Benesch 541-(in progress) illustrations

Benesch 541
Rembrandt
Jacob and his Sons, 1641?
NL Amsterdam, Rijksmuseum

Benesch 541, Detail, enlarged

Benesch 541 Fig.a. Benesch 500a (left) of 1641 with Benesch 541 (right) and details below. Note the comparable variety of pressure on the pen, especially in the isolated details below, and the fine vertical shading under the the figure on the right of Benesch 500a and under the seated figure on the left in Benesch 541. The analogies suggest the apporoximate date of around 1641 for Benesch 541

Benesch 541 Fig.b. Left: Rembrandt, The Hundred Guilder Print, 1648? Etching, 281 x 388 (Bartsch 74; NH 239, 1st state). GB London, British Museum (inv. F, 4.154) with (right) Benesch 541 and details from both below. The overall composition of the drawing in some respects prefigures the yet more ambitous design of the etching, as do the details shown below

Benesch 541 Fig.c (1-8). Details, left to right, from the following, all showing a comparable, corpulent man, often as a repoussoir (all by Rembrandt except nos.7-8, by Ferdinand Bol): 1. Descent from the Cross, 1632-33, D Munich, Alte Pinakothek (Bredius 550; Wetering 107); 2. Etching of the same composition as 1., 1633, GB London, British Museum (inv. F,5.2; Bartsch 81 [II]; NH 119, 2nd state); 3. Benesch 542, 1641?; 4. Benesch 541, 1641?; 5. Hundred Guilder Print, 1648? (details listed at Fig.b); 6. Etching of Christ Preaching (La Petite Tombe), which also includes a figure similar to the one in 3 above, 1652? GB London, British Museum (inv. F,4.132; Bartsch 67; NH 298); 7. Ferdinand Bol, Detail of sketch, 1656?, (D Munich, Staatliche Graphische Sammlung) for 8. Pyrrhus Showing his Elephants to Gaius Fabricius (detail), 1656, now in the Royal Palace (formerly the Town Hall), Amsterdam

Benesch 542
Rembrandt
Jacob and his Sons 1641?
F Paris, Musée du Louvre

Benesch 542 Fig.a. Benesch 541 (left) with Benesch 542 (right)

Benesch 543
Rembrandt
Christ Preaching: Study for the Hundred Guilder Print 1647-48?
F Paris, Musée du Louvre

Benesch 543 Fig.a. Left: Rembrandt, Christ Preaching (The Hundred Guilder Print), 1648? Etching, 281 x 388 (Bartsch 74; NH 239, 1st state). GB London, British Museum (inv. F, 4.154) with (right) Benesch 543, both with details below

Benesch 543 Fig.b. Left: Benesch 736 with (right) Benesch 543 (see also details below in Fig.c)

Benesch 543 Fig.c. Details, enlarged, of Figure b (from Benesch 736 on the left and Benesch 543 on the right). The upper row reveals the similar treatment of the figures and the second row the close-knit shading hugging their outlines. The four lower illustrations show details of heads in which the faces are suggested with similar elements – for the eyes and nose – as well as the treatment of the profiles (the lowest illustrations).

Benesch 543 Fig.d. Details from Benesch 190 (left) and two from
Benesch 543 (right). The similarities are clear despite the use of the
reed pen in Benesch 190 (on the left)

Benesch 544
School of Rembrandt (Ferdinand Bol??)
The Healing of Tobit 1650?
D Zwickau, Schocken Collection (formerly)
NB Measurements unknown









Benesch 545
Carel Fabritius?
The Healing of Tobit 1645?
F Paris, Musée du Louvre




















Benesch 546
Ferdinand Bol
The Healing of Tobit 1645-50?
D Copenhagen, Statens Museum for Kunst

Benesch 546 Fig.a. Left: 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), with Benesch 546 (right)

Benesch 547
Rembrandt
The Healing of Tobit 1641-44?
USA, Cleveland, Cleveland Museum of Art

Benesch 547 Detail

Benesch 547 Fig.a. Rembrandt and studio, The Healing of Tobit, oil on panel, 472 x 388. D Stuttgart, Staatsgalerie (inv. 2521; Bredius 502; Corpus C86)

Benesch 547 Fig.b. Benesch 1154. S Stockholm, Nationalmuseum

Benesch 548
Ferdinand Bol?
The Healng of Tobit 1641-45?
NL Amsterdam, Amsterdam Museum (Fodor Collection)




























Benesch 549
Ferdinand Bol?
Sarah Complaining of Hagar to Abraham 1640-45?
F Bayonne, Musée Bonnat-Helleu

Benesch 549 Detail

Benesch 549 Fig.a. Anonymous copy of Benesch 549, pen and brown ink with brown wash over black chalk. 197 x 190. Sold Amsterdam, Sotheby’s, 6 November, 2001, lot 57, repr..

Benesch 550
Willem Drost??
Sarah Bringing Hagar to Abraham 1650-55?
F Paris, École nationale supérieure des beaux-arts

Benesch 550 Fig.a. Left: Benesch 1008 (with detail below); right Benesch 550 (with detail below). Note especially the preponderance of parallel lines of shading that is either vertical or horizontal, and how the vertical lines in both drawings frequently have something akin to a full stop below, where the pen rested momentarily. However, the drawing of the figures is more tentative in Benesch 550.

Benesch 551
Ferdinand Bol?
Cattle and Sheep at a Watering-Place Near Large Buildings with Mountains Beyond 1645?
F Paris, Musée du Louvre

Benesch 552
Ferdinand Bol?
David Taking his Leave from Jonathan 1645-50?
F Paris, Musée du Louvre (Bonnat collection)

Benesch 553
Ferdinand Bol?
Vertumnus and Pomona 1645-50?
USA Princeton, Princeton University Art Museum

Benesch 553 Fig.a. Attributed to Willem Drost, Vertumnus and Pomona, 1650? Pen and brown ink, 154 x 155. Formerly Berlin Art Market (sale, Berlin, Bassenge, 29 November- 1 December, lot 6296, repr.).

Benesch 554
Ferdinand Bol?/Rembrandt??
The Man of Gibeah Offers Hospitality to the Levite and his Concubine 1642-46?
GB London, British Museum

Benesch 554 Detail, enlarged

Benesch 554
Watermark

Benesch 554 Fig.a.
Copy after Benesch 554. Pen and brown ink with brown wash. 175 x 250. From the collections of Jonathan Richardson, sen. (L.2183), Thomas Hudson (L.2432) and Pierre Geismar (L.2078b); his sale, Paris, Lasquin and Bine, 14 November, 1928, lot 109, repr.); with De Bayser, 2014 (my thanks to them for the image).

Benesch 555
Ferdinand Bol? /
Rembrandt???
Jacob’s Dream 1644?
F Paris, École Nationale Supérieure des Beaux-Arts

Benesch 555 Fig.a. Rembrandt,
The Holy Family, 1645. Oil on canvas, 117 x 91 cm.
R St Petersberg, State Hermitage Museum (Bredius 570; Wetering 198), with to the right a detail, and details from (centre) Benesch 569 and (right) Benesch 555.

Benesch 555 Fig.b. Benesch 167, left (a documentary drawing by Ferdinand Bol) with Benesch 555. The similarities are not sufficiently close to secure the attribution of Benesch 555 to Bol.

Benesch 555 Fig.c
Ferdinand Bol
Jacob’s Dream 1642?
Pen and brown ink with brown wash and some white bodycolour. 224 x 185.
F Besançon, Musée des Beaux-Arts et d’Archéologie (inv.AKG4525260)

Bennesch 555 Fig.d. Left, 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), with (right) Benesch 555

Benesch 555 Fig.e. Top row,
left to right: (a) the date from the documentary drawing, Benesch 257; (b) detail of Benesch 555; (c) the number “44” as it appears at the end of Rembrandt’s fourth letter to Constantijn Huygens, written in January 1639 (F Paris, Fondation Custodia; Strauss and van der Meulen, 1979, no.1639/3); (d) the number “1244” from Rembrandt’s seventh letter to Constantijn Huygens of February 1639 (op.cit, no.1639/6; GB London, British Library) (e) the date on Benesch 556. These all seem reasonably compatible in the number 4s, with their long tails, although there is an interruption at the upper left of the digits in (e); the number 2 is also characteristic of Rembrandt, though perhaps not only of him (see top row, d and cf. the “2” in the inscription on Benesch 427).

Middle row: the inscription from Benesch 300. Lower row, (a) two details showing the word “op” and beginning of the word “hoo[fdken]” from Benesch 300; (b) detail of Benesch 555; (c) two details from Rembrandt fourth letter to Huygens (as top row, c); (d) detail of the word “op” from the lower left of Rembrandt’s third letter to Constantijn Huygens (of 12 January 1639; The Hague, Royal Archives, op. cit. no.1639/2). Note the writing of the letter “p” and especially the typical
separation of the two letter ‘o’s
(although this is not unique to
Rembrandt – for example, Rubens often wrote these letters in the same way). Overall, the possibility that the inscription on Benesch 555 is by Rembrandt is likely and cannot be dismissed out of hand, as some writers have done (see Literature in the catalogue entry).

Image slightly reduced

Benesch 556
Carel Fabritius??
The Good Samaritan 1644?
D Berlin, Staatliche Museen Berlin, Kupferstichkabinett

Benesch 556 Fig.a. Left: Benesch 167 (Ferdinand Bol, Elijah Dreaming Beneath a Tree) with (right) a detail of Benesch 556.

Benesch 556 Fig.b. In the top row, a detail of Benesch 556 (centre) is juxtaposed with details from two of Bol’s drawings, on the left, Benesch 564 and on the right, Manius Curius Dentatus Rejecting the Bribes of the Samnites, 1655. Pen and brown ink with brown wash over black chalk, 388 x 328 (A Vienna, Albertina, inv.9554); below this, a detail of 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 556 Fig.c. Centre: a detail from Benesch 556 with details from (left) Benesch 515 and (right) Benesch 545.

Benesch 556 Fig.d. Details from (left to right) Benesch 488, Benesch 497A, Benesch 556 and Benesch 498

Benesch 556 Fig.e. Left Benesch 505 (with details below) and (right) Benesch 556 (with details below)

Benesch 557
Ferdinand Bol?/ Rembrandt???
Jacob’s Dream 1640-45?
F Paris, Musée du Louvre


Benesch 557 Fig.a. Left: Benesch 500a (with detail below) and (right) Benesch 557 (with detail below

Benesch 557 Fig.b: Details from Benesch 230 (left) and Benesch 557 (right)

Benesch 557 Fig.c. Benesch 555 (left, with details below) and Benesch 557 (right, with details below)

Benesch 557 Fig.d. Left: 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), with detail below. Right: Benesch 557 (with detail below)

Benesch 558
School of Rembrandt
Jacob’s Dream 1650-55?
NL Rotterdam, Museum Boijmans van Beuningen

Benesch 558,
Watermark (from Rotterdam, 1988, p.359)

Benesch 558 Fig.a. Left: Benesch 557, with Benesch 558 (right)

Image Reduced

Benesch 559
Carel Fabritius??
Tobias Frightened by the Fish, with the Angel 1650-54?
D Berlin, Staatliche Museen Berlin, Kupferstichkabinett


Benesch 559 Fig.a. The four drawings at the upper and lower corners are documentary works by Ferdinand Bol, while the drawing at the top centre is repeated at Fig.e (with further details). Benesch 559 is in the centre. None of the secure Bol drawings come close to the variety of wild splashiness of Benesch 559, and the drawing at top centre, although closer, is also more tame and uniform in handing (see further Fig.e).
Top left: Benesch 359 (qv for details); Top right: detail from Gaius Fabricius Luscinus in Pyrrhus’s Army Camp, 1656? Pen and brown ink with brown and grey wash over black chalk, 617 x 461. D Munich, Staatliche Graphische Sammlung, Munich (Exh. Amsterdam, 2017, repr. fig. 174). Lower Left: David Designating Solomon as his Successor, 1643?, Pen and brown ink with brown wash with white bodycolour, 158 x 217 (F Besançon, Musée des Beaux-Arts et d’Archéologie. Inv.D2756); lower right: Benesch 167

Benesch 559 Fig.b. Details (left to right) from Benesch 488, Benesch 479A, Benesch 559, Benesch 556 and Benesch 498

Benesch 559 Fig.c. Left, Carel Fabritius??, The Sacrifice of Isaac, c.1650? Pen and brown ink wth brown wash and some white bodycolour, 163 x 263. D Berlin, Staatliche Museen Berlin, Kupferstichkabinett (inv. KdZ 5290); right: Benesch 559. The two drawings appear to be by the same artist, to judge especially from the background landscapes, and the folaige and the lower left and the vertical trunk on the extreme right resemble Benesch 498 (a similar detail of which is on the far right of Fig.b)

Benesch 559 Fig.d. Left: Rembrandt, St Jerome in an Italian Landscape, c.1653 (Benesch 886) with Benesch 559 (right). Although the style does not match, the breadth of Rembrandt’s handling in Benesch 886 (left) is suggestive for dating Benesch 559

Benesch 559 Fig.e. Left: Ferdinand Bol?, Tobias Retrieving the Gall of the Fish, c.1650-55? Pen and brown ink with brown wash, 177 x 189 (upper corners made up). A Vienna, Albertina (inv.8780; Sumowksi 249x); with Benesch 559 (right). Although similarly ‘loose’ in style, the more even touch in the Vienna drawing (left) deviates critically from Benesch 559, with its more vigorous, spontaneous approach; and the Vienna drawing, though attributed to Bol, is in any event not closely comparable to his documentary drawings (see Fig.a above)

Benesch 560
School of Rembrandt
Hagar at the Fountain on the Way to Shur 1650-55?
F Paris, Musée du Louvre


Benesch 560 (as above) reproduced in colour but from from a smaller image

Image reduced

Benesch 560 Fig.a. Left: a copy after Benesch 560, pen and brown ink with brown wash. 181 x 264. F Paris, Musée du Louvre (inv.RF29040), with (right) Benesch 560

Benesch 560 Fig.b. Details, from left to right, from Benesch 558, Benesch 560 and School of Rembrandt: Mercury, Argos and Io, 1650-55? Pen and brown ink, 176 x 238. F Paris, Musée du Louvre (inv. RF29040; HdG 781; Exh. Paris, 1988-89, no.74)

Benesch 561
Ferdinand Bol?
Tobit and Anna with the Goat
1645? (1655??)
S Stockholm, Nationalmuseum

Benesch 561 Fig.a. Left: Ferdinand Bol? Tobit and Anna, pen and brown ink, 110 x 141.
GB London, Victoria and Albert Museum (inv. DYCE.433), with (right) Benesch 561

Benesch 561 Fig.b. Left: Benesch 492 with (right) Benesch 561 (and details below): the stylistic connections between the two drawings are clearest in the figure of Tobit and in the curls of smoke

Benesch 561 Fig.c. In the centre: Benesch 561, with (left), Ferdinand Bol?, The Holy Family in an Interior, pen and brown ink with brown wash, 180 x 272. D Darmstadt, Hessisches Landesmuseum (inv. AE 592; Sumowski 195x); and (right) 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

Benesch 561 Fig.d. Benesch 561 (top centre and lower right) with three ‘documentary’ drawings by Ferdinand Bol, which appear different in style: (clockwise from top left) 1. The Holy Family, c.1643. Pen and brown ink with black chalk, touched with red and yellow ochre chalks, with grey and brown wash, heightened with white; the outlines indented for transfer, 180 x 207. GB London, British Museum (inv.1836,0811.337); 2. Benesch 167; 3. The Three Maries at the Tomb, c.1644. Pen and brown ink with brown wash with black and red chalk (with inserted sections for the Maries and the nearer angel), 231 x 315. D Munich, Staatliche Graphische Sammlung (inv.1842)

Benesch 561 Fig.e. Details of Benesch 540 (left) and Benesch 561 (right): the disparity in style suggests that the two drawings are by different hands, the lighter touch of the drawing on the left contrasting sharply with the more even touch of Benesch 561


Benesch 562
Ferdinand Bol?
The Return of the Prodigal Som 1645?
NL Rotterdam, Museum Boijmans Van Beuningen

Benesch 562 Fig.a. Left: Benesch 562 with (right) Ferdinand Bol? David’s Charge to Solomon, c.1643. Pen and brown ink with brown wash with some white bodycolour, 217 x 518. F Besançon, Musée des Beaux-Arts et d’Archéologie (inv.D.2756)


Benesch 563
Ferdinand Bol? / Rembrandt???
An Old Man with an Angel
(The Liberation of St Peter?) 1640-45?
Private Collection

Benesch 563, Enlarged

Benesch 563, Fig.a. Left: 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 Benesch 563 on the right

Benesch 564
Ferdinand Bol?
Esau Selling his Birthright to Jacob 1640-41?
NL Amsterdam, Amsterdam Museum

Benesch 564 Fig.a. Left: copy of Benesch 0564 with the original on the right (slightly enlarged). The copy is in pen and brown ink, touched with brown wash, heightened with white over indications in graphite, 189 x 160. GB London, British Museum (J.H. Anderdon collection; inv. 1873,0510.3544)

Benesch 564 Fig. b. Detail, enlarged, of Benesch 564 (centre) with details of Benesch 500a (left) and Benesch 606 (right)

Benesch 564 Fig.c. Left: 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), with Benesch 564 (right) and enlarged details below

Benesch 565
School of Rembrandt (Ferdinand Bol??), retouched by Rembrandt
Esau at the Well/Narcissus 1650-55?
R Moscow, Pushkin Museum (under dispute from the Dutch government), formerly NL Rotterdam, Museum Boijmans Van Beuningen (Franz Koenigs Collection; inv. R 104).

Benesch 566
School of Rembrandt
Eliezer and Rebecca at the Well 1650?
Formerly F Paris, Private Collection
M. Marignane

Benesch 567
Rembrandt*
The Holy Family with an Angel 1645?
F Bayonne, Musée Bonnat-Helleu, Musée des beaux-arts de Bayonne

Benesch 567 Fig.a. The drawing (right, enlarged) with the Hermitage painting: Rembrandt, The Holy Family with Angels, 1645. Oil on canvas, 117 x 91cm. R St Petersburg, State Hermitage Museum.

Benesch 568
Rembrandt?
A Young Woman Kneeling in Prayer (the Virgin Mary?) 1645?
Formerly NL The Hague, private Collection (C.Hofstede de Groot)

Benesch 568 Fig.a. Enlarged
details of Benesch 567 (left) and Benesch 568

Benesch 569
School of Rembrandt (Ferdinand Bol??; Rembrandt???)
The Holy Family Asleep, with Angels 1645?
GB Cambridge, Fitzwilliam Museum (PD. 42-1961)

Benesch 569 Details, enlarged

Benesch 569 Fig.a.
Details of Benesch 555 (left) and Benesch 569 (right)

Benesch 570
Rembrandt
A Baby Sleeping in a Cradle 1645?
Private Collection

Benesch 570 Detail, enlarged

Benesch 570 Fig.a. Left: Detail from Rembrandt, The Holy Family with Angels, 1645. Oil on canvas, 117 x 91cm. R St Petersburg, State Hermitage Museum, with (right) Benesch 570

Benesch 571
School of Rembrandt
Esther, Ahasuerus and Hamann at the Banquet 1660-65?
NL Amsterdam, Rijksmuseum

Benesch 571 Fig. a. Left: School of Rembrandt, The Presentation in the Temple,pen and brown ink on buff paper. 110 x 143. GB Edinburgh, National Gallery of Scotland (inv. D.2842; Sumowski 762x), with Benesch 571 (right)

Benesch 571 Fig.b. Rembrandt, The Conspiracy of the Batavians under Claudius Civilis, c.1661-62. Reconstruction of the painting by Ernst van de Wetering based on the fragment of the original canvas in the Nationalmuseum, Stockholm (Bredius 482; Wetering 298) and Benesch 1058.

Benesch 572
Rembrandt
Tobit and Anna with the Goat 1655-60?
D Berlin, Staatliche Museen Berlin, Kupferstichkabinett

Benesch 572 Fig.a. Left to Right: Benesch 1053, Benesch 572 and Benesch 1169 (NB not to scale)

Benesch 572 Fig.b. Details from Fig.a

Benesch 572 Fig.c. Left: Rembrandt and Studio, Tobit and Anna with the Goat, 1645. Oil on panel, 200 x 270. Bredius 514; Wetering 201. D Berlin, Gemäldegalerie (inv. 805), with Benesch 572 (right) and details of both below (with the drawing reproduced in reverse)

Benesch 0573
Willem Drost?
Tobias and the Angel with the Fish 1650-55?
NL Amsterdam, Rijksmuseum
(Image somewhat reduced)

Benesch 573 Fig.a. Benesch 573 with the later additions below almost all removed

Benesch 574 (image slightly reduced)
Carel Fabritius???
The Circumcision 1650?
D Berlin, Staaliche Museen Berlin, Kupferstichkabinett

Benesch 574 Detail

Benesch 574 Fig.a. Left: Detail of copy after Rembrandt, The Circumcision, 1646 (date of the lost original). Oil on canvas, 97.8 x 72cm (Wetering 211b). D Braunschweig, Herzog Anton-Ulrich Museum, with (right) Benesch 574

Benesch 574 Fig.b. Left: Samuel van Hoogstraten, Balaam Blessing the Israelites, 1646. Pen and grey ink with grey wash and red chalk, with some white bodycolour and corrections in pen and brown ink; a patch of green oil paint in the leg of the nearer figure on the left; framing lines in pen and black ink. GB London, British Museum (1895,0915.1175), with (right) Benesch 574 and enlarged details from each below

Benesch 574 Fig.c. Left: Benesch 503; centre Benesch 574; right: Benesch 0480a, with enlarged details below

Benesch 575
The Presentation in the Temple 1641-42?
D Berlin, Staatliche Museen Berlin, Kupferstichkabinett

Benesch 575, Enlarged

Benesch 575 Fig.a. Rembrandt, The Presentation in the Temple, c.1640. Etching, 1st state, 213 x 290.
GB London, British Museum (bequeathed by Rev. C.M. Cracherode, 1799; inv. F,4.94)

Benesch 576
Willem Drost??
Abraham Entertaining the Angels, 1650-55?
USA Private Collection?

Benesch 576 Fig.a. Centre: Rembrandt, Abraham Entertaining ther Angels, 1646. Oil on panel, 160 x 210 (Bredius 515; Wetering 208), USA Private Collection, with left: Benesch 577 and right: Benesch 576

Benesch 576 Fig.b. Left, Willem Drost?, The Rest on the Flight into Egypt, pen and brown ink, rubbed with the finger, 133 x 138 (Benesch A94). GB London, British Museum (inv.1895,0915.1255); centre: Benesch 576; right: Willem Drost? The Liberation of St Peter from Prison, 1652? Pen and brown ink, rubbed with the finger and touched with white bodycolour, 197 x 299. CA Ottawa, National Gallery of Canada (gift of Frank and Marianne Seger, Toronto, 2013)

Benesch 577
Samuel van Hoogstraten?
Abraham and the Angels 1646-50?
D Berlin, Staatliche Museen Berlin, Kupferstichkabinett

Benesch 577, Enlarged

Benesch 577 Fig.a.
Samuel van Hoogstraten
Abraham and the Angels,
Pen and brown ink with brown wash; ruled framing lines in pen and brown ink. 172 x 202. D Dresden, Kupferstich-Kabinett (inv.C 1896-3; S.1175x)

Benesch 577 Fig.b. Left: Samuel van Hoogstraten, Tobit Blinded by Bird-Droppings While Burying the Dead. Pen and brown ink; ruled framing-lines in pen and brown ink. 71 x 103. D Dresden, Kupferstich-Kabinett (inv.C 1918-37) with (centre) Benesch 577 and (right) Samuel van Hoogstraten?, A Milkmaid, a Woman and Two Children in a Courtyard, 1660-65? Pen and brown ink with brown and grey wash, heightened with white; framing-lines in pen and grey ink, 132 x 183. GB London, British Museum (inv.1895,0915.1201), with details below each where the comparisons appear closest (note also the legs of the nearer angel in Benesch 577 and those of Tobit in the illustration to the left)