Manual Just Images of Paintings and Drawings by Rembrandt

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Not on view. Public Domain. Date: Medium: Pen and brown ink, brush and brown wash. Classification: Drawings. Credit Line: H. Havemeyer Collection, Bequest of Mrs. Havemeyer, Accession Number: Timelines Low Countries, A. Browse the Collection. Elsje Christiaens Hanging on a Gibbet , Havemeyer, Accession Number: Inscription: Inscribed in pen at lower left much faded the initials: WE Lugt Some Rembrandt drawings belonging to him were sold in Amsterdam in , but this one is not listed.

Havemeyer; Donor: Louisine W. Fogg Museum, Harvard Art Museums. The Metropolitan Museum of Art. National Gallery of Scotland. Royal Academy of Arts. Bizemont or by his son, according to Pierre de Bizemont. For further information she points to M. Moinet and I. Tassels, as seen here, were commonly and still are, in a different form attached to Jewish prayer shawls. It is now usually dated c. Mariette, who catalogued them for the Crozat sale, but this might have been subsequently trimmed away.

Unfortunmately the Crozat sale catalogue does not generally describe individual sheets. See also n. As the drawing is soon to be sold I would like to reiterate here what I state on this site's Homepage: "This is a not-for-profit resource. All the opinions expressed are the compiler's own and offered freely and without prejudice. I do not accept payment for opinions, as to do so might undermine any validity they may have". Amsterdam, , p. Rembrandt; white bodycolour on the thigh; wrongly states that the figure appears in Bartsch 37, NH ; compares Benesch in British Museum; the stick not straight.

A Sledge on the Ice ? Pen and brown iron-gall ink with mostly later brown wash on brownish paper. Chain lines: 24v, with fine laid lines. The drawing is sadly reworked, especially in the horse, and the signature is false; but the date it suggests, , accords well with Rembrandt's own use of iron-gall ink, and the style melds seemlessly with Benesch Compare also the Youth Walking with a Pole in the Rijksmusem inv. RP-T; not in Benesch. Two Couples on Horseback ?

Pen and brown iron-gall ink with brown wash and red chalk, with white heightening, on brownish paper. Chain lines 25h, laid lines c. The drawing is very considerably reworked, in red chalk as well as pen and wash; the foliage in the fore- and background is all added later; but like the Sledge in the same collection inv. The inscription on the verso also looks to be in Rembrandt's own handwriting. Munich, , no.

Man at a Window c.

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But the typical use of iron-gall ink on paper prepared brown for a drawing of the late s, and the high quality of the rendering of the characterful face, make an attribution to Rembrandt likely, if somewhat insecure, although the incipient head at the lower right also looks typical for him. Sumowski's comparison with Bol's drawing of Minerva in Berlin Sumowski x is not entirely persuasive, as the structure and form is there typically for Bol less secure.

For the use of the tip of the brush at the top, cf. Indiana, Notre Dame Selections of [ Dutch Art from the Collection of Dr A. Dreesmann , , no.

'The Concert'

Recto: Sketch of Saskia? Verso: Bust of a Woman, to left, holding a child? Pen and brown iron-gall ink, with on recto only brown wash and white heightening, on paper prepared with brown wash. Chain lines horizontal; distance apart uncertain. Although I am inclined to discount an attribution to Rembrandt, when I first studied the drawing in , I thought it might be at least partly his work.

The possibility that it is a very rapid study remains conceivable, and some pen lines exhibit the necessary style and verve e. Nonetheless I feel the drawing merits a place in the "attributed to Rembrandt" section. USA Cambridge Mass. A highly characteristic iron-gall ink drawing of c. For the sitter, see under Benesch Compare Benesch , which shows Ruyter again. Melbourne-Canberra, , p. Vienna, , no. Amsterdam, , pp. Los Angeles, , p. Counterproof of etching Bartsch ,i touched with black chalk. Though strictly speaking a touched proof, this counts as a documentary drawing, the face being drawn in by Rembrandt in black chalk.

Baltimore, Baltimore Museum of Art, Garrett collection inv. Is nog met kleine Correctie door Rembrand zelve ingetekent Philipe, 16 etc. Amsterdam-London, —, under no. Isaac blessing Jacob c. Compare Benesch Not in Benesch Rembrandt, Sketch of a Lioness, to left c. Compare the drawings in the British Museum, Benesch The Adoration of the Magi, Red chalk.

Signed and dated below in the same red chalk: 'Rembrandt f ' x This unusual drawing resembles in composition Rembrandt's etching of the Baptism of the Eunuch, also of Bartsch 98; see also Benesch 13, now also thought to date from this period. It seems to be a rapidly-sketched demonstration of a pyramid design, affording an interesting insight into the practice of creating the overall balance of a composition.

The elephant suggests that the subject is the Adoration of the Magi, as in Benesch verso qv. As with the Liberna drawing above, of , the drawing's inclusion here is rendered mandatory by the apparently autograph signature and date,[1] but the attribution is likely to prove controversial. Watermark: Strasburg Lily in a crowned shield. Compare the handwriting of the date on the drawing with that written on the Landscape of the same year in the same collection, Benesch The iconography, while clearly a satire on critics of art, and based on the Calumny of Apelles by Mantegna, has eluded a definitive interpretation.

A35, repr. X, repr. Paris, , p. Not In Benesch Rembrandt?? Studio with a Couple Having their Portrait Painted c. Pen and brown ink with brown wash. Analogies with drawings such as the signed Star of the Kings Benesch and the Allegory of Art Criticism Benesch A35a as well as Benesch make it necessary to include this controversial drawing in our 'attributed' section. In some areas, especially to the right, the penwork appears stilted, as if it had been partly added or strengthened by a later hand see F.

Lugt in Paris, and the wash is also uncharacteristic for Rembrandt. A sketchier version of the scene is in Munich inv. RF ; L. Paris, , no. Munich-Amsterdam, , pp.

Rembrandt van Rijn Self Portraits (1606-1669) A collection of paintings 4K Ultra HD

Provenance: A. His de la Salle L. RF ; Paris, , no. Sumowski, , etc. Tu 82c, no. A59A, repr. Not in Benesch Not Rembrandt? Wheelock Jr.

Behind the Artist: Rembrandt van Rijn

Provenance: J. Naumann dealer from whom acquired by the present owner. Full-Length Sketch of a Man, perhaps playing cards or stuffing his pipe Black chalk; ruled framing lines in pen and brown ink, on thin paper. Watermark: fragment, the tip of a crescent and small cross. Paris-Philadephia-Detroit, , p. Rembrandt c. Paris-Philadephia-Detroit, , between and A Crying Boy c. Black chalk. In a lecture at the J. Paul Getty Museum in Feb.

The hands in this and the New York drawing resemble those in the relief in Fabritius's painting of a Sentry, which Schatborn beginning in Amsterdam, has righty seen as providing a possible clue to Fabritius's drawing style. Not in Benesch Attributed to Rembrandt Rembrandt? A Figure Seated in a Chair, with a Child, c. Its extreme faintness and slightness make a definitive opinion difficult to form. The draughtsmanship closely resembles the Blind Beggar with a Boy and Dog illustrated below on this page. The initially oddly shaped further right arm of the seated figure is configured like the hind leg of the dog!

This was subsequently 'corrected' with a straight, darker line which, along with the straight, darker line in the other arm, seems to have been drawn with a ruler, and thus to be a later addition. A few other touches are also in this darker toned chalk by the nearer hand and the child's left hand.

Compare also the Woman Bending over a Child by a Chair also illustrated on this page, further below. Chain lines 22v. The original of a drawing in Berlin inv. Paris and Amsterdam, , no. Provenance: pseudo Crozat L. Scotland, private collection; [1] The Berlin sheet was accepted in HdG , catalogued as 'uncertain' in Berlin, , p. Also in Exh. My own notes reveal mercifully! But the idea that a copyist would trouble to make such an exact replica of such a minor sketch still surprises me.

Berlin, Staatliche Museen Berlin, Kupferstichkabinett inv. Paris, [Berlin dgs], no. Amsterdam, [Berlin dgs], no. Probably shows Ashkenazy jews ; Royalton-Kisch, , pp. Medium: Black chalk, with later brown wash; ruled framing lines in pen and brown ink. COMMENTS: Previously unpublished before its inclusion here on 27 March , the drawing is not easy to judge because of the later wash and the generally worn condition.

In style it seems inseparable from the Berlin drawing KdZ. The composition of the verso could have been intended to represent the Return of the Prodigal Son cf. First posted 27 March Four Standing Men Wearing Hats c. To be compared with the drawings grouped around the Crying Boy, above. Paris, , under no.

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Ten Kate inv. NI , here fig. A Vienna, Albertina inv. A Group of Jews in Discussion c.

From the Lawrence and Esdaile collections. Though a minor, thumbnail sketch, the style accords with drawings such as Benesch with a similar seated figure , , , , and Private Collection. An Old Peasant Couple Walking, full-length, to right c.

Leonardo v Rembrandt: who's the greatest?

The discovery of the Blind Beggar with Boy and Dog see above makes the attribution of the present drawing uncertain: it resembles in style and quality the copy of that drawing in Berlin, also reproduced here see also Berlin, , no. All the hands, for example, seem deficient, the simplified nearer hand being especially similar to those of the main figure in the Berlin drawing.

Yet the hatching seems more fluent than the outlines, which resemble those of the drawings in the Crying Boy group discussed above. Even allowing for the indifferent condition of the sheet, the drawing seems problematic enough to merit two question marks. London-Paris-Cambridge, —3, p. Ploos van Amstel cf. Black chalk on oriental paper; ruled framing lines in pen and dark brown ink. Known to Sumowski only from a photograph in the RKD, the drawing resurfaced in and seems to be genuine.

Pen and brown ink with brown wash; ruled framing lines in pen and brown ink. Included here as an example of the difficulty some drawings can produce: the head of Joseph looks like Rembrandt cf. Benesch A A Rembrandt?? The Entombment of Christ, after Mantegna Pen and brown ink over red chalk, with brown and grey wash, heightened with white. No watermark visible. The attribution was not fully accepted by Benesch and in general Rembrandt's authorship seems unlikely from a stylistic point of view.

His copies are usually more vigorous and varied in touch. The combination of media is also unusual. The differences between this and Mantegna's engraving suggest that the present drawing may have been based on a lost preparatory drawing for it by Mantegna which Rembrandt may well have owned - the inventory of his possessions of lists a book or album of works by Mantegna. Aa, repr. Glasgow, , p. Pen and brown ink, heightened with white bodycolour; ruled framing lines in pen and brown ink.

Rather more loosely handled than usual for Rembrandt; nonetheless there are analogies with his works of the s e. However, some caution is required for lack of analogies with Rembrandt's documentary drawings, and the handling resembles that of drawings ascribed to Willem Drost. Rembrandt; with further literature ; Exh. Although the style resembles that of Willem Drost, the attribution to Rembrandt seems more plausible, given its free, exploratory handling and the differences of detail with the etching especially Abraham's right and the angel's left arms.

Some of these changes are reflected in a pupil's painting of the subject now in a private collection. Amsterdam-London, , p. Dijon, , cat.. As stated in my British Museum catalogue London, [online] , I am far from convinced that the series of drawings after Mughal miniatures is by Rembrandt. An attribution to Aert de Gelder, who had a special interest in oriental costumes, seems more convincing compare Sumowski , inspired by these miniatures, as well as many of his painted and drawn compositions; De Gelder's drawing of the Last Supper after Leonardo, now in Berlin, seems especially close, e.

London, , under cat. Provenance: Jonathan Richardson, senior L. Christian Aall, New York; Dr. William K. KdZ , Berlin, , no. Verso: laid down on Richardson mat Pen and brown ink with brown wash on Japanese paper; no framing lines. Inscribed on front of mat, in pen: "Rembrandt" and in graphite: "Colln. Utterson" and on verso of mat in pen and brown ink: " Pond" 70 x 94 A slight but pretty - and not entirely typical - example of the copies after oriental miniatures on which see further above.

Condition: good, though a fragment and not fresh; slightly rubbed and spotted. Utterson; Anonymous collector 19th? Paris-Antwerp-London-New York, , under no. Los Angeles, , repr. Benesch Aa Rembrandt?? Portrait of a Man in a Wide-Brimmed Hat c. Reed pen and brown ink with black chalk and white heightening; ruled framing lines in pen and brown ink.

I have always harboured doubts about this drawing, as did Benesch. It should resemble the drawings for the Syndics more closely Benesch Despite its alluring vigour and boldness, the overall effect seems too messy and incoherent compared with authentic drawings by Rembrandt. Peterich; C.

Albert de Burlet. The lack of a coherent structure is too evident in all parts except possibly the head and arms of the prophet. The many repeated outlines seem overdone compared with Rembrandt - one might say "a lot of lines for nothing" - and the mule looks almost as wooden as if it had come from a carousel.

The highly suspect 'signature' may be in the same ink as the drawing itself; it seems to be written by the same hand as that on Benesch C41 on which see below. Basel , no. Provenance: P. Habich NL?? Head of a Woman c. In style close enough to the Self-Portrait drawings in Rotterdam and Vienna of c.

My own view is that is probably is not by Rembrandt but by a late pupil, perhaps Aert de Gelder. GB London, Courtauld Gallery inv. Benesch Ad Follower of Rembrandt? The Conspiracy of Julius Civilis Pen and brown ink with brown and grey wash; the colour of the washes is difficult to discern because of the condition, but a purplish tone is evident. Berlin-Amsterdam, , p. Munich-Amsterdam, , p. Provenance: Thomas Lawrence L.

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Not in Benesch Rembrandt, Ideal Landscape with Bridge, River and Mountains Black chalk, touched with white in various places; some charcoal, mostly lower left; ruled framing lines in pen an brown ink. Signed, lower left: 'Rembrandt f '. The drawing has not been published except by me in passing as an authentic Rembrandt before this text went online in March , although I have considered it to be by him since studying the original in The signature seems entirely reliable[1] and the date, , accords with the style and with Rembrandt's use of charcoal e.

The watermark is also one found in Rembrandt's work of the s see Benesch Some details of the drawings are illustrated here to exhibit the drawing's extraordinary quality, though the photographic images are peculiarly unflattering. The style accords completely with Rembrandt's informal sketches from nature in black chalk compare the trees with those in Benesch , , for example, and the foreground with Benesch A copy was made by Lambert Doomer British Museum, inv.

The proves that the Doomer drawing cannot have provided the template for the present drawing, as is usually supposed which seems unlikely from every point of view of quality anyway. Most of Rembrandt's surviving landscape drawings were apparently made from nature; yet in his paintings and etchings it is clear that he was also interested in the 'ideal landscape', and there seems to be no reason to doubt that this drawing also reveals his interest in the genre.

The question marks are included only because the attribution will prove controversial, and as always any cogently argued alternative attributions would be welcomed by the compiler. D Frankfurt, Staedel Museum inv. Rembrandt; see Schatborn, , p. Goll van Franckenstein his no. Not in Benesch HdG Rembrandt? A Windmill and Outhouses c. Pen and brown ink with brown wash; framing-lines in a different pen and brown ink; extra framing lines in yet another pen and brown ink on the top corner additions; inscribed verso in graphite, lower right : 'A9' x ; top corners cut.

Watermark: fragment of the top of a Strasburg lily. Chain lines: v. The risk to the attribution of this drawing to Rembrandt is formed by the possibility that it is by Pieter de With, to whom Benesch has been attributed by Peter Schatborn Paris, , no. However, the comparisons with De With's signed drawings are not convincing - his lines are broader and the details less refined.

In the present work, the secure delineation of the structures and individual features such as the sails of the windmill , the calligraphy of the foreground touches, the delicacy of the wash and the subtle treatment of aerial perspective and recession seem more like Rembrandt. Condition: Good; some spotting and minor creasing have been removed since the sale. Benesch, p. New York, Sotheby's, 25 January, , lot 49, repr.. For a discussion of this drawing, the attribution of which is controversial, see London, online , no.

GB London, British Museum , For a summary of the arguments and further literature, see the British Museum website London, [online], no. The arguments proposed in see Literature have never been adequately refuted. IV entirely by Rembrandt ; Exh. Not in Benesch Copy after Rembrandt? The Omval seen from the Amsteldijk c. But the mill in the centre of Benesch , which is missing here, burnt down by - something of which the copyist must have been aware. USA Private Collection? Washington, , p. Amsterdam-Paris , p. Provenance: Sale, Amsterdam, Christie's, 15 Nov.

Benesch C Van Renesse? Cottage with a White Paling c. An added strip of paper below not quite in its original position, but was in the present position when the purplish additions were made. Long before publishing a number of comparable landscape drawings as the work of Constantijn Daniel van Renesse Royalton-Kisch, I I had been concerned that the style of this drawing, even after allowing for the later additions, was far removed from Rembrandt.

The Next Rembrandt

The connection with Rembrandt's etching of Bartsch is not convincing: the style here is later and even the trees have grown. The resemblance to Van Renesse's drawings, such as Benesch , is inescapable. The 'signature' does not appear to be autograph. See Royalton-Kisch, , p. It seems to be written by the same hand as that on Benesch A71a, also illustrated on this page. Peter Schatborn has informed me again in an e-mail of 15 June that the handwriting can be associated with the 'Greek characters' collector's marks L.

He believes such a mark may have been cut away from the top of the present sheet. Not in Benesch Rembrandt Farmhouse between Trees c. Compare the motif of Benesch Despite some weaknesses in the perspective and the unusual treatment of the tree foliage to the right, there seem to be sufficient reasons to accept the attribution to Rembrandt. D Cologne, Prtivate collection. The Amstelveenseweg with a Gateway on the left c.

I do not remember having seen this drawing, but it depicts the same view as Benesch Thus it could in theory be the work of a pupil seated next to Rembrandt, or possibly by Rembrandt himself, having moved his position a few yards. More probably, it is a copy based on Benesch An odd feature, or miscomprehension, is that the second post, in the centre of the drawing, has been shifted into the middle of the road where it would have blocked any wheeled traffic. Amsterdam-Paris, , p. Compare also the Oslo drawing illsutrated below.

Kassel-Leiden, , no. New York-Edinburgh, , no. Provenance: Jan Pietersz. Zomer, Amsterdam? Medium: Pen and brown ink in two tones, the majority in a darker ink in a finer-nibbed pen, on paper prepared slightly unevenly in brown. Ruled framing lines in pen and brown ink, similar in colour to the paler brown in the drawing.

Small patch made up top right. B Norl Possibly the broader penlines in the foreground and in the facade of the hut on the left were added by Rembrandt later as an afterthought. The drawing in a private collection Bonna , also of Sloten and illustrated on this page above was probably made on the same excursion, Condition: Small repaired patch, top right.

Oslo, ; Exh. Amsterdam-Paris, , pp. Oslo Picture of the Month , ; Sumowski, Leiden, , no. Purchased from Siegwald Dahl, An added strip on the left.