Benesch 541-(in progress) illustrations

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 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 549 Detail

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 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.

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

Benesch 556 Watermark

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

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

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

Benesch 574 Detail

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 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, Enlarged

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)

Benesch 578 Fig.b. Far left and right: two documentary drawings, respectively Benesch 749 and Benesch 13, with centre left, Benesch 578 and centre right, Benesch 579

Benesch 578 Fig.c. Left: detail of Benesch 382 verso (with contrasts enhanced for clarity) with (slightly enlarged) details of Benesch 578 (centre) and Benesch 579 (right)

Benesch 578 Fig.d. Left and right: enlarged images of Benesch 578 and Benesch 579, with (centre): Rembrandt, The Nativity (part of the Passion Series for Frederik Hendrik), 1646. Oil on canvas 92 x 71 cm (Bredius 574; Wetering 211a). D Munich, Alte Pinakothek.

Benesch 580 Fig.b. Left: Benesch 139A with Benesch 580 (right, enlarged)

Benesch 581 Fig.a. Left, 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; right: Benesch 581

Benesch 581 Fig.b. Centre: Benesch 581, with details of (left) Benesch 1175 and (right) Benesch 1058

Benesch 581 Fig.c. Left: Benesch 581; centre: Gerbrand van den Eeckhout after Rembrandt, The Circumcision. Red chalk with grey and brown wash, 264 x 195. B Brussels, Musée des Beaux-Arts, Coll. de Grez; right: the painting as in Fig.a

Benesch 581 Fig.d. Hendrick Goltzius, The Circumcision, engraving, 475 x 355 (Bartsch 12; NH 11). GB London, British Museum (bequeathed by Rev. C.M. Cracherode, 1799; inv. F,3.129)

Benesch 582 Fig.a. Centre: Benesch 582 (reduced) with left: Samuel van Hoogstraten, The Shunamite Thanking Elisha for Reviving her Son (detail), c.1650-60. Pen and grey and brown ink with brown, grey, blue and red wash, and some white bodycolour, 217 x 169. GB London, British Museum (inv. 1910,0218.3; given by Mrs Robert Lowe; https://www.britishmuseum.org/collection/object/P_1910-0218-3); and right: Samuel van Hoogstraten, Christ Blessing the Children, c.1646-50. Pen and brown ink with brown and grey wash, 110 x 67 (NL Amsterdam, Rijksmuseum; inv. RP-T-1987-10; presented by M.D. Haga; http://hdl.handle.net/10934/RM0001.COLLECT.52574). The dry handling of the Christ child in the drawing on the left, and the more solid and emphatic outlines of the kneeling figure – and of the central figure in the drawing on the right, have links with Benesch 582 (centre); overall Benesch 582 appears to be by a less expert hand

Benesch 583
Rembrandt
St Jerome in Prayer
D Hamburg, Kunsthalle

Benesch 583 Detail, enlarged

Benesch 583 Fig.a. Left: Rembrandt, St Jerome Praying in the Wilderness, etching, 110 x 83 (Bartsch 101; NH 112, 1st state). GB London, British Museum (inv. F,5.32), with Benesch 583 on the right

Benesch 583 Fig.b. Left: detail of Benesch 601; right: detail of Benesch 583

Benesch 583 Fig.c. Left: detail of Benesch 606; right: detail of Benesch 583

Benesch 583 Fig.d. Left: detail of Benesch 886; right: detail of Benesch 583

Benesch 583 Fig.e. Left: Benesch 1053 with two enlarged details of the shading below; right: Benesch 583 with two enlarged details of the shading below

Benesch 584 Watermark

Benesch 587A Fig.a. Left: Benesch A27, with enlarged detail below, with (right) Benesch 587A, with enlarged detail below centre; an enlarged detail of Benesch 0588 at the lower right.

Benesch 588 Detail, Enlarged

Benesch 588 Fig.a. Left: The Presentation in the Temple, c.1639. Etching, 213 x 290 (Bartsch 39; NH 184). GB London, British Museum (inv. F,4.94); right: detail of Benesch 588.

Benesch 588 Fig.b. Left: Benesch 964; right: Benesch 588, detail, with details of both drawings below

Benesch 589 Fig.a. Left: Benesch 500a by Carel Fabritius with right: Benesch 589 (with enlarged details of both drawings below

Benesch 589 Fig.b. Left: Benesch 1022; right: Benesch 589, with details of both drawings below