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 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 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.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.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 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 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.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 reveals later reinforcements in the area of the neck in a warmer and thicker brown ink.

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)

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. 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.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 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 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

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

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)

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. Version of Benesch 867. Private Collection NL, Descendants of S. de Clerq

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 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 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 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 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 Detail, enlarged

Benesch 519 Detail, enlarged

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

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

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.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.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 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.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)

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 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