Louvre (Edmond de Rothschild collection)

Benesch 50
Rembrandt
Old Man with Flat Cap and
Long Beard, bust, turned to left 1629?
F Paris, Musée du Louvre
(Edmond de Rothschild Collection)

Benesch 48
Govert Flinck??
An Old Man with a Book, and the Head of a Man
Wearing a Turban 1635-40?
Private Collection

Benesch 51
Jan Lievens?
A Foot Operation (the Sense of Touch) 1632?
I Florence, Uffizi

Benesch 52
Rembrandt
The Reading 1629?
F Bayonne, Musée Bonnat

Comparative illustration to Benesch 52
Detail of Christ before Pilate, etching,
retouched by Rembrandt
GB London, British Museum

Benesch 53
Rembrandt
Self-Portrait, with mouth open 1628-29?
GB London, British Museum

Benesch 54
Self-Portrait 1628-29?
NL Amsterdam, Rijksmuseum

Benesch 55
Rembrandt
An Old Woman, bust, full face
(‘Rembrandt’s Mother’) 1628-29?
Ulm, Ulmer Museum

Benesch 55, Enlarged

Benesch 56 Recto
Rembrandt’s Father, Harmen Gerritsz. van Rijn 1628?
Oxford, Ashmolean Museum

Benesch 56 verso (detail)
Rembrandt
Sketch of a Seated Man, full-length, leaning forward 1628?

Benesch 57
Rembrandt
Self-Portrait in a Soft Hat (the head etched)
1633-34 [the etched head 1631]
GB London, British Museum

Comparative illustration for Benesch 57:
An impression of the etching, Bartsch 7,
4th state, without any additions in chalk.
GB London, British Museum

Comparative illustration for Benesch 57:
Rembrandt, Self-Portrait, 1632
GB Glasgow, Glasgow Museums,
The Burrell Collection

Comparative illustration for Benesch 57:
Rembrandt, Self-Portrait in a Soft Hat and Patterned Cloak, etching, Bartsch 7, touched in black chalk.
F Paris, Bibliothèque Nationale (Not in Benesch)

Comparative illustration for Benesch 57: Benesch 57 in reverse

Comparative illustration for Benesch 57: Rembrandt, Self-Portrait, 1632. Private Collection

Comparative illustration for
Benesch 57: Rembrandt,
Self-Portrait in a Soft Hat, 1631.
Etching, 4th state (according to White and Boon), cut down and retouched in black chalk. GB London, British Museum (inv.1848,0911.9)

Comparative illustration for Benesch 57:
Rembrandt, Self-Portrait in a Soft Hat and Patterned Cloak, 1631. Etching, 7th state (according to White and Boon)

Benesch 57a
Rembrandt
Entrance to a Town, with two figures under an
arched gateway 1628-29?
GB Cambridge, Fitzwilliam Museum

Benesch 58
Rembrandt
Kneeling Man 1628-29?
USA Boston, George and Maida Abrams
Collection

Benesch 59 School of Rembrandt – Govert Flinck or Gerbrand van den Eeckhout??
St Jerome Kneeling in Prayer 1635-40??
NL Amsterdam, Rijkmuseum

Benesch 60
Govert Flinck??
Christ Carried to the Tomb 1638-40?
D Berlin, SMPK Kupferstichkabinett

Benesch 61
Govert Flinck?
The Raising of the Daughter of Jairus 1638-40?
NL (Formerly) Rotterdam, Museum Boijmans van Beuningen (Koenigs collection)

Benesch 62
Govert Flinck?
The Raising of the Daughter of Jairus 1638-40?
Private collection

Benesch 63
Govert Flinck?
The Lamentation at the Foot of the Cross 1638-40?
D Dresden, Kupferstich-Kabinett

Benesch 63a
Govert Flinck??
Christ being Nailed to the Cross 1638-40??
Private Collection? (Formerly C. R. Rudolf)

Benesch 64
Gerbrand van den Eeckhout?
The Entombment 1640-45??
Private Collection

Benesch 65 recto
Govert Flinck?
The Temptation of Christ 1638-40?
Frankfurt, Städelsches Kunstinstitut

Benesch 65 Verso
Govert Flinck?
St Jerome in Prayer 1638-40?
D Frankfurt, Städelsches Kunstinstitut

Benesch 66
Govert Flinck?
The Temptation of Christ 1638-40?
USA Washington, National Gallery of Art

Benesch 67
Govert Flinck?
St Jerome Kneeling 1638-40?
P Wroclaw, Ossolineum

Benesch 68
Govert Flinck?
Christ Conversing with Mary 1638-40?
Private Collection?

Benesch 68A
Rembrandt
Christ and his Disciples on the Road to Emmaus 1639?
GB Edinburgh, National Gallery of Scotland

Benesch 69
Govert Flinck? after Rembrandt?
Study of Christ, near full-length, gesturing 1639?
D Stuttgart, Staatsgalerie

Benesch 70
Govert Flinck?
Christ Walking on the Waves 1638?
GB London, British Museum

Benesch 71
Gerbrand van den Eeckhout
Sts Peter and John Healing the Lame Man at the Temple Gate
1638-40?
D Ulm, Ulmer Museum

Benesch 72
Rembrandt??
The Circumcision
1642-46?
D Dresden, Kupferstich-
Kabinett

Benesch 73
Gerbrand van den Eeckhout ?
Joseph Sold by his Brethren 1640?
USA New York, Morgan Library

Benesch 74
Gerbrand van den Eeckhout?
Daniel Interpreting the Dreams of Nebuchadnezzar (?) 1640?
USA New York, Private Collection (Clement C. Moore)

Benesch 74a
Carel Fabritius?
David Taking Leave of Jonathan 1645-50?
GB Birmingham, Barber Institute of Fine Arts

Benesch 75
Gerbrand van den Eeckhout??
Eli and Elkanah? 1638-40?
USA Glens Falls, New York: The Hyde Collection

Benesch 76
Gerbrand van den Eeckhout?
The Centurion of Capernaum Kneeling before Christ 1640?
NL Rotterdam Museum Boijmans van Beuningen

Benesch 77
Gerbrand van den Eeckhout?
The Centurion of Capernaum Kneeling before Christ 1635-40?
F Paris, Institut Néerlandais, Collection F. Lugt

Benesch 78
Govert Flinck?
The Angel Appearing to Manoah and his Wife 1638-40?
NL Rotterdam, Museum Boijmans van Beuningen

Benesch 79
Govert Flinck?
Christ Conversing with Mary and Martha 1638-40?
NL Haarlem, Teyler Museum

Benesch 80
Govert Flinck?
Joseph Interpreting the Prisoners’ Dreams 1638-40?
USA Chicago, Chicago Art Institute

Fig.a. Left: Detail of 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 a detail of Benesch
80 (right). The description of the background
architecture is especially similar

Benesch 81
Govert Flinck?
The Departure of the Prodigal Son 1640-45?
D Dresden, Kupferstich-Kabinett

Benesch 82
Rembrandt*
A Study for Lot Drunk 1630-31 (but signed in 1633)
D Frankfurt, Staedelsches Kunstinstitut

Comparative illustration to Benesch 82
Johannes van Vliet after Rembrandt
Lot and his Daughters, 1631 (Hollstein 1, 1st state, illustrated in reverse).
GB London, British Museum (inv. S.157)

Comparative illustration for Benesch 83
Rembrandt: The Raising of the Cross c.1633. D Munich, Alte Pinakothek

Benesch 83
Govert Flinck?
The Raising of the Cross 1635-40?
A Vienna, Albertina

Benesch 83a Recto
Rembrandt*
The Raising of Lazarus, the larger plate: touched proof with a Sketch of a Woman Shrinking Back 1630-31?
GB London, British Museum

Benesch 83a recto and verso (reduced)
Rembrandt
The Raising of Lazarus, the larger plate: touched proof with a Sketch of a Woman Shrinking Back 1630-31?
with details (below left to right) showing (a) Rembrandt’s partly erased sketch for an adjustment to the figure at the lower right. As Rembrandt drew, his lines were picked up (in reverse) on the verso of the sheet (b), illustrated in reverse, and next to this (c) the verso as seen (and as published in Benesch’s catalogue); (d) the subsequently altered figure in the etching.
GB London, British Museum


a. Detail of recto


b. Detail of verso illustrated in reverse with offset of the retouches by Rembrandt in graphite on the recto


c. Detail of verso (as b.) as published by Benesch and thus in reverse to the recto


d. Detail of the 3rd state, with the changed figure

Comparative illustration to
Benesch 83a. Rembrandt,The Raising of Lazarus, c.1630-31. Oil on panel, 962 x 815mm.
USA Los Angeles County Museum
of Art

Benesch 84
Govert Flinck?
Two Figures, one kneeling 1640?
D Frankfurt, Städel Museum

Benesch 85
Rembrandt
Ahasuerus on his Throne 1638-39?
NL Amsterdam Rijkmuseum, Rijksprentenkabinet

Comparative illustration for Benesch 85
This older illustration from Benesch, 1954,
reveals that the drawing continues to suffer
from the destructive effects of iron-gall ink.
The details here are significantly clearer, though
may have been enhanced in the photograph
(see the ‘hook’ near the top right corner)

Benesch 86
Gerbrand van den Eeckhout
Manius Curius Dentatus Refusing the Gifts of the Samnites 1640?
P Warsaw, University Library

Benesch 87
Three Studies of the Bust of an Old Man 1638-39?
F Paris, Fondation Custodia, Frits Lugt Collection

Benesch 88 Gerbrand van den Eeckhout?
Group of Three Figures Conferring 1638-40?
USA Private Collection

Benesch 89
Christ Among his Disciples 1631 (and 1634)?
NL Haarlem, Teyler Museum (image somewhat reduced)

Benesch 90
The Sacrifice of Isaac 1634-35
GB London, British Museum

Comparative illustration for Benesch 0090
Rembrandt, The Sacrifice of Isaac, 1635
R St Petersburg, Hermitage Museum

Comparative illustration for Benesch 0090
Rembrandt and studio, The Sacrifice of Isaac, 1636
D Munich, Alte Pinakothek

Comparative illustration for Benesch 0090
Rembrandt, The Sacrifice of Isaac, 1655
Etching (Bartsch 35)
GB London, British Museum

Benech 90 Verso
A Rough Composition Study
GB London, British Museum

Benesch 0090 Verso, detail
Enlarged

Benesch 91
Anonymous (“Munich forger”?)
Two Figures Seated at a Table 1640s or later, perhaps 18th century
D Munich, Staatliche Graphische Sammlung

Benesch 92
Rembrandt*
The Rape of Ganymede 1634-35?
D Dresden, Kupferstich-Kabinett

Comparative illustration to Benesch 92
Rembrandt
The Rape of Ganymede, 1635, 177 x 129 cm.
D Dresden, Gemäldegalerie alte Meister

Benesch 93
Rembrandt
The Taking of Samson 1636-38?
D Dresden, Kupferstich-Kabinett

Comparative illustration to Benesch 93
Anthonie Van Dyck: Samson and
Delilah, c.1618-20. 1514 x 2305mm
GB London, Dulwich Picture Gallery

Benesch 93, Enlarged

Benesch 94
Anonymous Rembrandt School
Milo of Croton 1640-45?
Private Collection (Harris?)

Benesch 95
Rembrandt
Jacob Lamenting at the Sight of Joseph’s
Blood-Stained Cloak 1637-39
D Berlin, Staatliche Museen Berlin, Kupferstichkabinett

Benesch 94a
Govert Flinck??
St Peter, half-length
1635-40
USA, New York, Morgan
Library (Thaw Collection)

Benesch 95, Enlarged

Benesch 95a
Etching by Joseph Schmidt (1750-1816) after a now lost drawing
Gerbrand van den Eeckhout??
The Raising of Jairus’ Daughter (?) c.1638-40??
GB London, British Museum (1895,0915.1431)

Benesch 96
Rembrandt.
A Woman’s Execution 1640?
F Paris, Fondation Custodia, Frits Lugt Collection

0096 Verso
Rembrandt
Sketch of the Head of a Woman, for a woman’s execution 1640?
F Paris, Fondation Custodia, Frits Lugt Collection

Benesch 97
Rembrandt
Christ Falling under the Cross on the Way to Calvary 1635-36?
D Berlin, Kupferstichkabinett

Benesch 97, Enlarged

Comparative illustration to Benesch 97:
Martin Schongauer, The Road to Calvary
Engraving 291 x 432

Benesch 99
Rembrandt
The Annunciation 1635?
F Besançon, Musée des Beaux-Arts

Benesch 98
By or after Govert Flinck?
Soldier and Rearing Horse 1635-40??
R Moscow, Pushkin Museum
of Fine Arts

Benesch 100 Recto
Rembrandt
The Lamentation of Christ at the Foot of the Cross 1635?
D Berlin, Staatliche Museen Berlin, Kupferstichkabinett

Benesch 100 Verso
Rembrandt
Soldiers and Women (the Prodigal Son?) 1635?
D Berlin, Staatliche Museen Berlin, Kupferstichkabinett

Comparative illustration to Benesch 100 Verso
Rembrandt, The Prodigal Son Squandering his Inheritance
(Self-Portrait with Saskia) 1636. Oil on canvas 161 x 131cm. D Dresden, Gemäldegalerie

Benesch 101
Rembrandt?
The Beheading of St John the Baptist 1630?
F Paris, Musée du Louvre

Comparative illustration to Benesch
101, Jan van Vliet after Rembrandt,
The Beheading of St John the Baptist.
Etching, 1st state, c.1631-33, reproduced
in reverse, 158 x 124.
GB London, British Museum (F,7.6)

Benesch 102
Ferdinand Bol?
A High Priest 1640-45?
P Wroclaw, Ossolineum

Comparative illustration to Benesch 103: Jan van Vliet after Rembrandt: Detail of
Christ before Pilate, Bartsch 77,iv
GB London, British Museum
(inv. F,4.183).

Benesch 103
Ferdinand Bol
Study of a High Priest
1640-45?
D Munich, Staatliche Graphische Sammlung

Benesch 104 and Benesch 0127B  
Ferdinand Bol??/Rembrandt???
Christ Comforted by the Angel on the Mount of Olives
1635-40?
D Munich, Staatliche Graphische Sammlung

Benesch 0104 Verso
Ferdinand Bol??/Rembrandt???
Christ Kneeling in Prayer on the Mount of Olives? 1635-40?
D Munich, Staatliche Graphische Sammlung

Benesch 105
Ferdinand Bol??
Sketch for Christ on the Mount
of Olives 1635-40?
D Munich, Staatliche Graphische
Sammlung

Benesch 106
Ferdinand Bol??/Rembrandt???
Man in Fetters 1635-40?
D Munich, Staatliche Graphische Sammlung

Benesch 107
Ferdinand Bol??
Head of a Bearded Man
1635-40?
D Munich, Staatliche
Graphische Sammlung

Benesch 108  
Gerbrand van den Eeckhout?
The Crucifixion (Calvary) 1640?
D Berlin, Staatliche Museen Berlin, Kupferstichkabinett

Benesch 108, Enlarged

Benesch 109  
Ferdinand Bol??
Joseph Interpreting the Prisoners’ Dreams 1640?
USA Private Collection

Benesch 110  
Rembrandt??
Joseph Interpreting the Prisoners’
Dreams 1635?
Private Collection

Benesch 111
Govert Flinck?
Sts Peter and John Healing the Lame Man 1638-40?
D Darmstadt, Hessisches Landesmuseum

Benesch 112  
Govert Flinck?
The Prophet Elijah and the
Widow of Zerephath 1638-40?
Paris, Musée du Louvre

COMPARATIVE illustration for Benesch 0113
Barthel Beham (1504-40) Virgin and Child
Engraving
GB London, British Museum

Benesch 113 Recto
Gerbrand van den Eeckhout?
The Virgin and Child Seated by a Window 1638?
GB London, British Museum

Benesch 113 Verso  
Gerbrand van den Eeckhout?
An Interior Winding Staircase 1638?
GB London, British Museum

Benesch 114
Ferdinand Bol?? Perhaps retouched by Rembrandt???
The Holy Family Seated by a Window 1635-38?
USA New York, Art Market (?)

Benesch 115
Rembrandt
Study for an Adoration of the Magi 1638-42
NL Amsterdam, Rijksmuseum

COMPARATIVE illustration to Benesch 115. Lucas Vorsterman after Rubens
The Adoration of the Magi, engraving, Hollstein 9, 1621 (Detail; illustrated in reverse) GB Glasgow, Hunterian Art Gallery

COMPARATIVE Illustration to Benesch 115
School of Rembrandt, The Adoration of the Magi
Pen and brown ink and brown and grey wash
over traces of black chalk on four pieces of
paper, joined and laid down. 174 x 150
Sold Amsterdam, Sotheby’s, 2 November 2004, lot 80

Benesch 116
Govert Flinck? after Rembrandt?
Diana with two Greyhounds
CH Geneva, Private Collection (Krugier)

Benesch 117
Govert Flinck?
The Death of Lucretia 1638-40?
D Private Collection

Benesch 118  
Nicolaes Maes?
Pyramus and Thisbe 1647-50?
D Dresden, Kupferstich-Kabinett (formerly)

Benesch 119
Govert Flinck?
A Young Woman Kneeling in Prayer (Hagar?)
1640?
I Milan, Rasini Collection