Core list of Rembrandt drawings, section 3:
indented for transfer to the plate

5 drawings, related to
5 etchings

 

For an explanation of this list, see Schwartzlist 301


 

 


Rembrandt, St. Paul in meditation, Ca. 1629
Indented for transfer to etching Bartsch 149
Paris, Louvre
References: Benesch 15. Starcky 1988, nr. 3. MRK 2010


Rembrandt. Diana bathing, Ca. 1629
Indented for transfer to etching Bartsch 201
London, British Museum
References: Benesch 21. Royalton-Kisch 1992, nr. 5. MRK 2010


Rembrandt, Old man with clasped hands, seated in an armchair, ca. 1631
Indented for transfer to plate of etching B. 291
Berlin, Kupferstichkabinett
References: Benesch 41. Bevers 2006, nr. 4. MRK 2010


 

Rembrandt Portrait of Cornelis Claesz. Anslo, 1641
Inscribed Rembrandt f. 1641
Indented for transfer to plate of etching Bartsch 271
London, British Museum
References: Benesch 758. Royalton-Kisch 1992, nr. 32


Rembrandt, Jan Six, Ca. 1647
Indented for transfer to plate of etching Bartsch 285
Amsterdam, Six Collection
References: Benesch 768. Hinterding et al.. 2000, pp. 235-43. MRK 2010

Core list of Rembrandt drawings, section 4:
related to compositions of history paintings

20 drawings, related to
2 lost paintings and
16 extant ones

 

For an explanation of the nature of this list, see Schwartzlist 301


 


 

Rembrandt, The raising of the Cross, ca. 1628-29
With compositional elements and details employed in painting of the subject in 1633, in the Alte Pinakothek, Munich (Bredius 548)
Rotterdam, Museum Boijmans Van Beuningen
References: Benesch 6 recto. Giltaij 1988, nr. 2. MRK 2010


   

Rembrandt, Study for Judas returning the thirty pieces of silver, ca. 1628-29
The related painting is in a private collection in England (Bredius 539A)
Private collection
References: Benesch 8. Van de Wetering and Schnackenburg 2001, p. 226. MRK 2010


  

Rembrandt, The baptism of the eunuch, ca. 1635
Related to a lost painting by Rembrandt that was reproduced in a print by his associate Jan van Vliet in 1631
Munich, Graphische Sammlung
References: Benesch 13. Vignau-Wilberg 2001, nrs. 49-50. MRK 2010


Rembrandt, Kneeling man, ca. 1630
Related to lost painting reproduced in a print dated 1631 by Jan van Vliet
Paris, Louvre
References: Benesch 18. Starcky 1988, nr. 4. MRK 2010


 

Rembrandt, The angel stopping Abraham from sacrificing Isaac, 1635
Related painting, dated 1635, in the Hermitage, St. Petersburg
London, British Museum
References: Benesch 90. Royalton-Kisch 1992, nr. 13. MRK 2010


 

Rembrandt, The lamentation over the dead Christ, ca. 1635
Related painting of about 1635 in the National Gallery, London (Bredius 565)
Berlin, Kupferstichkabinett
References: Benesch 100 recto. Bevers 2006, nr. 9. Bomford et al. 2006, nr. 7. Not MRK 2010


 

Rembrandt, Soldiers and girls carousing, ca. 1635
Berlin, Kupferstichkabinett
References: Benesch 100 verso. Corpus of Rembrandt paintings, vol. 3, 1989, pp. 143-44. Bevers 2006, nr. 9. Not MRK 2010

Rembrandt, The prodigal son in the tavern, ca. 1635
Frankfurt, Städel Museum
References: Benesch 529. Corpus of Rembrandt paintings, vol. 3, 1989, pp. 143-44. Not MRK 2010

Two of the drawings related to Rembrandt’s painting of himself and his wife Saskia as the prodigal son in the tavern, about 1635, in Dresden (Bredius 30)


 

Rembrandt, The naughty child, ca. 1635
Related to the contemporaneous painting of the abduction of Ganymedes, below
Berlin, Kupferstichkabinett
References: Benesch 401. Bevers 2006, nr. 13. Not MRK 2010

Rembrandt, The abduction of Ganymedes, ca. 1635
Regarded as a preparatory drawing for the painting in the Gemäldegalerie, Dresden (Bredius 471)
Dresden, Kupferstich-Kabinett
References: Benesch 92. Dittrich and Ketelsen 2006, nr. 102. Not MRK 2010


Rembrandt, Solomon’s idolatry, ca. 1636-38
The setting bears a strong resemblance to Rembrandt’s earlier painting of another scene in the temple in Jerusalem, Simeon’s song of praise, in the Mauritshuis (Bredius 543)
Paris, Louvre
References: Benesch 136. Starcky 1988, nr. 21. Not MRK 2010


Rembrandt, The preaching of St. John the Baptist, ca. 1637
Related to the painting of about 1636 in the Gemäldegalerie, Berlin (Bredius 555)
Private collection
References: Benesch 139A. Not MRK 2010


Rembrandt, The lamentation over the dead Christ, ca. 1637
See the related painting in London (Bredius 565), in the comparison to an earlier drawing of the subject
London, British Museum
References: Benesch 154. Royalton-Kisch 1992, nr. 12. MRK 2010


  

Rembrandt, The entombment of Christ, ca. 1640-41
By all appearances, the drawing is later the 1636-39 painting of the Entombment in Munich (Bredius 562) to which it is related
Amsterdam, Rijksmuseum
References: Benesch 482 recto. Schatborn 1985, nr. 19. MRK 2010


Rembrandt, Christ and the woman taken in adultery, ca. 1641
Related to the painting of the subject in the National Gallery, London (Bredius 566)
Paris, Louvre
References: Benesch 532. Starcky 1988, nr. 37. Not MRK



Rembrandt, Susannah surprised by the elders, ca. 1650-52
The drawing is related to two earlier paintings of the subject, in The Hague (Bredius 505) and Berlin (Bredius 516)
Amsterdam, Rijksmuseum
References: Benesch 592. Schatborn 1985, nr. 36. Not MRK 2010


Rembrandt, Study for a frame of the painting of St. John the Baptist preaching
Drawn some 20 years later than the painting, but standing in direct relation to it
Paris, Louvre
References: Benesch 969. Starcky 1988, nr. 64. Not MRK 2010


Rembrandt, Isaac and Rebeccah spied upon by Abimelech, ca. 1662
Whether or not the subject is the same, the drawing is related to the painting in the Rijksmuseum known as The Jewish bride (Bredius 416)
New York, private collection
References: Benesch 988. Bevers et al. 2009, nr. 39.1. MRK 2010


  

Rembrandt, The conspiracy of Claudius Civilis, 1661
Drawn on the back of a funeral announcement dated 25 October 1661. Related to the monumental painting for the town hall of Amsterdam, now in Stockholm (Bredius 482). The authenticity of the drawing was called into question by Giltaij 2003, whose opinion is not shared by others, including myself
Munich, Graphische Sammlung
References: Benesch 1061 recto. Vignau-Wilberg 2001, nr. 37. Not MRK. 2010


Rembrandt, Homer dictating to a scribe, ca. 1663
Related to a painting in the Mauritshuis (Bredius 483), ordered by Don Antonio Ruffo in Messina
Stockholm, National Museum
References: Benesch 1066. Magnusson 1992, nr. 160. MRK 2010

Core list of Rembrandt drawings, section 5:
related to details of history paintings

22 drawings, related to
10 paintings

 

For an explanation of the nature of this list, see Schwartzlist 301


Rembrandt, Old man reading a book, ca. 1628
Related to painting in Melbourne (Bredius 423) interpreted as a discussion between Sts. Peter and Paul
Berlin, Kupferstichkabinett
References: Benesch 7. Bevers 2006, nr. 1. MRK 2010


Rembrandt, Three scribes, ca. 1628-29
Rotterdam, Museum Boijmans Van Beuningen
References: Benesch 6 verso. Giltaij 1988, nr. 2. MRK 2010

Rembrandt, Two figures seated in armchairs, ca. 1628-29
Amsterdam, Rijksmuseum
References: Benesch 9 recto. Schatborn 1985, nr. 5. Schnackenburg and van de Wetering (van den Boogert) 2000, nr. 34. MRK 2010

Both drawings are related to the painting in a private English collection of Judas returning the 30 pieces of silver to the priests (Bredius 539A; detail shown here)


Rembrandt, Study of the legs of a seated woman, ca. 1628
Related to painting of the capture of Samson, dated 1628, in Berlin (Bredius 489)
Amsterdam, Rijksmuseum
References: Benesch 9 verso. Schatborn 1985, nr. 5. MRK 2010


Rembrandt, Nude woman reclining, seen from behind, ca. 1632
Related to painting of 1634 of Diana, Callisto and Actaeon in Anholt (Bredius 472)
Stockholm, Nationalmuseum
References: Benesch 192A. Magnusson 1992, nr. 132. Not in MRK 2010


 

Rembrandt, Groups of listeners, mid-1630s
Berlin, Kupferstichkabinett
References: Benesch 140. Bevers 2006, nr. 12. MRK 2010

Rembrandt, Studies for groups and figures, mid-1630s
Berlin, Kupferstichkabinett
References: Benesch 141. Bevers 2006, nr. 11. MRK 2010

Rembrandt, Two studies of John the Baptist, mid-1630s
London, Courtauld Gallery
References: Benesch 142A. Bevers 2006, sub nr. 12. MRK 2010

Rembrandt, Two studies of a woman seated on the ground, mid-1630s
Paris, Louvre
References: Benesch 197. Starcky 1988, nr. 23. Not MRK 2010

Rembrandt, Two men in discussion, a third listening to them, mid-1630s
Chatsworth, Devonshire Collection
References: Benesch 142 recto. Bevers 2006, sub nr. 12. MRK 2010

Rembrandt, Sketch of a bearded old man and three studies of headgear, ca. 1634
Chatsworth, Devonshire Collection
References: Benesch 142 verso. Bevers 2006, sub nr. 12. MRK 2010

Rembrandt, Bearded old man in a high fur cap, mid-1630s
New York, Morgan Library
References: Benesch 336. Bevers 2006, sub nr. 12. MRK 336

Rembrandt, Bearded old man with a fur cap, mid-1630s
Paris, Louvre
References: Benesch 369. Starcky 1988, nr. 15. Not MRK 2010

These sheets stand in relation to details in the painting in Berlin of St. John the Baptist preaching (Bredius 555) of about 1636



 
Rembrandt, Old man in a turban, drawn twice, ca. 1636
Berlin, P. v. Schwabach collection (information from Benesch 1973)
References: Benesch 155. Not MRK 2010

Rembrandt, Head of an oriental in a turban, ca. 1636
Paris, Dr. Otto Wertheimer collection (information from Benesch 1973)
References: Benesch 156. Not MRK 2010

Rembrandt, Old man in a turban, ca. 1636
Melbourne, National Gallery of Victoria
References: Benesch 157. Blankert 1997, nr. 80. MRK 2010

Rembrandt, Head of an oriental in a turban, ca. 1636
Paris, Louvre
References: Benesch 158. Starcky 1988, nr. 27. Not MRK 2010

Rembrandt, Study for a Susanna, ca. 1647
Berlin, Kupferstichkabinett
References: Benesch 590. Bevers 2006, nr. 27. Not MRK 2010

Although the correspondences and datings are not always exact, it is clear that these drawings are related to Rembrandt’s work on the theme of Susanna and the elders in his paintings of 1636 in The Hague (Bredius 505) and of 1647 in Berlin (Bredius 516). The Corpus of Rembrandt paintings, vol. 3, under nr. A 117, considers the evidence for a tie of the first three of the drawings to the earlier painting too slight to be acknowledged.


Rembrandt, A man helping a rider to mount a horse, ca. 1641
Comes close to central motif in The concord of the state of about 1641 in Rotterdam (Bredius 476)
Amsterdam, Rijksmuseum
References: Benesch 363 recto. Schatborn 1985, nr. 20. Not MRK 2010


Rembrandt, Seated old woman, full length, ca. 1635. Wroclaw, Ossolineum
Rembrandt, Seated old woman, half-length, ca. 1641. London, Courtauld Gallery
The drawings of an old woman are related to the figure of St. Anne in a 1640 painting of the holy family in Paris (Bredius 563) as well as to a portrait in the Hermitage of uncertain status (Bredius 361, not illustrated).
References: Benesch 685. Tomicka et al. 2009, nr. 3. Benesch 684. Neither MRK 2010


Rembrandt, Walking man in a high cap, ca. 1660
Related to detail of The prodigal son of about 1600 in the Hermitage, St. Petersburg (Bredius 598)
References: Benesch 1068B. Schatborn 1985, nr. 48. Not MRK 2010

Core list of Rembrandt drawings, section 6:
related to painted portraits or figures

10 drawings, related to
8 paintings

 

For an explanation of the nature of this list, see Schwartzlist 301


 

Rembrandt, Woman, perhaps Saskia, seated in an armchair, ca. 1633
Considered to be a preparatory drawing for a full-length seated portrait like that in the Metropolitan Museum of Art on the right (Bredius 341)
Hamburg, Kunsthalle
References: Benesch 428. Röver-Kann 2000, nr. 58. Not MRK 2010


Rembrandt, Portrait of a young woman holding gloves, ca. 1639
Closely related, perhaps as a preparatory drawing, to the portrait of Maria Trip in the Rijksmuseum, Amsterdam (Bredius 356)
London, British Museum
References: Benesch 442. Royalton-Kisch 1992, nr. 26. MRK 2010


 

Rembrandt, Studies of an officer, an oriental and a man in high cap, ca. 1639-41
This is the only drawing that is brought into connection with The night watch on loan from the city of Amsterdam to the Rijksmuseum (Bredius 410). This is one of the reasons for assuming that very many of Rembrandt’s drawings have been lost.
Paris, Louvre
References: Benesch 661. Not in Starcky 1988. A corpus of Rembrandt paintings, vol. 3, p. 470. Not MRK 2010. [20 February 2014. In an exhibition at the Rembrandt House Museum, Rembrandt, or not: old drawings, new names, Peter Schatborn reattributes this drawing to Heijman Dullaert. With or without that reattribution, I am inclined to agree with him (and disagree with the Rembrandt Research Project) that the drawing is not really that good, and that the tie to the Night watch is not very convincing.]


Rembrandt, Young woman looking out of a window, ca. 1645
Related to painting in Dulwich Picture Gallery, London (Bredius 368)
London, Courtauld Gallery
References: Benesch 700. Royalton-Kisch 1992, sub nr. 50. MRK 2010


Rembrandt, The anatomy lecture of Dr. Jan Deyman, 1656
Study for a frame for the painting, now a fragment, of the subject in the Amsterdam Historical Museum (Bredius 414)
Amsterdam, Amsterdam Historical Museum
References: Benesch 1175. Broos 1981, nr. 17. Schatborn 1985, nr. 45. MRK 2010


Rembrandt, Self-portrait, ca. 1660
Related to painted self-portrait in the Louvre (Bredius 53)
Vienna, Albertina
References: Benesch 1177. Bisanz-Prakken 2005, nr. 14. Not MRK 2010


Rembrandt, Three syndics of the clothmakers’ guild, ca. 1661-62
Berlin, Kupferstichkabinett
References: Benesch 1178. Bevers 2006, nr. 55. MRK 2010

Rembrandt, Syndic Jacob van Loon, ca. 1661-62
Amsterdam, Rijksmuseum
References: Benesch 1179. Schatborn 1985, nr. 56. MRK 2010

Rembrandt, Syndic Volkert Jansz., ca. 1661-62
Rotterdam, Museum Boijmans Van Beuningen
References: Benesch 1180. Giltaij 1988, nr. 36. MRK 2010

Drawings related to the commission for a group portrait of the syndics of the Amsterdam clothmakers’ guild, now in the Rijksmuseum, on loan from the city of Amsterdam (Bredius 415)


Rembrandt, A coach, ca. 1660-63
Related to the coach in the left background of Rembrandt’s equestrian portrait of Frederik Rihel in the National Gallery in London (Bredius 255)
London, British Museum
References: Benesch 756. Royalton-Kisch 1992, nr. 68. Not MRK 2010

Core list of Rembrandt drawings, section 1:
signed drawings

21 drawings with Rembrandt’s signature of which his authorship is accepted
3 drawings with signatures that might be authentic but the drawing itself not by the hand of the master
2 etchings reworked by hand and signed by Rembrandt

For an explanation of the nature of this list, see Schwartzlist 301.

Continue reading “Core list of Rembrandt drawings, section 1:
signed drawings”

299 Rembrandt and I in Oman

The first exhibition on the Arabian peninsula of original work by Rembrandt took place in Muscat, Oman, from 19 August to 19 September 2009. Schwartz made a brief film on Rembrandt and Amsterdam to introduce the master to the Omanis. He attended the opening and the first week of the show. His impressions. Continue reading “299 Rembrandt and I in Oman”

285 The Cotswolds Rembrandt

A country art auction in England made the front pages all over the world when 2.2 million pounds was paid for a painting that looks a lot like a Rembrandt self-portrait. Is it? Schwartz thinks it is, and supplies an analysis to explain why. At the same time, he shows how the published opinions of the Rembrandt Research Project could have led to the rejection of the painting by the experts consulted by the owner and the auction house. More like an article than a column. Continue reading “285 The Cotswolds Rembrandt”

235 Willem Bloemena’s Great Rembrandt Book

The Rembrandt Year 2006 is upon us. At work on a new book on Rembrandt, Schwartz reminisces about the book he edited for the Rembrandt Year 1969. As a publishing project, Horst Gerson’s Rembrandt paintings was a great success. Such successes do not come out of the blue. Schwartz pays tribute to the man who conceived and sold the project, Willem Bloemena.

Continue reading “235 Willem Bloemena’s Great Rembrandt Book”

213 Walk IV

In 1998, for an exhibition in Amsterdam and Paris, a team of art historians and archivists retraced Rembrandt’s footsteps in six walks in and around Amsterdam. Following the trajectory of Walk IV, on the Amstel River, Schwartz realizes that Rembrandt’s deepest wish was to have Holland all for himself. Continue reading “213 Walk IV”

The Albertina two-thirds out of commission

One of Europe’s greatest historical print collections is turned into an exhibition hall.


Continue reading “The Albertina two-thirds out of commission”