Benesch 541-(in progress) illustrations

Benesch 541
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
Jacob and his Sons 1641?
F Paris, Musée du Louvre

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

Image slightly reduced

Benesch 543
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 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
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
Carel Fabritius?
Sarah Complaining of Hagar to Abraham 1641-45?
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.