305 Worlds within worlds: paintings and prints missing from the van Haecht exhibition

The first exhibition devoted (in part) to the work of the Antwerp master Guilllam (aka Willem) van Haecht is nearing its close in the Mauritshuis. Van Haecht was the object of intensive study by Schwartz for an unfinished dissertation. He lets down his hair and expresses his chagrin at being bypassed by the organizers. Supplemented by fascinating van Haecht materials wrongly omitted from the exhibition. Continue reading “305 Worlds within worlds: paintings and prints missing from the van Haecht exhibition”

303 The transparent connoisseur 2: More Rembrandt core

Although the discussion is still somewhat one-sided, Schwartz continues his attempt to correct certain misapprehensions on the part of his colleagues concerning the nature and extent of Rembrandt’s work as a draftsman. Here he compares the promise of the recent Getty exhibition with the compromise it delivers. Continue reading “303 The transparent connoisseur 2: More Rembrandt core”

302 Did Rembrandt really not use drawings for his paintings and etchings?

Prevailing opinion has it that Rembrandt drew far fewer drawings than the 1500 in the standard catalogue of Otto Benesch, and that he almost never used drawings to prepare his compositions. Schwartz posits the opposite: that Rembrandt drew far more than 1500 drawings and that it was his normal practice to use drawings – most of them now lost – in the preparation of his etchings and paintings. Continue reading “302 Did Rembrandt really not use drawings for his paintings and etchings?”

301 Rembrandt’s core: the drawings

Since 1991, the opinion has held sway that only 70 drawings by Rembrandt can be confirmed with great certainty. That is, drawings that are signed, otherwise inscribed in Rembrandt’s hand, indented for transfer to the etching plate or serving as preparatory studies for an autograph painting or etching. Schwartz now expands that list from 70 to 169. Continue reading “301 Rembrandt’s core: the drawings”

Core list of Rembrandt drawings, section 9:
landscapes

13 drawings, related to
1 painting
8 etchings

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



Rembrandt, Two cottages, ca. 1636-37
Otto Benesch wrote, “The little cottage was introduced by Rembrandt into his painting The Windmill in the National Gallery, Washington, in which the cottage … stands in the shadow of the dark bastion.” The painting is dated ca. 1643-46
Rotterdam, Museum Boijmans Van Beuningen
References: Benesch 341 verso. Giltaij 1988, nr. 11, where no mention is made of the indeed striking resemblance between the cottage in the drawing and that in the painting. Rembrandt’s authorship of the painting is not accepted by all specialists. Not MRK 2010




Rembrandt, The Passeerder windmill in Amsterdam, ca. 1640-41
Formerly Bremen, Kunsthalle. Missing since the Second World War
References: Benesch 810. Röver-Kann 1998, nr. A23. Bakker 1998, pp. 192-95. Not MRK 2010

Rembrandt, The Passeerder windmill in Amsterdam, ca. 1641
Rotterdam, Museum Boijmans Van Beuningen
References: Benesch 813. Giltaij 1988, nr. 20. Bakker 1998, pp. 202-05. Not MRK. 2010

The same windmill was depicted in etching Bartsch 233, dated 1641



Rembrandt, Landscape with a milkman on the Diemerdijk, ca. 1650
The same farm appears from the same angle, but in reverse, in etching Bartsch 213
London, British Museum
References: Benesch 836. Royalton-Kisch 1992, nr. 76. Bakker 1998, p. 222. Not MRK. 2010



Rembrandt, The Amsteldijk at Meerhuizen, looking towards The Little Windmill, ca. 1649-50
Inscribed on the reverse: Dees tekeningh vertoont de buiten amstelkant / Soo braaf getekent door heer rembrandts eygen hant / PKo (This drawing depicts the Buiten-Amstel, most able drawn by Master Rembrandt’s own hand. P[hilips] Ko[ninck]). The drawing was made at the same spot as two drawings in the Duke of Devonshire collection at Chatsworth (Benesch 1218, 1219). Not related to an etching, but included here for the value of the inscription
Paris, Louvre
References: Benesch 1220 recto and verso. Starcky 1988, nr. 42. Bakker 1998, pp. 272-76. Not MRK 2010



Rembrandt, Cottage on the Diemerdijk, looking east, ca. 1650
The same farmhouse recurs in etching Bartsch 213 and other images
Oxford, Ashmolean Museum
References: Benesch 1227. Bakker 1998, p. 221. MRK 2010


 


Rembrandt, The House with the Tower, seen from across the Schinkel, ca. 1650
The house appears in another environment in etching Bartsch 235
Los Angeles, J. Paul Getty Museum
References: Benesch 1267. Bakker 1998, p. 318. Not MRK 2010




Rembrandt, Farmstead with adjoining house, c. 1652
Copenhagen, Statens Museum for Kunst
References: Benesch 1236. Bakker 1998, p. 226. Not MRK 2010

Rembrandt, Farmstead with adjoining house, ca. 1652
Amsterdam, private collection
References: Benesch 1233. Bakker 1998, p. 225. Not MRK 2010

The farm recurs in etching Bartsch 224, dated 1652, as well as in several drawings by Rembrandt pupils



Rembrandt, Panorama near Bloemendaal, with the skyline of Haarlem in the distance, ca. 1651
The same view, in reverse, as in etching Bartsch 234
Rotterdam, Museum Boijmans Van Beuningen
References: Benesch 1259. Bakker 1998, p. 377. Not MRK 2010


Rembrandt, View at the inn Huis te Vraag, ca. 1652
The same location is depicted in the drypoint etching Bartsch 224
Formerly Chatsworth, collection of the dukes of Devonshire. Present location unknown
References: Benesch 1248. Bakker 1998, p. 339. Not MRK 2010



Rembrandt, Farmhouse beneath trees, 1652
Site of etching Bartsch 222
Cambridge, Fitzwilliam Museum
References: Benesch 1274. Scrase 1996. Not MRK 2010

Core list of Rembrandt drawings, section 7:
related to etched compositions

32 drawings, related to
20 etchings

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

 


 

Rembrandt, Old man with outspread arms, ca. 1628-29
Related to etching of Sts. Peter and John healing a cripple at the gate of the Temple of about 1629 (Bartsch 95)
Dresden, Kupferstichkabinett
References: Benesch 12. Dittrich and Ketelsen 2004, nr. 97. MRK 2010


 

Rembrandt, Man kneeling, ca. 1633
Related to group in left background, in reverse, of etching The ship of Fortune, from a book of 1633 (Bartsch 111)
Frankfurt, Städel Museum
References: Benesch 84. Not MRK 2010


 

Rembrandt, Entrance of a cottage, ca. 1633
The situation resembles that in the etched Good Samaritan of 1633 (Bartsch 90)
Hamburg, Kunsthalle
References: Benesch 462. Röver-Kann 2000, nr. 60. Schwartz 2006, pp. 16-18. Not MRK 2010


 

Rembrandt, Jacob being shown Joseph’s bloody cloak, ca. 1635-37
Related to the etching of the subject, dated 1633 (Bartsch 38)
Berlin, Kupferstichkabinett
References: Benesch 95. Bevers 2006, nr. 14. Not MRK 2010



Rembrandt, Joseph telling his dreams, ca. 1637
Rotterdam, Museum Boijmans Van Beuningen
References: on the verso of Benesch 161, not mentioned by Benesch. Giltaij 1988, sub nr. 13. Hinterding 2008, sub nr. 25. MRK 2010

Rembrandt, Studies of a woman reading and an Oriental, ca. 1637
New York, private collection
References: Benesch 168. Hinterding et al. 2000, sub nr. 31. Not MRK 2010

The drawings are related to Rembrandt’s etching, dated 1637, of Joseph telling his dreams (Bartsch 37). Also connected to this print is the drawing of a bearded old man in a private collection illustrated in Section 1: signed drawings (Benesch 20)


Rembrandt, Eve giving the apple to Adam, ca. 1638
Leiden University print room, inv. nr. AW1097
References: Benesch 164. Hinterding 2008, sub nr. 18. MRK 2010

Rembrandt, Eve giving the apple to Adam, ca. 1638
Private collection
References: Benesch 165. Hinterding 2008, sub nr. 18. Not MRK 2010

The drawings relate to Rembrandt’s etching of 1638 (Bartsch 28)


Rembrandt, Man in a tall fur hat, ca. 1635
Recurs in the etching, dated 1635, of The stoning of St. Stephen (Bartsch 97)
Frankfurt, Städel Museum
References: Benesch 297. Not MRK 2010


Rembrandt, The pancake woman, ca. 1635
Related to the etching of the same subject, dated 1635 (Bartsch 124)
Amsterdam, Rijksmuseum
References: Bredius 409. Schatborn 1985, nr. 6. Not MRK 2010


Rembrandt, Woman in a rich dress and a fur hat, seen from behind, ca. 1639
Related to woman in allegorical etching, dated 1639, of Death appearing to a wedding couple (Bartsch 109)
Leipzig, Museum der bildenden Künste
References: Benesch 321. Dittrich and Ketelsen 2006, sub nr. 107. Not MRK 2010


Rembrandt, Man kneeling in prayer; a woman’s head, ca. 1637
The kneeling man resembles the eunuch being converted in an etching of 1637 (Bartsch 98) and the woman the lower head on an etching dated to that year (Bartsch 367)
Vienna, Albertina
References: Benesch 357. Bisanz-Prakken 2004, nr. 32. Not MRK 2010


Rembrandt, The artist drawing from a model, ca. 1639
Related to the unfinished etching (Bartsch 192)
London, British Museum
References: Benesch 423 recto. Royalton-Kisch 1992, nr. 27. MRK 2010


Rembrandt, Study for a Presentation in the Temple, ca. 1639
Related to the etching of the subject (Bartsch 49)
Amsterdam, Amsterdam Historical Museum
References: Benesch 486. Broos 1981, nr. 8. Not MRK 2010


   

Rembrandt, Nude man kneeling, ca. 1640
Bayonne, Musée Bonnat
References: Benesch 477. Hinterding 2008, sub nr. 77, note 6. MRK 2010

Rembrandt, Three men being beheaded, ca. 1640
London, British Museum
References: Benesch 479. Royalton-Kisch 1992, nr. 35. Not MRK 2010

Rembrandt, Sketch of an executioner, ca. 1640
Amsterdam, Rijksmuseum
References: Benesch 482 verso. Schatborn 1985, nr. 19. MRK 2010

Drawings related to Rembrandt’s etching, The beheadal of St. John the Baptist, 1640 (Bartsch 92)



Rembrandt, Figure studies, ca. 1642
Amsterdam, Rembrandthuis
References: Bartsch 373. Ornstein-van Slooten et al. 1992, nr. 2. Not MRK 2010

Rembrandt, Two women walking (Ruth and Naomi?), ca. 1642
Brussels, Koninklijke Musea voor Schone Kunsten van België
References: Benesch 737. Hautekeete 2005, nr. 2. Not MRK 2010

The old woman with a walking stick in both drawings is related to the etching The Spanish gypsy Preciosa of 1642 (Bartsch 120)


Rembrandt, Sheet of studies, with a woman teaching a child to walk, ca. 1646
Related to background motif of the etching called Het rolwagentje, semi-nude boys and an old woman teaching a child to walk (Bartsch 194)
Stockholm, Nationalmuseum
References: Benesch 706. Magnusson 1992, nr. 147. Not MRK 2010






Rembrandt, Two sick women, ca. 1645-48
Amsterdam, Rijksmuseum
References: Benesch 183 recto. Schatborn 1985, nr. 21. MRK 2010

Rembrandt, Head of a sick woman, ca. 1645-48 (detail)
Amsterdam, Rijksmuseum
References: Benesch 183 verso. Schatborn 1985, nr. 21. MRK 2010

Rembrandt, Man standing, a cap inhis outstretched right hand, ca. 1645-48
London, Courtauld Gallery
References: Benesch 184. Hinterding et al. 2000, sub nr. 61. MRK 2010

Rembrandt, Blind old man guided by a woman, ca. 1645-48
Paris, Louvre
References: Benesch 185. Starcky 1988, nr. 39. MRK 2010

Rembrandt, Study for the group of the sick in The hundred-guilder print, ca. 1645-48
Berlin, Kupferstichkabinett
References: Benesch 188. Bevers 2006, nr. 40. MRK 2010

Rembrandt, Study of a seated beggar woman, supplicating, ca. 1645-48
Private collection
References: Benesch 388. Hinterding et al. 2000, sub nr. 61. MRK 2010

Rembrandt, Old man with a fur cap, ca. 1645-48
Peck Collection
References: Benesch 724. Peck 2003, nr. 6. Not MRK 2010

Rembrandt, Study for the Hundred-guilder print
Paris, Louvre
References: Benesch 543. Hinterding et al. 2000, p. 76. Not MRK 2010

Drawings related to the etching of Christ preaching and healing the sick, known as The Hundred-guilder print and completed in 1648 (Bartsch 74)


 

Rembrandt, St. Jerome reading in an Italian landscape, ca. 1650
Related to etching of the subject, ca. 1653 (Bartsch 106)
Hamburg, Kunsthalle
References: Benesch 886. Röver-Kann 2000, nr. 67. MRK 2010



Rembrandt after a Mughal miniature, Four sufis under a tree, mid-1650s
London, British Museum
References: Benesch 1187. Royalton-Kisch 1992, nr. 62. Not MRK 2010

Rembrandt after a Mughal miniature, Emperor Akbar and his son Selim, mid-1650s
Rotterdam, Museum Boijmans Van Beuningen
References: Benesch 1189. Giltaij 1988, nr. 30. Not MRK 2010

Both drawings fed into Rembrandt’s etching of Abraham entertaining the angels, 1656



Rembrandt, Christ comforted by the angel, mid-1650s
Hamburg, Kunsthalle
References: Benesch 899. Röver-Kann 2000, nr. 68. Not MRK 2010

Rembrandt, Christ comforted by the angel, ca. 1657
Cambridge, Fitzwilliam Museum
References: Benesch 626. Fitzwilliam Museum website. Not MRK 2010

Related to etching Bartsch 75, dated to about 1657

Core list of Rembrandt drawings, section 8:
related to portrait,figure and genre etchings

22 drawings, related to
19 etchings

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

 


Rembrandt, Standing beggar in lost profile, ca. 1628
Related to etching of about 1629 (Bartsch 162)
Amsterdam, Rijksmuseum
References: Benesch 30. Schatborn 1985, nr. 2. Bevers et al. 1991, nr. 1. Not MRK 2010


Rembrandt, Self-portrait with open mouth, ca. 1628-29
Related to several paintings and etchings, most closely the etching Bartsch 13, dated 1630
London, British Museum
References: Benesch 53. Royalton-Kisch 1991, nr. 1


Rembrandt, Self-portrait, ca. 1629
Related to several paintings and drawings, most closely etching Bartsch 338, dated 1629
Amsterdam, Rijksmuseum
References: Benesch 54. Schatborn 1985, nr. 1. Not MRK 2010


Rembrandt, Seated old man, ca. 1630
Related to several etchings of the same subject, especially Bartsch 325, dated 1630
Stockholm, Nationalmuseum
References: Benesch 38. Magnusson 1992, nr. 131. Not MRK 2010


Rembrandt, Bust of a bearded old man, ca. 1631
Related to several etchings of the same subject, mainly Bartsch 315, dated 1631
Paris, Louvre
References: Benesch 39. Hinterding 2008, sub nr. 231. Not. MRK 2010


Rembrandt, Violin player and woman, ca. 1631
Related to etching of beggar playing violin, dated 1631 (Bartsch 138)
Berlin, Kuperstichkabinett
References: Benesch 232. Bevers 2006, nr. 24. Not MRK 2010


 

Rembrandt, Self-portrait, ca. 1633
Related to self-portrait etching of 1633
Marseille, Musée des Beaux-Arts
References: Benesch 430. A corpus of Rembrandt paintings, vol. 4, p. 146. Not MRK 2010


Rembrandt, Self-portrait, ca. 1635-38
Related to etched self-portrait Bartsch 2 of about the same time as well as other self-portrait etchings. The drawing is thought to postdate the etching. This is in itself reason enough to doubt the wisdom of restricting the core list of Rembrandt drawings to sheets that can be called preparatory or preliminary drawings
Washington, National Gallery of Art
References: Benesch 437. Exhib. cat. Rembrandt by himself 1999, nr. 45. Not MRK 2010


Rembrandt, Seated woman with a rolled-up letter, ca. 1635
Related to etching called The great Jewish bride, dated 1635
Stockholm, Nationalmuseum
References: Benesch 202. Magnusson 1992, nr. 138. Not MRK 2010


Rembrandt, Self-portrait, ca. 1636
Related to etched Self-portrait with Saskia, dated 1636 (Bartsch 19)
Berlin, Kupferstichkabinett
References: Benesch 432. Bevers 2006, nr. 17. Not MRK 2010


 

Rembrandt, Four studies of Saskia, two of them with a baby, mid-1630s
Related to several etchings with multiple images of women, Bartsch 365 (dated 1636), 367 and 368 (dated 1637)
Rotterdam, Museum Boijmans Van Beuningen
References: Benesch 360 recto. Giltaij 1988, nr. 10. Not MRK 2010




Rembrandt, Saskia sitting up in bed, ca. 1638
Dresden, Kupferstich-Kabinett
References: Benesch 255. Dittrich and Ketelsen 2006, nr. 103. Not MRK 2010

Rembrandt, Saskia lying in bed, ca. 1638
Oxford, Ashmolean Museum
References: Benesch 281A. Blankert 1997, nr. 82. Lloyd Williams 2001, nr. 42. Hinterding 2008, sub nr. 258. Not MRK 2010

Rembrandt, Sick woman lying in bed, probably Saskia, latter 1630s
Paris, Petit Palais
References: Benesch 283. Lloyd Williams 2001, nr. 46. Not MRK 2010

Rembrandt, Saskia in bed. latter 1630s
London, British Museum
References: Benesch 286. Royalton-Kisch 1992, nr. 19. Hinterding 2008, sub nr. 258. Not MRK 2010

These images belong to a larger group with close mutual ties. The drawings shown here are most often brought into connection with an etching of diverse motifs most recently dated ca. 1638 (Bartsch 369). They are also related to the figure of the dying Virgin in an etching of 1639 (Bartsch 99)


 

Rembrandt, Old man leaning on a stick, latter 1630s
Related to figures in several etchings and paintings, most closely etching Bartsch 133, dated 1639
New York, Metropolitan Museum of Art (Robert Lehman Collection)
References: Benesch 260. Logan 1995, nr. 58. Not MRK 2010


Rembrandt, Sleeping dog, ca. 1640
Related to etching Bartsch 158 of about 1640 and to the dog in the foreground of the painting Joseph telling his dreams (Bredius 504)
Boston, Museum of Fine Arts
References: Benesch 455. Ackley 2003, nr. 54. Not MRK 2010



Rembrandt, Jan Cornelisz Sylvius, ca. 1646
Stockholm, Nationalmuseum
References: Benesch 762a. Magnusson 1992, nr. 148. MRK 2010

Rembrandt, Jan Cornelisz. Sylvius, ca. 1646
London, British Museum
References: Benesch 763. Royalton-Kisch 1992, nr. 46. MRK 2010

Related to the etched portrait of Minister Sylvius, married to a cousin of Saskia’s (Bartsch 280). A third drawing for the print, Benesch 762, is illustrated under Drawings with inscriptions



Rembrandt, Jan Six in hat, ca. 1647
Amsterdam, Amsterdam Historical Museum
References: Benesch 749 verso. Broos 1981, nr. 13. Hinterding et al. 2000, sub nr. 57. MRK 2010

Rembrandt, Jan Six with a dog, ca. 1647
Amsterdam, Six Collection
References: Benesch 767. Hinterding et al. 2000, sub nr. 57. MRK 2010

Related to etched portrait of the sitter, dated 1647 (Bartsch 285). The drawing that was transferred to the plate is preserved in the Six Collection (Benesch 768)


Rembrandt, Lieven Willemsz. van Coppenol, ca. 1658
Related to etching of about 1658 (Bartsch 282)
Budapest, Museum of Fine Arts
References: Benesch 766. Gerszi 2005, nr. 208. MRK 2010

Core list of Rembrandt drawings, section 2:
with inscriptions in Rembrandt’s handwriting other than a signature

21 drawings with inscriptions by Rembrandt of which his authorship of the drawing itself is accepted
2 drawings with inscriptions by Rembrandt of which his authorship of the drawing itself may be doubted
1 drawing with an inscription by Rembrandt that he did not draw

 

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


 

 

Rembrandt, The entombment of Christ, 1630
Inscribed 1630
London, British Museum
References: Benesch 17. Royalton-Kisch 1992, nr. 15. Not MRK 2010


Rembrandt, Portrait of Saskia as a bride, 1633
Inscribed dit is naer mijn huisvrou geconterfeyt / do sy 21 jaer oud was den derden / dach als wij getroudt waeren / den 8 Junijus / 1633 (This was portrayed after my wife when she was 21 years old, the third day after we were married. June 8, 1633)
Berlin, Kupferstichkabinett
References: Benesch 427. Bevers 2006, nr. 5. MRK 2010



By or after Rembrandt, Three studies of a bowman, ca. 1634
Inscribed on the reverse …lderij 2 – 0 – 0 / 3 – 8 – 0 … / 5 – 0 – 0 (seemingly prices of paintings). Related to the painting of St. John the Baptist preaching in Berlin (Bredius 555)
Stockholm, Nationalmuseum
References: Benesch A20. A corpus of Rembrandt paintings, vol. 3, p. 84. Magnusson 1992, nr. 135. Not MRK 2010


Rembrandt, Two butchers at work, ca. 1635
Inscribed t vel daer aen ende voorts de rest bysleepende ([leaving] the skin on and then pulling the rest along)
Frankfurt, Städel Museum
References: Benesch 400. Tümpel 2003, p. 169. Schwartz 2006, p. 284. Not MRK 2010


Rembrandt after Pieter Lastman, Susannah and the elders, ca. 1636
Inscribed on the reverse verkoft syn vaendrager synd – 15 – / een floora verhandelt – 6 -/ (f)ardynandus van sijn werck verhandelt / aen ander werck van sijn voornemen / den Abraham een floorae / Leenderts floorae is verhandelt tegen 5 g (sold his standard-bearer being 15 [guilders], a Flora sold – 6 [guilders] – Work by Ferdinand [Bol] sold, on other work he is planning, the Abraham, a Flora. Leendert [van der Cooghen’s]  Flora sold for 5 guilders)
Berlin, Kupferstichkabinett
References: Benesch 448. Bevers 2006, nr. 18. Not MRK 2010


Rembrandt, Studies of a woman with two children, ca. 1636
Inscribed een kindekin met een oudt jack op syn hoofdken (a little child with an old jacket on his head)
Peck Collection
References: Benesch 300. Peck 2003, nr. 5. Not MRK 2010


Rembrandt, Study of Russian costume, ca. 1637
Inscribed in ongenaeden synden en werden niet geschooren (those who are in disgrace are not shaved)
New York, Morgan Library
References: Benesch 145. de Winkel 2006, p. 215. Not MRK 2010


Rembrandt, Studies of a Mater Dolorosa and other mourners beneath the cross, ca. 1637
Inscribed een dijvoot thresoor dat in een fijn harte bewaert wert tot troost harer beleevende siel (a devout treasure that is preserved in a good heart for the consolation of her suffering soul)
Amsterdam, Rijksmuseum
References: Benesch 152. Schatborn 1985, nr. 7. Tümpel 2003, p. 166. MRK 2010


Rembrandt after Pieter Lastman, Paul and Barnabas at Lystra, ca. 1637
Inscribed een vrouw wijst op een jonck kind (a woman points at a young child)
Bayonne, Musée Bonnat
References: Benesch 449. Tümpel & Schatborn 1991, pp. 137-39. Not MRK 2010


Rembrandt, Titia van Uylenburgh
Inscribed Tijtsija van Ulenburch / 1639
Stockholm, Nationalmuseum
References: Benesch 437. Cavalli-Björkman et al. (Magnusson) 1992, nr. 142. Not MRK 2010


Rembrandt after Raphael, Baldassare Castiglione
Inscribed de Conten batasar de kastijlijone van raefael / verkoft voor 3500 gulden / het geheel cargesoen tot Luke van Nuffelen heeft gegolden f59456:- Ao 1639 (Count Balthasar de Castiglione by Raphael, sold for 3500 guilders. The entire shipment fetched 59,456 guilders at Luke van Nuffelen [auction house]. 1639)
Vienna, Albertina
References: Benesch 451. Bisanz-Prakken 2004, nr. 8. Not MRK 2010


Rembrandt, Bust of the emperor Galba, ca. 1640-41
Inscribed .alba
Berlin, Kupferstickhabinett
References: Benesch 770. Bevers 2006, nr. 26. Not MRK 2010



Rembrandt, Two Jews in discussion, walking, ca. 1641-42
Inscribed …/ …samson/ sijnd troni/ een(?) die een pijl wtreckt over/ … schouder (Samson, his face, drawing an arrow over… shoulder)
Haarlem, Teylers Museum
References: Benesch 665. Not MRK 2010


By or related to Rembrandt, Jacob’s dream, ca. 1644
Inscribed 44 / 2 / doopt ([16]44, 2, baptizes). Benesch accepted the writing as Rembrandt’s and interprets the number 44 as the date 1644
Paris, Ecole des-Beaux Arts
References: Benesch 555. No recent reference, status uncertain. Not MRK 2010


Fig. 1. Rembrandt, A Satire on Art Criticism, 1644, pen and brown ink, corrected with white that has oxidized, 15.5 x 20.1 cm. The Metropolitan Museum of Art, Robert Lehman Collection, New York, inv. no. 1975.1.799 (artwork in the public domain)

Rembrandt, Satire on art criticism, 1644
Inscribed den tijd 16[4?]4 / dees … van d kunst / is .ooting gunst … Houdlos… / i ind. dat…
New York, Metropolitan Museum of Art
References: Benesch A35a. Logan 1995, nr. 61. Not MRK 2010


Rembrandt, Posthumous portrait of the preacher Jan Cornelisz. Sylvius, ca. 1644-45
Inscribed den een on … sijden … ofte … /naer Chrisstum gaenden (… going to Christ)
Washington, National Gallery of Art
References: Benesch 762. Online catalogue of museum. Not MRK 2010


 

Rembrandt, Bust of Andrea Doria, ca. 1653
Inscribed ANDREAS D. AVREA Hartog van S[tad] genuwa (Andrea Doria, duke of the city of Genoa)
Berlin, Kupferstichkabinett
References: Benesch 1186. Bevers 2006, nr. 51. Not MRK 2010

Compare
Anonymous Italian medallist, Andrea Doria, ca. 1550-1600
Florence, Biblioteca Marucelliana


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Rembrandt after Mantegna, The calumny of Apelles, ca. 1656
Inscribed CaLomnia d’apella / Inocenv[v=s]ia / Susp[ic]ione / I[g]nora[n]cia / acnoni / Ins[s=v]idia / Penitencia / Veritas (after Broos 1981-82)
London, British Museum
References: Benesch 1207. Royalton-Kisch 1992, nr. 53. Not MRK 2010

Compare
Andrea Mantegna, The calumny of Apelles, ca. 1500-05
London, British Museum


Rembrandt, River with trees, ca. 1654-55
Inscribed on reverse [om te] etsen witten tarpentyn oly / [daer] toe de helft tarpentyn / tesaemen in een glaesen flesken gedaen en / flesken in suver[?] waeter een ha[lf] [uu]r laeten kooken (to etch, white turpentine oil, add half turpentine, mix in a small glass bottle and boil the bottle in pure water for half an hour)
Paris, Louvre
References: Benesch 1351. Starcky 1988, nr. 69. Not MRK 2010


Rembrandt, Jupiter with Philemon and Baucis, ca. 1655
Inscribed d’ouden filemon onvan[g]t mes ind[e] mon en dHaend op de vloer omgeswicht (The old Philemon takes the knife in his mouth and sprains his hand on the floor)
Berlin, Kupferstichkabinett
References: Benesch 960. Tümpel 2003, p. 167. Not in Bevers 2006. Schwartz 2006, p. 336. The idiosyncrasy of this drawing, combined with the handwriting, seemingly Rembrandt’s, convince me, in agreement with Tümpel, that it is by him. Not MRK 2010


Rembrandt, Christ and the woman taken in adultery, ca. 1659-60
Inscribed on an attached strip of paper soo jachtich om Christus in zijn antwoordt te verschalken konden schrifterlick antw[oord] niet afwachten (so eager to catch Christ out in his answer that they could not wait for written reply). 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 1047. Vignau-Wilberg 2001, nr. 64. Tümpel 2003, p. 162. Not MRK 2010


Rembrandt, The blind Belisarius receiving alms, ca. 1660
Inscribed erbarmt u over den armen bellisaro die nochtans wel was in groot aensien door syn manhaftijge daden en door de jalousij is verblindt (have pity on poor Belisarius who after all stood in high esteem for his heroic deed and was blinded by jealousy)
Berlin, Kupferstichkabinett
References: Benesch 1053. Tümpel 2003, p. 164. Bevers 2006, nr. 52. Not MRK 2010


Rembrandt, A child being taught to walk, ca. 1660-62
Inscribed on reverse, probably ca. 1656 (from website of British Museum) ‘dit voor af te vragen / [vr]agen aen ons beijde oft wijt an de Heeren / [g?]oede mannen willen laten ver blijben / dan tijssen te vragen of Hij niet een / beijden d schilderien gelieft opgemaeckt te hebben / geen van beijden begerende.’ Top left, in graphite: ‘1217’ and centre: ‘2’. The main inscription is written around the ‘2’ and was therefore probably made later, and the ‘2’ could therefore also be autograph.
The main inscription may be translated as follows: ‘to ask this first / to [ask] ourselves both whether we will leave it to the gentlemen / good men to ask Thysz. whether he would not like to have one [or?] both the paintings finished/ if he wants neither of the two.’
London, British Museum
References: Benesch 1169. Royalton-Kisch 1992, nr. 60. Not MRK 2010


Related to Rembrandt, Old man in a long cloak, ca. 1660
London, Courtauld Gallery
Reference: museum website: workshop
Reverse: 20-line fragmentary inscription in Rembrandt’s hand, apparently a list of prints drawn up in connection with the sales of his art on paper in 1657 and 1658
References: Benesch A96a. Schwartz 2006, p. 38. Not MRK 2010

At a symposium on Rembrandt’s drawings held in Munich held in 2002 in connection with an exhibition at the Graphische Sammlung, Christian Tümpel delivered a paper on six of the above inscriptions. (See Tümpel 2003.) In the subsequent discussion, Volker Manuth asked whether the occurrence on a drawing of an inscription by Rembrandt should not be interpreted as a sign that the drawing is not by Rembrandt rather than by him. As a general consideration, I do not agree with this. Nor have the individual drawings in this section been questioned by other authorities, except where indicated. At a symposium in the J. Paul Getty Museum on 2 February 2010, Martin Royalton Kisch said that he did not consider an inscription by Rembrandt on a drawing a sufficiently powerful indication to justify including it on his core list. He made only two exceptions, in the case of the 1633 drawing of Saskia and the Mater Dolorosa in the Rijksmuseum.

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