Benesch 427-476 illustrations

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Benesch 427
Rembrandt*
Portrait of Saskia van Uylenburgh,
1633 (1634??)
D Berlin, Staatliche Museen Berlin, Kupferstichkabinett

Benesch 427 Details, enlarged

Benesch 428
Rembrandt
Seated Woman Holding a Letter 1631-32?
D Hamburg, Kunsthalle

Fig. a. Michiel van Miereveldt
Elizabeth Stuart (The Winter Queen), 1628, Sotheby’s,
London, 2015

Fig. b. Cornelis Janssens
Portrait of a Woman, 1630
GB Boughton House (The Duke of Buccleuch)

Fig. c. Anthonie van Dyck
Portrait of Queen Henrietta Maria, 1636-37. USA New York, Private Collection

Fig.d. Benesch 82 compared with Benesch 428 (right)

Fig.e. Mosaic illustration: left to right, details from Benesch 6 verso (e.6), Benesch 428 (e.1) with Benesch 46 below (e.4), Benesch 82 (e.2, marking out those areas which are particularly to be compared in the adjacent photographs: the shading and the trailing lines), another detail from Benesch 46 (e.3) and Benesch 90 (e.5)
Fig.e.1 (from Benesch 428) showing both diagonal shading and more sharply pointed trailing lines
Fig.e.2 (from Benesch 82) showing similar diagonal shading (upper box) and more sharply pointed trailing lines (lower box)
Figs.e.3 and 4 (from Benesch 46) showing comparable diagonal shading
Fig.e.5 (from Benesch 90) showing comparable diagonal shading

Fig.f. Benesch 428 Detail

Fig.g. Benesch 21 Detail

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

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

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

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

                             

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

Benesch 429 Recto
Rembrandt
Saskia Seated in an Armchair, three-quarter length 1635-36?
F Paris, Musée du Louvre

Benesch 429 Verso
Rembrandt
Three Studies of a Sleeve 1635-36?
F Paris, Musée du Louvre

Fig.a. Rembrandt
Self-Portrait with Saskia,
Detail, 1636. Etching,
Bartsch 19, NH 158,
2nd state. GB London,
British Museum (inv. 1868,0822.655)

Benesch 430
Rembrandt
Self-Portrait 1633?
F Marseille, Musée des Beaux-Arts

Fig.a. Rembrandt, Self-Portrait with a Cap
and Scarf, 1633. Etching, Bartsch 17;
NH 120, ii (illustrated in reverse). GB
London, British Museum (inv. F,4.18,
formerly 1973,U.839)

Benesch 430, Detail

Fig.b. Benesch
83a, Detail,
reversed to
show the original
direction of the
draughtsmanship

Benesch 430,
Detail

Fig.c. Benesch
21, Detail

Benesch 430 Detail, Enlarged

Fig. d Detail of Fig.a, Enlarged

Fig.a. Rembrandt, Portrait of Saskia van Uylenburgh, begun c.1633, completed 1642. Oil on panel, 99.5 x 78.8 cm.
D Kassel, Gemäldegalerie

Benesch 431
Ferdinand Bol
A Woman Standing in a Flat Cap 1640-42
CH Basel, Kunstmuseum

Fig. b. Rembrandt and studio, Portrait of Saskia Uylenburgh, c.1642 or later? Oil on canvas,
112 x 89 cm. B Antwerp, Koninklijk Museum
voor Schone Kunsten

Fig.c Attributed to Govert Flinck
Portrait of a Woman, Pen and brown
ink with brown wash. 139 x 116
A Vienna, Albertina

Benesch 432
Rembrandt
Self-Portrait 1633-35?
D Berlin, Staatliche Museen Berlin, Kupferstichkabinett

Ben 0432  Detail, enlarged

Fig.a. Benesch 54,
Detail, enlarged

Fig. b. Benesch 257, Enlarged

Fig.c. Not In Benesch,
Detail, enlarged, of version
of Benesch 124 (considerably
darkened by damage)

Benesch 432, Detail

Fig.d. Benesch A10, Detail
(see under ‘Not in Benesch’ tab)

Fig.e. Rembrandt, Self-Portrait with a Gold Chain, 1633. Oil on panel, 61 x 48.1 cm. F Paris, Musée du Louvre

Benesch 433
Rembrandt*
Portrait of a seated Man in an Armchair (Willem Jansz. van der Pluym?) 1640-41 (based on a prototype of 1634)
USA, Private Collection

Fig.a. Detail, Infra-Red photograph, revealing the earlier signature and date,
to the left of the visible one: “Rembrandt. ft. 164 […]” [the final digit unclear]

Fig.b. Left: Benesch 759, detail, with (right) Benesch 433, detail; note the similarity
of the horizontal lines in pen and dark brown ink

Benesch 434
Rembrandt
Self-Portrait 1635?, reworked c.1661
USA New York, The Metropolitan Museum of Art (Robert Lehmann Collection)

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

Fig.a. Benesch 292, Detail

Fig. b. Rembrandt, Self-Portrait, 1642
Oil on panel, 70.4 x 58.8 cm. GB British Royal Collection (The Royal Collections Trust)

Fig. c. Rembrandt, Self-Portrait as St Paul, 1661
Oil on canvas, 93.2 x 79.1 cm. NL Amsterdam, Rijksmuseum

Benesch 434, DETAIL, Actual size
The outlines drawn with the tip of the brush in dark grey may be compared with the broad lines – made not with the brush but with a reed pen – in Benesch 1066 (Fig.c). Compare also the detail of Fig.b below

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

Fig.d. Benesch 1066, Actual size

Benesch 0435
School of Rembrandt (Rembrandt??)
Portrait of a Young Man in a Flat Cap 1635
Private Collection (formerly Victor Koch)

Fig.a. Ferdinand Bol, Self-Portrait, 1646. Oil on canvas, 102 x 85.5 cm, NL, Dordrecht, Dordrechts Museum

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

Fig.a  Benesch 257

Fig.b. Benesch 300, DETAIL

Benesch 436
Rembrandt?
A Woman with her Arm in a Sling 1635?
NL Amsterdam, Rijksmuseum.

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

Fig.c Benesch 152, Detail

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

Benesch 437
Rembrandt
Self-Portrait Wearing a Cap 1634-36?
USA Washington, National Gallery of Art (Rosenwald Collection)

Benesch 437 Enlarged






Fig.a Rembrandt, Self-Portrait wearing a soft cap,
full face, head only, c.1634, etching (shown in
reverse and much enlarged), Bartsch 2; NH 133,
only state. GB London, British Museum
(inv. 1868,0822.654)

Benesch 437 Verso
Sketches of Heads (perhaps for a Deposition) 1634-36?

Benesch 0437 Verso, Enlarged

Fig.a. Ferdinand Bol, Portrait of a Man, 1647. Oil on canvas. 88.2 x 76.5 cm. D Schwerin, Staatliches Museum

Benesch 438
Ferdinand Bol*
Portrait of a Man 1647?
P Wroclaw, Ossolineum

Benesch 438, Enlarged.

Benesch 439
Rembrandt? Ferdinand Bol?
Portrait of a Bearded Man 1640-45?
D Copenhagen, Statens Museum for Kunst.

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

Fig. b. Benesch 763.
GB London, British Museum

Benesch 440
Rembrandt
Portrait Bust of a Boy 1638-39
S Stockholm, Nationalmuseum

Fig.a. Benesch 339, Detail (to
compare the use of the tip of
the brush) USA Cambridge
(Mass.), Harvard University Art
Museums (Maida and George
Abrams Collection)

Benesch 441
Rembrandt
Portrait of Titia van Uylenburgh 1639
S Stockholm, Nationalmuseum

Benesch 441 Detail, Enlarged

Fig.a Lucas van Leyden, An Old Man Drawing. Black chalk,
273 x 273. GB London, British Museum (inv. 1892,0804.16)

Benesch 442
Rembrandt*
A Study for the Portrait of a Young Woman (Maria Trip?) 1639?
GB London, British Museum

Fig.a Rembrandt, Portrait of a Young
Woman (Maria Trip?), 1639? Oil on poplar
panel, 107 x 82 cm. NL Amsterdam,
Rijksmuseum (on loan from the Stichting
Familie van Weede)

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

Benesch 443 [image somewhat reduced]
Rembrandt*
The Last Supper, after Leonardo da Vinci 1635?
USA New York, The Metropolitan Museum of Art, Robert Lehman Collection

Fig.a Attributed to Giovanni Antonio Birago, The Last Supper, after Leonardo da Vinci.
Engraving, c.1500, 213 x 440. USA New York, The Metropolitan Museum of Art (Purchase,
Dr. and Mrs. Goodwin M. Breinin Gift)

Benesch 443, Detail, enlarged

Benesch 443, Detail, enlarged

Benesch 443, Detail, Enlarged

Benesch 444
Rembrandt*
The Last Supper, after Soutman after Leonardo and Rubens 1635?
GB London, The British Museum

Fig.b. Pieter Soutman after Leonardo da Vinci and Rubens, The Last Supper, red and black chalk with brown wash. 202 x 515. GB Chatsworth, Devonshire Collection, The Trustees of the Chatsworth Settlement (inv. 677)

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

Benesch 445
Rembrandt*
The Last Supper, after Leonardo da Vinci 1635
D Berlin, Staatliche Museen Berlin, Kupferstichkabinett

Benesch 445 Detail, left, enlarged

Benesch 445 Detail, centre, enlarged

Benesch 445 Detail, right, enlarged

Benesch 446
Rembrandt*
Joseph Distributing Corn in Egypt (after Pieter Lastman) 1637?
A Vienna, Albertina

Fig. a. Pieter Lastman, Joseph Distributing Corn in Egypt, 1612. Oil on panel., 57.6 x 88.2 cm.
IRL Dublin, National Gallery of Ireland

Benesch 447
Rembrandt
The Dismissal of Hagar, after Pieter Lastman 1636-37?
A Vienna, Albertina

Detail of Fig.a below

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

Fig.b Benesch 12

Fig.c Rembrandt, The Dismissal of Hagar,
1637. Etching, 125 x 95. Bartsch 30;
NH 166. GB London, British Museum
(inv. 1847,0609.14)

Benesch 448
Rembrandt
Susannah and the Elders, after Pieter Lastman 1635?
D Berlin, Staatliche Museen Berlin, Kupferstichkabinett

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

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

Fig.c Rembrandt, Susannah and the Elders, begun c.1638, completed 1647.
Oil on panel, 76.6 x 92.8 cm. D Berlin, Staatliche Museen Berlin, Gemäldegalerie

Benesch 449 [image somewhat reduced]
Rembrandt
Saints Paul and Barnabus at Lystra, after Pieter Lastman 1635?
F Bayonne, Musée Bonnat-Helleu

Fig.a. Pieter Lastman, Saints Paul and Barnabas at Lystra, 1614. Oil on panel, 89.6 x 123.6 cm. Present whereabouts unknown

Benesch 450
Rembrandt
A Young Indian Woman, after an Indian miniature 1638-40?
S Stockholm, Nationalmuseum

Fig.a. Indian Mughal Miniature, A Woman with a Flower and Fly Whisk, c.1630. Gouache, 250 x 140. DK Copenhagen, The David Collection (inv. 23/1982).

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

Benesch 451
Rembrandt
Portrait of Baldassare Castiglione, after Raphael, 1639
A Austria, Albertina

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

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

Fig.c. Rembrandt, Self-Portrait Leaning on a Stone Sill, 1639. Etching, 205 x 164, Bartsch 21; NH 171, second state. GB London, British Museum (inv. F,4.28)

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

Fig.e. Titian, Portrait of a Man (‘Ludovico Ariosto’). Oil on canvas, 81.2 x 66.3 cm.
GB London, The National Gallery

Fig.f. Rembrandt, Self-Portrait with a
Patterned Cloak, 1631. Etching, 145 x 130. Bartsch 7; NH 90, seventh state. GB London, The British Museum (inv. 1848,0911.10)

Fig.g. Paulus Pontius, Self-Portrait of Rubens, after Rubens, 1630. 365 x 272. Hollstein 121, third state
GB London, The British Museum (inv. R,4.1)

Fig.h. Rubens, Portrait of Baldassare Castiglione, after Raphael, c.1625-28. Oil on panel, 90.2 × 67.5 cm. GB London, The Samuel Courtauld Trust, The Courtauld Gallery.

Benesch 0452
Rembrandt
Bust of a Roman Emperor 1648-50?
I Turin, Biblioteca Nazionale

Fig.a. Rembrandt, Aristotle Contemplating
the Bust of Homer, 1653. Oil on canvas,
143.5 x 136.5 cms. USA New York,
The Metropolitan Museum of Art

Fig.b Willem Drost? /Rembrandt??, Bust of Emperor Galba (Benesch 0770). D Berlin, Staatliche Museen Berlin, Kupferstichkabinett

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

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

Benesch 453
Govert Flinck and Rembrandt (at top right only)
A Camel with Two Figures 1633 (?)
Formerly D Bremen, Kunsthalle; currently in R Moscow, Pushkin Museum.

Fig.a. Benesch 780, Govert Flinck, A Horse, NL Amsterdam, Rijksmuseum.

Fig.b. Detail of a camel urinating

Benesch 453, Detail

Fig.c. Detail of Benesch 427

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

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

Figs f-g. Rembrandt, Detail of the Hundred Guilder Print (on the right, in reverse). Etching, Bartsch 74; NH 239, second state.
USA New York City, Metropolitan Museum of Art
(H. O. Havemeyer Collection, Bequest of Mrs. H. O. Havemeyer, 1929; inv 29.107.35)

Fig.h. Benesch 454, Detail

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

Benesch 454
Two Studies of the Head of a Camel, with a figure sketched in 1633?
Formerly D Bremen, Kunsthalle (currently R St Petersburg, State Hermitage Museum)

Benesch 454, Detail, Enlarged. Photo by and courtesy of Peter Schatborn

Benesch 455
Rembrandt
?A Chained Dog Curled Up in a Raised Kennel 1638-39
USA Boston, Museum of Fine Arts

Benesch 455. Detail, showing horizontal striations behind the dog

Benesch 455. Detail, showing damage below the kennel

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

Fig. b. Rembrandt, Sleeping Dog. Etching, 64 x 105,
Bartsch 158; NH 180, 1st state, Enlarged.
GB London, British Museum (inv.1842,0806.144)

Benesch 456
Rembrandt
Two Studies of a Bird of Paradise 1638-39?
F Paris, Musée du Louvre

Benesch 456 Enlarged

Benesch 457
Rembrandt*
An Asian Elephant (“Hansken”) 1637
A Vienna, Albertina

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

Detail of Fig.a

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

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

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

Benesch 458
Rembrandt
Three Studies of an Elephant, with a standing figure 1637
A Vienna, Albertina

Benesch 458 Detail, enlarged

Benesch 459
Rembrandt
An Asian Elephant 1641?
GB London, British Museum

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

Benesch 460
Rembrandt
The Head and Forequarters of an Elephant (off-set) 1637
USA New York City, Morgan Library

Benesch 460, Reversed and digitally enhanced

Benesch 461
Rembrandt
Two Dray Horses at a Halt 1627-29?
NL Amsterdam, Rijksmuseum, Rijksprentenkabinet

Fig.a. Not in Benesch, A Horse Lying Down, c.1626.
GB London, British Museum (see further under the “Not in Benesch” tab)

Benesch 462
Rembrandt
An Entrance to a Cottage, with Outside Stairs, a Well and a Trough 1638-39?
D Hamburg, Kunsthalle

Fig.a. Rembrandt, The Good Samaritan, 1633. Etching, 260 x 220 (Bartsch 90; NH 116, 1st state). GB London, British Museum
(inv. 1848,0911.46)

Fig.b. Rembrandt, Christ and the Woman of Samaria, 1634. Etching, 121 x 108 (Bartsch 71; NH 127, 1st state).
GB London, British Museum (inv. F,4.145)

Benesch 462a
Rembrandt
Two Cottages, with Two Trees and a Cart 1638-39?
USA New York, Metropolitan Museum of Art, Robert Lehman Collection

Benesch 462a, Detail, enlarged

Benesch 463
Rembrandt
A Sunlit Farmhouse with a Creeper, a Fence in the Foreground 1637?
H Budapest, Szépművészeti Múzeum

Benesch 463 Detail, enlarged

Benesch 464
Rembrandt
A Sunlit Farmhouse with a Creeper 1637?
H Budapest, Szépművészeti Múzeum

Benesch 465
Rembrandt
Landscape with Cattle Being Milked 1637?
D Berlin, Staatliche Museen Berlin, Kupferstichkabinett

Benesch 0465, Detail

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

Fig. b. Gerbrand van den Eeckhout, Detail of Benesch 0417. This again shows Van den Eeckhout’s characteristically busy pen style, without the exacting precision to be observed in Benesch 0465. GB London, Courtauld Institute of Art (Seilern Collection)

Benesch 465, Detail (repeated): closer links with the precise penwork are seen in the adjacent detail from Benesch 463 than with Figs a-b.

Fig.c. Benesch 463, Detail. H Budapest, Szépművészeti Múzeum

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









Fig.e Schelte à Bolswert after Rubens, Landscape with Cattle, Milkmaids and Huntsmen. Engraving, 321 x 450 (Hollstein 323, no.4).
NL Amsterdam, Rijksmuseum (inv. RP-P-H-H-1274)

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

Fig.f. Detail of Fig.e

Fig.g. Jan van Goyen, Landscape with Four Cows, c.1626-27. Black chalk, 122
x 232. The similarity of the pose of the cow here and in Figs.h-i with that in
Figs e-f shows that a similarity does not necessarily betoken a direct
derivation, as has been suggested for the similar animal in Benesch 465.
GB London, British Museum (inv. 1946,0713.1076.19)

Fig.h. Paulus Potter, The Cowherd. Etching, 181 x 199 (Hollstein 14). See the caption to Fig.g. GB London, British Museum (inv. S.568)

Fig.i. Paulus Potter, Detail from A Young Bull and Two Cows. Oil on panel, 53.9 x 77.7 cm (White, 1982, no.155)
See the caption to Fig.h. GB, Her Majesty The Queen (Royal Collections Trust, inv. RCIN 404585)

Benesch 466 Recto
Rembrandt
Two Cottages with Figures 1633
D Berlin, Staatliche Museen Berlin, Kupferstichkabinett

Benesch 466 Verso
Rembrandt
Panorama, with Man Standing on a Road near Sint Annaparochie 1633
D Berlin, Staatliche Museen Berlin, Kupferstichkabinett

Fig.a. Attributed to Jacob van Meurs, The District of Het Bildt, with Sint Annaparochie in the centre, 1664. Engraving, 284 x 375. NL Amsterdam, Rijksmuseum
(inv. RP-P-AO-2-21B-9)

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

Fig.c Rembrandt, The Ratcatcher, Detail, 1632. Etching (Bartsch 121; NH 111).
Compare, for example, the vertical parallel shading on the cottage with Benesch 466 recto and the trees beyond to those in the middle-distance of Benesch 466 verso. NL Amsterdam, Rijksmuseum
(inv. RP-P-1962-59)

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

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

Fig.f. Attributed to the Rembrandt School, Landscape with a Cow (illustrated in reverse), c.1633-50? Etching, 61 x 118 (Bartsch 206, 2nd state of 2, as Rembrandt). NL Amsterdam, Rijksmuseum
(inv. RP-P-OB-267)

Fig.f (bis). Fig.f, enlarged

Benesch 467
Rembrandt (perhaps only retouched by Rembrandt)
A Farmouse with a Figure at the Door 1647-50?
NL Amsterdam, Rijksmuseum

Fig.a. Illustration with Benesch 467 combined with a detail (outlined) of Benesch 819 from the same collection inserted to the right of centre. This comparison does not suggest that the two drawings are by different hands. Both NL Amsterdam, Rijksmuseum

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

Benesch 468
Rembrandt
Two Dutch Barges 1645?
A Vienna, Albertina

Benesch 468 Detail, enlarged

Benesch 469
Rembrandt
Two Horses Pulling a Waggon Loaded with People 1645? [1636?]
D Munich, Staatliche Graphische Sammlung

Benesch 470
Rembrandt
A Cottage and Trees by Water 1638-39?
D Weimar, Goethe-Nationalmuseum

Benesch 471
Rembrandt
Farmhouse Amid a Copse 1638-39?
A Vienna, Akademie der Bildenden Künste

Benesch 472
Rembrandt
Row of Trees in an Open Field 1638-39?
A Vienna, Akademie der Bildenden Künste

Benesch 472A
Rembrandt
Houses Among Trees 1640?
D Munich, Staatliche Graphische Sammlung

Benesch 472A Enlarged

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

Fig. b. Comparisons for the looped lines in the foliage and, in the case of 2, with the hatching. Details from Rembrandt’s etchings (2, 3, 4 and 6 from Rijksmuseum, Amsterdam) all illustrated reversed, thus as they were on Rembrandt’s etching plate as he drew them:
1. Detail of Benesch 472A;
2. Note hatching and looped foliage in Sheet of Studies with a Tree and the Upper Part of Rembrandt’s Head in a Velvet Cap, c.1640-44 (Bartsch 372; NH 319. Inv. RP-P-OB-778);
3. Looped foliage especially in the centre of this detail from The Raising of Lazarus: Small Plate, 1642 (Bartsch 72; NH 206. Inv.RP-P-OB-141);
4. The Three Trees , 1643 (Bartsch 212; NH 214. Inv. RP-P-OB-444);
5. Detail from Benesch 472A;
6. A similar configuration of small bunches of lines in The Large Lion Hunt, 1641 (Bartsch 114; NH 187. Inv. RP-P-1961-1052)

Fig.c. Detail of Benesch 802
F Chantilly, Musée Condé

Benesch 473
Ferdinand Bol?
A Farmhouse by a Canal with Trees and Figures 1638-40?
NL Haarlem, Teyler Museum

Fig.a. Rembrandt, Cottages and Farm Buildings with a Man Sketching, c.1643-47. Etching, 130 x 208, Bartsch 219; NH 201, only state. NL Amsterdam, Rijksmuseum (RP-P-OB-278) NB Illustrated in Reverse

Fig.b. Detail of Fig.a

Fig.c. Detail of Fig.a

Fig.d. Benesch 816

Benesch 474 [illustration reduced]
After Pieter Lastman; retouched by Rembrandt 1637-42? (and
conceivably originally drawn by him when in Lastman’s studio, c.1624)
The Angel Leaving Tobit and his Son
NL Amsterdam, Museum het Rembrandthuis

Fig.a. Pieter Lastman, The Angel Leaving Tobit and his Son, 1618. Oil on panel, 62 x 93 cm.
DK Copenhagen, Statens Museum for Kunst

Fig.b. Rembrandt, Detail of Ideal Landscape, 1642
(see under the Not in Benesch tab)

Benesch 474, Detail

Benesch 475
Rembrandt
The Finding of Moses 1647-52?
NL Amsterdam, Rijksmuseum

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

Fig.b. Left: Ferdinand Bol, The Three Maries at the Tomb, c.1644. Pen and brown ink with brown and grey wash, and red chalk over traces of black chalk, the figures drawn on separate pieces of paper pasted in, 233 x 317. D Munich, Staatliche Graphische Sammlung (inv. 1842), Compared with Benesch 475 on the right.

Fig.c. Left: Ferdinand Bol, The Angel Appearing to Hagar and Ishmael in the Desert, c.1645-50? Pen and brown ink touched with brown wash. R Moscow, Pushkin Museum (inv.4516; Sumowski 242x) Compared with Benesch 475 on the right.

Fig.d. Left: Ferdinand Bol, The Angel Appearing to Hagar and Ishmael in the Desert, c.1645-50? Pen and brown ink with brown wash, 170 x 189. D Munich, Staatliche Graphische Sammlung (Sumowski 256x) compared with Benesch 475 on the right

Fig.e. Rembrandt (Benesch 482), The Entombment, c.1640. Pen and brown ink, 156 x 201. NL Amsterdam, Rijksmuseum (inv. RP-T-1930-28) Compared with Benesch 475 on the right.

Fig.f. Rembrandt, (Benesch 736) The Star of the Kings, c.1645-47
Pen and brown ink with brown wash, 204 x 323.
GB London, British Museum (inv.1910,0212.189)

Fig.f (bis). Rembrandt, (Benesch 736) The Star of the Kings, c.1645-47, pen and brown ink with brown wash, 204 x 323. GB London, British Museum (inv.1910,0212.189), compared with Benesch 475 on the right.

Fig.g. Detail of Fig.f, compared with a detail of Benesch 475 on the right

Fig.h. Detail of Fig.f, compared with two details of Benesch 475 on the right (NB especially the heads of the women, one inserted here at lower right corner; also the calligraphic flourishes)

Fig.i. Rembrandt (Benesch 931) Christ Washing the Feet of his Disciples, c.1647-50.
Pen (reed pen) and brown ink, 157 x 221.
NL Amsterdam, Rijksmuseum (inv. RP-T-1889-A-2049)
Compared with Benesch 475 on the right.

Fig.j. Giovanni Francesco Penni, The Finding of Moses (after Raphael), c.1517-19. Pen brown ink and brown wash, squared in black chalk, 220 x 289. GB London, Victoria and Albert Museum (inv. Dyce.185)

Benesch 476
Ferdinand Bol, corrected by Rembrandt,
Joseph Interpreting the Prisoners’ Dreams 1639-40?
D Dresden, Staatliche Museen Dresden, Kupferstich-Kabinett

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

Fig.b. Lucas van Leyden, Joseph Interpreting the Dreams of the Butler and Baker, 1512. Engraving, 127 x 165. Bartsch/New Hollstein 22. GB London, British Museum (inv. 1849,1027.13)