Benesch 477- 540 illustrations

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

Benesch 477 Verso

Benesch 477 Enlarged

Benesch 477 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.).

Benesch 477 Fig.b.
Detail of Fig.a, reversed to show the image
as it would have appeared on Rembrandt’s
copper plate.

Benesch 477 Fig.c.
Frans Crabbe, The Beheading of St John the Baptist, c.1520? Engraving (Hollstein 26)
NL Amsterdam, Rijksmuseum (inv. RP-P-OB-2143)

Benesch 478
Ferdinand Bol? Retouched by Rembrandt
The Beheading of Prisoners (The Anabaptist Martyrs?) 1640?
USA New York, The Metropolitan Museum of Art, Robert Lehman collection

Benesch 478, Enlarged

Benesch 478 Fig.a. Details from Benesch 477


Benesch 482 verso


Benesch 479


Benesch 478


Benesch 480

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

Benesch 478 Fig.c.
Details of Benesch 482 recto (left) and Benesch 478; the latter may have been retouched by Rembrandt (the bolder lines in the legs and perhaps elsewhere)

Benesch 478 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 478 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

Benesch 478 Fig.f. Right: with 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.

Benesch 478 Fig.g. Details (left to right) of Benesch 0482v, Benesch 482r, Benesch 479, Benesch 478 and Benesch 480.
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, the style of his work resembling Benesch 482 recto (part of which is shown here second from the left)

Benesch 478 Fig.h. School of Rembrandt, A Beheading, c.1640? Pen and brown ink.
D Munich, Staatliche Graphische Sammlung

Benesch 478 Fig.i. School of Rembrandt,
A Beheading, c.1650? Pen and
brown ink with white bodycolour.
I Turin, Biblioteca Reale

Benesch 478 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).

Benesch 479
Rembrandt
Three Scenes of a Beheading (Anabaptist Martyrs?) 1640?
GB London, British Museum

Benesch 479, Enlarged

Benesch 480
Ferdinand Bol (retouched by Rembrandt)
The Beheading of St John the Baptist 1640? (or later?)
Private Collection

Benesch 480, Detail, Enlarged. Rembrandt’s corrections, in darker
ink, are clearest in the executioner: in the outline of the back of
the head and in his neck, around the waist, refining the line of
the right buttock, and in the back of the nearer thigh. Further
details are illustrated under Benesch 478, Figs.a, d and g.

Benesch 480 Verso [image slightly reduced]

Benesch 480a
Carel Fabritius?
The Beheading of St John the Baptist
1644-46?
USA Worcester, Worcester Art Museum

Benesch 480a, Detail, Enlarged.

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

Benesch 481, Enlarged

Benesch 481 Fig.a. Details from (left to right): Benesch 893 (by Drost), Benesch 481 and Benesch
885 (Rembrandt). Drost’s handling is more mechanical, with a more metallic end-result.
Benesch 481 in the centre has the greater variety and subtlety of touch seen, for example, in
Benesch 885 on the right.

Benesch 482 Recto
Rembrandt (*)
Christ Carried to the Tomb (over a sketch of an executioner) with a Weeping Woman 1640?
NL Amsterdam, Rijksmuseum
Details are illustrated under Benesch 478, Figs. c and g.

Benesch 482 Fig.a. Studio of Peter Paul Rubens, Christ Carried
to the Tomb, oil on panel, 405 x 545. London art market (2007)

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

Benesch 482 Verso, Detail, Enlarged



Benesch 483
School of Rembrandt/Rembrandt??
Christ Carried to the Tomb 1650-55?
D Dresden, Staatliche Kunstsammlungen, Kupferstich-Kabinett

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

Benesch 483 Fig.b. Benesch 76 compared with Benesch 483

Benesch 484
School of Rembrandt (retouched by a later hand)
Christ Carried to the Tomb
1650-55?
NL Rotterdam, Museum Boijmans Van Beuningen

Benesch 485
Rembrandt
Christ Carried to the Tomb 1642-47?
D Berlin, Staatliche Museen Berlin, Kupferstichkabinett

Benesch 485 Fig.a. Detail of Benesch 519 (left) compared with a detail of Benesch 485.

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

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.

Benesch 485 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).

Benesch 485 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.

Benesch 485 Fig.e. The Presentation in the Temple, GB Edinburgh, National Gallery of Scotland (left; pen and brown ink on
buff paper. 110 x 143; inv. D.2842; Sumowski 762x) contrasted with Benesch 485 (see Fig.e; inv. D.2842; Sumowski 762x).

Benesch 485a
Rembrandt
Scene of Execution: Anabaptist Martyrs of Amsterdam (?) 1642-45?
GB London, Courtauld Institute of Art (Seilern Collection)

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

Benesch 486
Rembrandt
Sketch for The Presentation of the Christ Child to Simeon in the Temple 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)

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

Fig.a. Benesch 487 (centre) compared with Rembrandt, The Triumph of Mordechai, c.1641, etching, 174 x 215 (Bartsch 40; NH 185) shown as printed (on the left) and reversed (on the right). GB London, British Museum (inv. F,4.69)

Fig.b. Benesch 487 (centre) compared with (left) Pieter Lastman, The Triumph of Mordechai, 1617, oil on panel, 52 x 71.5 cms. NL Amsterdam, Museum het Rembrandthuis (on loan from the Rijksdienst Beeldende Kunst), and (right) Rembrandt’s etching, reversed (as Fig.a, right)

Benesch 488
Carel Fabritius?
St Philip Baptising the Eunuch 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)

Benesch 489,
Ferdinand Bol? [Possibly retouched by Rembrandt?]
The Holy Family (?) 1645-50?
D Konstanz, Städtische Wessenberg-Galerie

Benesch 489, Enlarged

Benesch 490
Ferdinand Bol?
Dido Founding Carthage: The Cutting of the Ox-Hide 1639?
USA Private Collection (NB unsatisfactory photograph from an old ektachrome)

Benesch 490 Detail, enlarged

Fig.a. Detail of Benesch 801

Benesch 491
Carel Fabritius?
Eliezer and Rebecca at the Well 1641-45?
GB Edinburgh, National Galleries of Scotland

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

Fig. b. Carel Fabritius?, Eliezer and Rebecca at the Well, c.1641-45. Pen and brown ink with brown and grey wash, 186 x 300. F Paris, Fondation Custodia

Fig. c. Attributed to Constantijn van Renesse, Eliezer and Rebecca at the Well. Oil on canvas, 92 x 71 cm. USA New York art market, 2004.

Benesch 492 Detail, enlarged

Benesch 492
Ferdinand Bol
The Angel Departing from Tobit and his Family 1641-45?
NL Amsterdam, Rijksmuseum

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 [illustration enlarged] (Bartsch 43; NH 189). GB London, British Museum (Salting bequest; inv.
1910, 0212.378)

Benesch 492 Fig.c. On the left: Detail, Enlarged, of Ferdinand Bol, Joseph Telling the Dreams of the Prisoners, c.1641-45. Pen and brown ink with brown wash, 167 x 229. D Hamburg, Kunsthalle (inv. 22412), together with a detail, enlarged, of Benesch 492 (on the right).

Benesch 493 [illustration slightly reduced]
School of Rembrandt (Ferdinand Bol?)
The Death of Jacob 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

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

Benesch 493 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)

Benesch 493 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)

Benesch 493 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

Benesch 493 Fig.e. Rembrandt, detail in reverse, The Death of the Virgin, etching, Bartsch 99; NH 173, 1st state. GB London, British Museum (inv. F,5.26)

Benesch 494
Ferdinand Bol?
Potiphar’s Wife Accusing Joseph 1642-48?
USA New York, The Metropolitan Museum of Art

Benesch 495
Rembrandt
Christ Among his Disciples 1648-52?
F Paris, École Nationale Supérieure des Beaux-Arts

Fig.a. Benesch 495 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)

Benesch 495 Fig.c. Left: 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)

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

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

Benesch 495 Fig.f. Mosaic image with sections of Benesch 495 inserted below
and upper left onto a photograph of the documentary drawing, Benesch 886. The foregrounds of both drawings below and the handling of the trees above have a similar character.

Benesch 495 Fig.g. Detail of Benesch 495 (left) with detail from Benesch 190 (right); compare especially
the area of Christ’s left arm on the left with the upper half of the figure on the left of Benesch 190.

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

Benesch 497
Carel Fabritius?
Tobias with the Angel Cleaning the Fish, c.1650-52?
P Wroclaw, Ossolineum

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

Benesch 497A Detail, enlarged

Benesch 497A 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. Here, the calligraphy of the outlines for foliage is similar to the vegetation in the lower right corner of Benesch 497A (see the detail above). New York, The Leiden Collection.

Benesch 498
Carel Fabritius?
Hagar and Ishmael with the Angel in the Desert 1645-50?
D Hamburg, Kunsthalle

Benesch 498 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

Benesch 498 Fig.b. Detail, reversed and enlarged, from Rembrandt, Six’s Bridge, 1645, etching,
Bartsch 208, NH 201, 1st state, GB London, British Museum (1847,1120.3) with (right) an
enlarged detail from Benesch 498

Benesch 499
Carel Fabritius?
The Dismissal of Hagar 1645-50?
USA Washington, National Gallery of Art (Widener Collection)

Benesch 499 Fig.a. Details of Benesch 0488 (left), Benesch 499 (centre) and (right) Carel Fabritius?, Eliezer and
Rebecca at the Well, c.1641-45. Pen and brown ink with brown wash. F Paris, Fondation Custodia. The outlines in
all three drawings are little interrupted – thus somewhat solid – with many heavier touches and copious parallel
shading.

Benesch 500
Carel Fabritius?
Christ Among the Doctors 1650-54?
CH Winterthur, Oskar Reinhart Collection
“Am Römerholz”

Fig.a. Left: Carel Fabritius, The Sentry, 1654. Oil on canvas, 68 x 58 cm. D Schwerin,
Staatliches Museum (inv. G 2477), with a detail, top right, of the fictive relief above
the archway. Also, centre right, two details from the Crying Boy of c.1645-50 (for
which see under the ‘Not in Benesch’ tab) and details, lower right, from the lower
left corner of Benesch 0500. The geometric description of the hand in the fictive
relief at the top of Fabritius’ painting has been compared with the hands shown in
the details of the two drawings

Benesch 500a
Rembrandt*
Two Men in Discussion near a Doorway 1641
GB London, The Samuel Courtauld Trust, The Courtauld Gallery (Princes Gate Collection)

Benesch 500a Detail, Enlarged

Benesch 500a 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):
note, for example, the interruptions between the
first ‘R’ and the ‘e’; the ‘m’ and the ‘b’; and the ‘n’
and the ‘d’


Benesch 500a Fig.b (right). Rembrandt, Three Oriental Figures (Jacob and Laban?), etching, 1641. Bartsch 118; NH 190, 1st state. GB London, British Museum (inv. 1848,0911.59)

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

Fig.a. Rembrandt, The Annunciation to the Shepherds, 1634. Etching, 262 x 220 (Bartsch 44; NH 125, 2nd state).
GB London, British Museum (1848,0911.24)

Benesch 502
Carel Fabritius?
The Annunciation to the Shepherds 1645-50?
D Munich, Staatliche Graphische Sammlung

Fig.a. Benesch 502 (right) with details from (in the centre) Carel Fabritius, Detail of The Raising of Lazarus, c.1643 Oil on canvas,
photograph with polarised light revealing the underpaint (P. Warsaw, Muzeum Narodowe), and (left) Carel Fabritius,
Detail of Hagar and the Angel, c.1643-45. Oil on canvas, a composite of infra-red images (USA, New York,
The Leiden Collection). Compare especially the darkest brushstrokes with the broadest lines in Benesch 502 (right).

Benesch 502a
Carel Fabritius?
David Taking Leave of Jonathan 1645-50
D Berlin, Staatliche Museen Berlin, Kupferstichkabinett

Benesch 503 [illustration somewhat enlarged]
Carel Fabritius?
Eliezer and Rebecca at the Well 1650-54?
USA Washington D.C., National Gallery of Art (Widener Collection)

Benesch 504
Carel Fabritius?
The Dismissal of Hagar
1650-54?
Private Collection?

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

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

Benesch 505
Carel Fabritius?
Zipporah at the Inn: The Angel Attacking Moses and Zipporah Circumcising their Son 1650-54?
GB London, The Samuel Courtauld Trust, The Courtauld Gallery (Princes Gate Collection)

Fig.a. Detail of Benesch 622a

Fig.b. Detail from Rembrandt, The Triumph of Mordechai, c.1641, Etching, Bartsch 40; NH 185, 2nd state. GB London, British Museum (inv. F,4.69).

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

Fig.d. Jan Baptist Weenix, Zipporah at the Inn: The Angel Attacking Moses and Zipporah
Circumcising their Son, oil on canvas, 118 x 171.5 cm., c.1640? P Warsaw, Muzeum Narodowe

Benesch 506
Carel Fabritius?
The Messenger Brings Saul’s Crown and Bracelet to David 1645-50?
NL Amsterdam, Rijksmuseum

Fig.a. Left: Carel Fabritius, Detail of The Raising of Lazarus, c.1643, oil on canvas, photograph with polarised light revealing the underpaint (P. Warsaw, Muzeum Narodowe) with a detail of Benesch 506 (right); though difficult to observe, there are some dark sweeping brushlines in the painting that resemble the broad pen lines in the drawing

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 on the left. In a raking light (not shown here) Richardson’s mark becomes clearer.

Benesch 507
Carel Fabritius?
Isaac Blessing Jacob 1645-50?
Private Collection (formerly D Berlin, Van Diemen [dealer])

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

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

Fig.a. Hans Holbein the Younger (c.1497-1543), Isaac Blessing Jacob, woodcut 60 x 87 (illustration for the “Icones”, 1541 edition), enlarged

Benesch 510
Carel Fabritius?
Isaac Blessing Jacob 1645-50
F Angers, Musées d’Angers (Musée Turpin de Crissé)

Benesch 511
School of Rembrandt,
Study for a Presentation in the Temple 1650-55?
NL Rotterdam, Museum Boijmans van Beuningen

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)

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)

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

Fig.a. Benesch 869 (copy after Fig.b; Samuel van Hoogstraten?).
NL Amsterdam, Rijksmuseum

Fig.b. School of Rembrandt (Samuel van Hoogstraten),
The Incredulity of St Thomas, c.1645-50. Formerly NL The Hague, private collection (Hingst)

Fig.c. Rembrandt, The Incredulity of St Thomas, 1656, repr. in reverse. Etching, 163 x 206
(Bartsch 89; NH 296). GB London, British Museum (inv. F,4.141)

Benesch 512 [image slightly reduced]
Carel Fabritius?
Joseph Reveals Himself to his Brothers 1650-54?
F Paris, Musée du Louvre (Collection de Rothschild)

Benesch 512a
Rembrandt?
The Captive Christ Being Led to Caiaphas 1652?
USA, Cleveland, Cleveland Museum of Art

Benesch 512a
Detail in black and white, digitally enhanced, showing traces of erased inscription below Christ’s feet

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

Benesch 512a Fig.b. Left, detail of Benesch 1172 beside a detail of
Benesch 512a; compare also the shading beneath the window-sill (left)
and under Christ’s arm (right)

Benesch 512a Fig.c. Left, Benesch 886 compared with Benesch 0512a, right (shown not to scale but approximately in proportion).

Benesch 513
Carel Fabritius?
Christ Awakening The Disciples on the Mount of Olives 1650?
CH Private Collection?

Benesch 514
Carel Fabritius?
The Temptation of Christ 1650?
D Munich, Staatliche Graphische Sammlung

Benesch 515
Carel Fabritius?
The Temptation of Christ
1645-50?
D Dortmund, Private Collection? (formerly H. Becker)

Benesch 516
Rembrandt
The Holy Family in the Carpenter’s Workshop 1647-52?
GB London, British Museum

Benesch 516, Detail, Enlarged

Benesch 516, Detail, Enlarged

Benesch 516, Detail, Enlarged

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

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

Benesch 516 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 517
School of Rembrandt
(Ferdinand Bol??)
The Holy Family in an Interior 1650?
F Paris, Musée du Louvre

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

Benesch 518 Fig.a. Carel Fabritius,
The Raising of Lazarus, oil on canvas,
210.5 x 140 cm. P Warsaw, Muzeum
Narodowe

Benesch 518 Recto
Carel Fabritius?
The Raising of Lazarus 1645-50?
NL Rotterdam, Museum Boijmans Van Beuningen

Benesch 518 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)

Benesch 518 Fig.c. Jan Lievens, The Raising of Lazarus, 1631, oil on canvas,103 x 112 cm. GB Brighton, Art Gallery and Museum

Benesch 518 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).

Benesch 518a
Carel Fabritius?
The Good Samaritan Arriving at the Inn 1645-50?
GB London, British Museum

Benesch 518a Fig.a. Two details from Benesch 518a (on the right)
compared with details from (above left) the Adoration of the Shepherds
(NL Amsterdam, Rijkmuseum, inv.RP-T-1883-A-217) and (lower left)
Benesch 498

Benesch 518b
Carel Fabritius?
The Good Samaritan Arriving at the Inn 1650?
NL Rotterdam, Museum Boijmans Van Beuningen

Benesch 518b 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.

Benesch 518b 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.

Benesch 518b Fig.c. Willem Drost?, The Good Samaritan Arriving at the Inn, c.1650-55? Pen and brown ink, heightened with white, on pale buff paper, 191 × 231. USA Chicago, The Art Institute (The Charles Deering Collection; inv.1927.5191)

Benesch 519
Rembrandt
The Return of the Prodigal Son 1644-45??
NL Haarlem, Teyler Museum

Benesch 519 Detail, enlarged

Benesch 519 Detail, enlarged

Benesch 519 Detail, enlarged

Benesch 519 Fig.a Benesch 500a (left) with Benesch 519 (right) – see the comment to Fig.b below

Benesch 519 Fig.b. Benesch 606 (left) with 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 on the right of Benesch 500a (which is viewable on the left of Fig.a)

Benesch 520
Rembrandt
A Group of Mourning Figures, Standing 1645?
USA Private Collection

Benesch 520 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)

Benesch 520 Fig.b. Detail of Benesch 520 (centre) with details of Benesch 185 (left) and Benesch 190 (right)

Benesch 520 Fig.b. Detail of Benesch 520 (centre) with details of
Benesch 185 (left) and Benesch 190 (right)

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

Benesch 520 Fig.d. Mosaic illustration with three details of Benesch 520 (with its darker background
tone) superimposed on/juxtaposed with part of Benesch A35a (USA New York, Metropolitan Museum
of Art, Robert Lehman Collection)

Benesch 520 Fig.e. Left: Andrea Mantegna, The Entombment, engraving, 299 x 442.
Bartsch 3; Hind 2, and (centre) a detail of the early copy in reverse, sometimes attributed to Zoan Andrea
or Antonio da Brescia, engraving, 285 x 429, with (right) a detail from Benesch 520. Both prints
USA Washington, National Gallery of Art (inv.1986.98.1; Patrons’ Permanent Fund and inv.1943.3.439;
Rosenwald Collection)

Benesch 521
Rembrandt?
Diana and Callisto 1648?
Private Collection

Benesch 521 Fig.a. Jan Saenredam after Hendrick Goltzius, Diana and Callisto, 1599, engraving, 215 x 297. Bartsch 52; NH 584. GB London, British Museum (inv. 1853,1008.88)

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

Benesch 521 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

Benesch 521 Fig.d. Benesch A35a (upper left – see the Not in Benesch tab – with a detail below left, and Benesch 521 (upper right) with a detail below right

Benesch 521 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)

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

Benesch 521 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 for Benesch 521.

Benesch 521 Fig. h. Benesch A95, Carel Fabritius? Amnon and Tamar, pen and brown ink with brown and grey wash, 189 x 250. F Paris, Musée du Louvre (inv.22935) with (right) Benesch 521, and with details below

Benesch 522
Ferdinand Bol?; Rembrandt??
The Adoration of the Magi 1645-50?
I Turin, Biblioteca Reale

Benesch 522 from a low resolution scan found online

Benesch 522 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

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

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

Benesch 522 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 details below

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

Benesch 523
Carel Fabritius?
A Shepherdess and her Flock 1650?
F Besançon, Musée des beaux-arts et d’archéologie

Benesch 524
Ferdinand Bol?/Rembrandt??
The Dismissal of Hagar 1648-50?
GB London, British Museum
(High resolution photograph from an old black and white British Museum negative
[no. ½ plate 11838], which shows the drawing before it was damaged by damp, but has
a blemish of its own from lettering at the upper left edge)

Benesch 524 Details, enlarged, from the high resolution photograph from the old negative (see above)
These downloadable files, of around 2.5MBs each, slightly overlap and are included here as documents of record, showing the former condition of the drawing in a form that makes the reconstruction of the image possible at a high resolution

Benesch 524, actual size, from British Museum website [accessed 6 December 2020]

Benesch 524 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 rectangles selected
and added by the compiler, but every part
of the drawing has been affected to some
degree.

Benesch 524 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)

Benesch 524 Fig.c. Left: Image and detail below of Ferdinand Bol, Joseph Interpreting the Dreams of his Fellow Prisoners, pen and brown ink with brown wash, 166 x 229. D Hamburg, Kunsthalle (inv.22412; Sumowski 101), with (right) Benesch 524 and detail below. The main similarities pertain to the outlining of the figures and the shading in an uninterrupted row of rounded loops below

Benesch 524 Fig.d. Left: the head of the Prodigal Son’s father in Benesch 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

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

Benesch 524A
Ferdinand Bol
The Dismissal of Hagar 1644?
Private Collection

Benesch 524A 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)

Benesch 524A 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)

Detail of Benesch 525

Benesch 525
Carel Fabritius?
The Dismissal of Hagar 1644-50?
NL Haarlem, Teyler Museum

Benesch 525 Fig.a. Right: detail of Benesch 525 (the
head appears upside-down at the bottom of the
sheet, with details from Benesch 500 (left) and
Benesch 509 (centre)

Benesch 526
Ferdinand Bol??
Joseph Telling his Dreams 1645-50?
A Vienna, Albertina

Benesch 527 Rembrandt? Ferdinand Bol? Retouched by Rembrandt
Joseph Telling His Dreams 1645?
USA Washington, National Gallery of Art

Benesch 527 Fig.a. Lucas van Leyden, Joseph Telling his Dreams, 1512.
Engraving, 126 x 165 (Bartsch/NH 19, 1st state).
GB London, British Museum (inv.1854,0812.5)

Benesch 527 Fig.b. Detail of Benesch 527 (centre) with details of Benesch 482 (left) and Benesch 93 (right)

Benesch 527 Fig.c. Details of Benesch 527 (above) and Benesch 516 (below), which appear
to be by the same hand; the delicate diagonal hatching above right may be compared with the
hatching in Benesch 0886

Benesch 527 Fig.d. Benesch 541 (left) with Benesch 527 (right)

Benesch 527 Fig.e. Benesch 540 (left) with Benesch 527 (right)

Benesch 527 Fig.f. Detail from the Hundred Guilder Print (left) and a detail of Benesch 527 (right)

Benesch 527 Fig.g.
Left to Right (top row): details from Benesch 541, Benesch 527 (outlined in black) and Benesch 540 and (lower row) Benesch 524 (Ferdinand Bol? or Rembrandt??) and Benesch 687 (two heads on one sheet)

Benesch 527 Fig.h. Left to Right: details from Benesch 480 (Ferdinand Bol), Benesch 527 and Benesch 479 (Rembrandt). Despite the similarity of the circled heads in the two latter drawings, the more liquid touch, economy and precision of Rembrandt in Benesch 479 seems clear

Benesch 528
Govert Flinck?
A Seated Old Man and a Woman (Jacob and Rachel) 1645?
GB London, British Museum

Benesch 528, Detail, enlarged

Benesch 528 Figs a-c. Details from Benesch 736 (left) paired with details from Benesch 528. The animals (Fig.b) are particularly close but the zigzag (Fig.a) and the door-frames (Fig.c) are also close.

Benesch 528 Fig.d. Details of Benesch 519 (left) and Benesch 528 (right)

Benesch 528, Fig.e. Benesch 656 (left) with Benesch 528 (right) – on balance they appear to be by the same hand (Govert Flinck) – see also details below in Fig.f

Benesch 528 Fig.f.
Details from Fig.e

Benesch 528a
Ferdinand Bol?
The Prodigal Son with the Loose Women 1645-50?
F Orléans, Musée des Beaux-Arts

Benesch 528a Detail, from the right section, right, showing the graphite
underdrawing

Benesch 529
Ferdinand Bol? After Rembrandt?
The Prodigal Son Among the Loose Women 1643-45?
D Frankfurt, Städelsches Kunstinstitut

Benesch 529, Detail

Benesch 529 Fig.a. Rembrandt, Self-Portrait with Saskia (The Prodigal Son), c.1635. Oil on canvas, 161 x 131 cms (Bredius 30; Wetering 135). D Dresden, Gemäldegalerie; with an X-radiograph image superimposed on a plan of the painting’s original stretcher, revealing that probably less than half of the canvas survives from the first version of the composition. When it was cut down it is impossible to say, but perhaps after Rembrandt’s lifetime

Benesch 529 Fig.b. Benesch 529, Detail, with Benesch 165: the similarities in the treatment of outline and in the wash suggest the two drawings are by the same artist

Benesch 529 Fig.c. Left: Benesch 392 with details below, and (on the right) Benesch 529 with details below. If, as suggested in this catalogue, Benesch 392 is by Rembrandt, the proximity of Benesch 529 suggests it might be closely based on a drawing by Rembrandt, though the figure style is less analogous to his style

Benesch 530
Ferdinand Bol?
Samson and Delilah
1645-50?
Nl Groningen, Groninger Museum

Benesch 530 Fig.a.
Left, detail of Benesch 500, with a detail of Benesch 0530 (right)

Benesch 530 Fig.b. Left: detail of Carel Fabritius?, Peasants Gathered by a Hut, London Art Market 2020 (sale, London, Sotheby’s, 29 July, 2020, lot 215, repr.), with (right) Benesch 0530. The disparate style of the two drawings would seem to discount an attribution of Benesch 530 to the “Carel Fabritius” group.

Benesch 531
Carel Fabritius?
Christ and the Woman Taken in Adultery 1650?
J Private Collection (?)

Benesch 531, Detail, enlarged (courtesy of Brian Pilkington)

Benesch 531 Fig.a. Rembrandt, Christ and the Woman Taken in Adultery, 1644. Oil on panel, 83.8 x
65.4cms (Bredius 566; Wetering 196).
GB London, National Gallery.

Benesch 531 Fig.b. Diana Scultori after Raphael, Christ’s Charge to Peter (illustrated in reverse), c.1580? Engraving, 240 x 366 (Bartsch 5).
GB London, British Museum (inv. V,5.59)

Benesch 531 Fig.c.
Pieter Soutman after Rubens after Raphael, Christ’s Charge to Peter, engraving, 335 x 492 (Schneevoogt, p. 33, no. 187; Hollstein 33). NL Amsterdam, Rijksmuseum (inv.RP-P-H-N-91). The print is in the same direction as Benesch 531, unlike Fig.b, which is here illustrated in reverse.

Benesch 532
Nicolaes Maes?
Christ and the Woman Taken in Adultery 1648?
F Paris, Musée du Louvre

Benesch 532 Watermark (from
Paris, 1933)

Benesch 532 Fig.a.
Details of Benesch 532 (left) and from Benesch 188 by Rembrandt (lower right). The drawings were probably made at around the same time

Benesch 532 Fig. b. Left, Nicolaes Maes, The Angel with Tobit and his Family, pen and brown ink on pale brown paper, 129 x 115. Formerly art market (sale, New York, Christie’s, 29 January, 2015, lot 56), with Benesch 532 (right). Despite a potentially 10-year gap between the drawings, they exhibit several traits in common, for example in the facial features and the broader pen strokes that follow the more tentative underdrawing.

Benesch 533
Carel Fabritius?
Christ and the Woman Taken in Adultery 1650-54?
F Paris, Musée du Louvre (Presented by Léon Bonnat)

Benesch 533, Verso

Benesch 533 Verso, Enlarged detail of the inscription with the first part further enlarged below. It seems to read: “Staen[??] sal[?] vallen [? – these first three words are crossed out] daer[?] de [?] ul. schuwen sal […] / Rembrandt van […]” (“stand shall fall because the [?] will shun [or perhaps “warn”] you […] Rembrandt van”)

Benesch 534
Carel Fabritius?
Christ and the Woman Taken in Adultery
1652-54?
D Dresden, Kupferstich-Kabinett

Benesch 535
Rembrandt?
A Seated Woman, Crying 1644?
CH (?) Private Collection

Benesch 535 Fig.a.
Left: Detail of Benesch 37; Right: Detail of Benesch 535, both enlarged

Benesch 535 Fig.b. Clockwise from top left: Benesch nos 535, 20, 40, 41, 37 and 18.



Benesch 535 Fig.c. Left column: Benesch 590 with three details below;
Right column: Benesch 535 with three details below

Benesch 535 Fig.d.
Left (top): Detail of Rembrandt, Christ and the Woman Taken in Adultery, 1644, GB London, National Gallery (see under Benesch 531, Fig.a). Left (below): Rembrandt (?), A Weeping Woman (oil-sketch study for the above), c.1644, oil on panel, 21.3 x 16.8 cm.
(Bredius 366; Wetering 197) USA Detroit, Institute of Arts
Right: Benesch 535

Benesch 536
Carel Fabritius? Susannah and the Elders 1650-54?
D Dresden, Kupferstich-Kabinett

Fig.a. Left: a detail of Benesch 488 with (right) two details
of Benesch 536, showing the underlying graphite sketch

Benesch 536A
Ferdinand Bol?
Abraham and Isaac on the Way to the Sacrifice 1645-50?
R Moscow, State Pushkin Museum of Fine Arts

Benesch 537
Ferdinand Bol?
Christ Appearing to the Magdalene after the Resurrection 1643-50?
NL Amsterdam, Rijksmuseum

Benesch 537, Details, the image on the right showing the wider lines that disguise the earlier and shorter series of thin parallel dashes in the same direction

Benesch 537 Fig.a. Left: Benesch 537 with (right) Ferdinand Bol, Hagar and the Angel on the Road to Shur, c.1645? Pen and brown ink with brown wash, 182 × 233. NL Amsterdam, Rijksmuseum (Sumowski 89; inv. RP-T-1930-27)

Benesch 537 Fig.b. Left, with detail, right: Rembrandt, Christ Appearing to The Magdalene after the Resurrection, 1638, Oil on panel, 61 x 49.5 cm (Wetering 158; Bredius 559). GB British Royal Collections Trust (inv. RCIN 404816), with Benesch 537 (centre)

Benesch 537 Fig.c. Left: Detail, reversed, from Rembrandt, Judas Repentant Returning the Pieces of Silver, 1629, oil on panel, 79 x 102.3 cm. Private collection (Bredius-Gerson 539A; Wetering 23); centre: Jan van Vliet after Rembrandt, Judas Repentant, etching, 1634 (Bartsch 2; Hollstein 22, 1st state). GB London, British Museum (inv. Sheepshanks.187)

Benesch 538
Rembrandt??/
Carel Fabritius??
Christ and the Magdalene after the Resurrection, 1645?
NL Amsterdam, Rijksmuseum

Benesch 538, Detail, Enlarged

Benesch 538, Details, enlarged

Benesch 538 Fig.a. Rembrandt, Christ Appearing to The Magdalene after the Resurrection, 1638, Oil on panel, 61 x 49.5 cm (Wetering 158; Bredius 559). GB British Royal Collections Trust (inv. RCIN 404816)

Benesch 538 Fig.b. Benesch 538 (centre, with detail below) with Benesch 500a (left, with detail below) and Benesch 606 (right, with detail below)

Benesch 538 Fig.c. Detail of Benesch 538 (centre) with Benesch 184 (left) and
Benesch 189 (right)

Benesch 539
Ferdinand Bol?
The Woman of Samaria by the Well 1645?
GB Leeds, Leeds Art Gallery

Benesch 539 Verso

Benesch 540
Rembrandt
Mars and Venus Ensnared in Vulcan’s Net and Shown to the Gods 1642?
NL Amsterdam, Amsterdam Museum

Benesch 540 (Detail)

Benesch 540 Fig.a.
Left: detail from Benesch 541, with two details from Benesch 540 (centre and right)

Benesch 540 Fig.b. Left: Benesch 185 (with detail below); centre: detail from Benesch 540 (with detail lower centre left); and right: details of Benesch 183 (top right) and Benesch 388 (lower right), with a detail of the latter lower centre right

Benesch 540 Fig.c. Left: Benesch A35a with (right) Benesch 540

Benesch 540 Fig.d. Top: Raphael, The Council of the Gods, fresco, Villa Farnesina, Rome; centre left:
The Master of the Die, after Michiel Coxcie, The Council of the Gods, engraving, 199 x 235. Bartsch, 15, p.223, no.68) USA New York, The Metropolitan Museum of Art (Rogers Fund; inv. 41.71.3[30]); centre right: Jacopo Caraglio after Raphael, The Council of the Gods, engraving, 384 x 554 (illustrated in reverse; a reversed copy is known (Bartsch, 15, p.89 no.54) GB London, British Museum (inv. 1870,1008.2398); and below: François Langlois, il Ciartres, after Raphael, The Council of the Gods, c.1640, engraving, 182 x 493. GB London, British Museum (Sloane bequest, inv. V,6.80)

Benesch 540 Fig.e. Pieter Lastman, The Judgment of Midas, c.1616? Oil on panel, 838 x 996. Private collection