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
.jpg "Rembrandt, Two butchers at work, ca. 1635. Frankfurt, Städel Museum")
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
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
Ca1652BMw_resize.jpg "full-size")
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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.