Christ among the Pharisees in the Temple Graphite/black chalk, pen and brown ink, in some places smeared with the finger, 185x320 mm NM 2007/1863

Transcription

1 1 #45 Christ among the Pharisees in the Temple Graphite/black chalk, pen and brown ink, in some places smeared with the finger, 185x320 mm NM 2007/1863 Brown stains at the upper left. Laid down. Numbered in the lower right corner 1811 (Sparre), pen and brown ink. Mark of the Royal Collection (Lugt. Provenance: Crozat *C. G. Tessin (List , p. 46v; Cat. 1749, livre 15, no. 65) *Kongl. Biblioteket (Cat. 1790, no. 1811) *Kongl. Museum (Lugt Bibliography: Hofstede de Groot 1906, no (doubtful) *Kruse & Neumann 1920, no. II:16 *Kruse & Neumann 1921, no. II:16 (poor work by a pupil). The graphite or chalk lines are not a careful preparation for the pen drawing, but rather a sketch. Two heads are lightly sketched behind the seated Christ in the centre, but not executed in pen. Kruse thought it the work of the same hand as the recto and verso of Cat. #46 ( /1863), and compared them with a school etching in the British Museum, according to Rowinski by Renesse.

2 2 #46 John the Baptist Preaching Black chalk, pen and brown ink, smeared in places, 242 x364 mm NM 1996 (recto), 1997(verso)/1863 Verso: Figure studies, pen and brown ink, some red chalk at the lower right Ruled framing lines in brown ink. Drying marks on left and right side, and a big stain near the left border.

3 3 No watermark. Chain lines: 30 mm. Numbered in the lower right corner 1802 (Sparre) and 64 (struck out), pen and brown ink. Mark of the Royal Collection (Lugt. Provenance: Crozat *C. G. Tessin (List , p. 46v; Cat. 1749, livre 15, no. 75) *Kongl. Biblioteket (Cat. 1790, no. 1802) *Kongl. Museum (Lugt Bibliography: Kruse & Neumann 1920, no. II:23 (recto), IV:43 (verso) *Kruse & Neumann 1921, no. II:23 (recto), IV:43 (verso). As Kruse noted, the same hand as the previous no. Here the chalk sketch is better visible in many places, with pentimenti, in particular in the seated figure on the left and the seated group on the right. Moses has been moved some 5 mm to the right, the head of the dog in the foreground is turned in a different direction.

4 4 #47 Landscape with Cephalus and Procris Pen and brown ink, ink smeared with the finger, 210x322 mm NM 2012 (recto), 2014 (verso)/1863 Verso: Three female figures in a landscape, pen and brown ink (with smears), yellow patch at the upper left. Ruled framing lines in brown ink. Drying marks along all four sides.

5 5 Watermark: Foolscap. Chain lines: mm. Numbered in the lower right corner 1816 (Starre) and 68 (struck out), pen and brown ink. Mark of the Royal Collection (Lugt. Provenance: Crozat *C. G. Tessin (List , p. 46v; Cat. 1749, livre 15, no. 62) *Kongl. Biblioteket (Cat. 1790, no. 1816) *Kongl. Museum (Lugt Bibliography: Hofstede de Groot 1906, no *Kruse & Neumann 1920, no. V:3 (recto), V:1 (verso) *Kruse & Neumann 1921, no. V:3 (recto), V:1 (verso, school) *Valentiner, II, 1934, p. xxxvii, figs. 40a and 40b (Aert de Gelder). Exhibitions: Stockholm 1967, no. 300 (Aert de Gelder) *New York-Boston- Chicago, 1969, no. 73 (de Gelder). The identification of the subject of the recto as Vertumnus and Pomona is doubtful. What Kruse interpreted as a spade next to the woman is more likely an arrow or a spear and the scene might represent Apollo and Coronis, or more likely Cephalus and Procris. That the figures on the verso are studies for Vertumnus and Pomona cannot be doubted. The large tree on the left, as well as the figures and the area to the right of them are extensively reworked in darker ink, possibly by the same hand. Also the figures on the verso are reworked. The hand is the same as in the previous two numbers, as well as the following one (Cats. Nos. 45, 46, 48).

6 6 #48 Peasant Woman with two Cows Graphite, pen and brown ink, 182x249 mm NM 1999 (recto), 2000 (verso)/1863

7 7 Verso: The meeting of Esau and Jacob, brush and brown paint (counterproof). Ruled, double framing lines in brown ink. Watermark: Letters IR. Chain lines: 24 mm. Numbered in the lower right corner 1804 (Sparre) and 65 (struck out), pwn and brown ink. Mark of the Royal Collection (Lugt. Provenance: Crozat *C. G. Tessin (List , p. 46v; Cat. 1749, livre 15, no. 76) *Kongl. Biblioteket (Cat. 1790, no. 1804) *Kongl. Museum (Lugt Bibliography: Kruse & Neumann 1920, no. VII:5 (recto) and I:12 (verso) *Kruse & Neumann 1921, no. VII:5 (recto) and I:12 (verso) Faint traces of graphite along the outlines without pentimenti suggest that this is a copy. Possibly the same hand as the previous nos. The interpretation of the subject on the verso was suggested by Kruse.

8 8 #49 Two Studies of a Woman Pen and brown ink, 78x89 mm NM 2082/1863 Ruled framing lines in brown ink. At the lower left a cross within a circle has been drawin in a lighter ink. Laid down. Numbered in the upper right corner 1881 (Sparre), pen and brown ink. Mark of the Royal Collection (Lugt. Provenance: Crozat *C. G. Tessin (List , p. 46v; Cat. 1749, livre 17, no. 176) *Kongl. Biblioteket (Cat. 1790, no. 1881) *Kongl. Museum (Lugt Exhibitions: Stockholm 1967, no. 301 (de Gelder) *Paris-Bruxelles- Amsterdam, , no. 99 (de Gelder). Kruse did not include this and the following drawing, which are clearly by the same hand, in his catalogue. Bjurström in 1967 compared it with a drawing of three orientals in the Rijksmuseum, Amsterdam, attributed to de

9 9 Gelder. 1 It formed part of a group that Valentiner had attributed to this artist. 2 The comparison is not convincing. 1 Henkel 1942, s.82,nr.1, pl Valentiner, II, Berlin 1934, pp. XXXIIIff.

10 10 #50 Old Bearded Man with a Staff, and the Bust of Another Man Pen and brown ink, 77x88 mm NM 2083/1863 Laid down. Numbered in the upper right corner 1882 (Sparre), and in the lower right corner 261, pen and brown ink. Mark of the Royal Collection (Lugt. Provenance: Crozat *C. G. Tessin (List , p. 46v; Cat. 1749, livre 17, no. 174) *Kongl. Biblioteket (Cat. 1790, no. 1882) *Kongl. Museum (Lugt Exhibitions: Stockholm 1967,no. 302 (de Gelder) *Paris-Bruxelles- Amsterdam, , no. 100 (de Gelder). See the preceeding no.

11 11 #51 The Presentation in the Temple Pen and brown ink, grey-brown wash 225x207 mm NM 36/1865 Irregularly cut, all four corners torn. Framing lines are outside the sheet. Laid down. Provenance: Zerno (art dealer), purchase in Bibliography: Kruse & Neumann 1920, no. II:17 *Kruse & Neumann 1921, no. II:17.

12 12 #52 Abraham's Sacrifice Pen and brown ink, brown wash, corrections with white body colour. Arched at the top, c. 233x201 mm. NM 2044 /1863 The framing lines, drawn freehand, are part of the drawing. Horisontal fold near the top, repairs at the top edge. Watermark: Foolscap. Chain lines: 24 mm. Numbered in the lower right corner 1844 (Sparre) and 71 (struck out), pen and brown ink. Mark of the Royal Collection (Lugt. Provenance: Crozat *C. G. Tessin (List , p. 46v; Cat. 1749, livre 15, no. 32) *Kongl. Biblioteket (Cat. 1790, no. 1844) *Kongl. Museum (Lugt Bibliography: Hofstede de Groot 1906, no *Kruse & Neumann 1920, no. I:4* Kruse & Neumann 1921, no. I:4 *Sumowski, Drawings, 9, 1992, no. 2450a xx (Pieter de With).

13 Thin pen lines define the motif, angular in the figures and more fluid in the surroundings. Both areas have been reworked with much broader strokes, culminating a labyrintical array of undulating lines on the right. An animal can be detected there on top of the cliff. Some of the darkest areas have been retouched with white, that has turned partly transparent: on the chin of Abraham, on his hand and the head of Isaac, and to the far right. There is also som light, grey-brown wash in this area, and yellowish-brown wash on the base of the cliff. An outline of buildings and perhaps a mountain rises diagonally behind Abraham. This line is repeated higher up with broader strokes, and this seems to have led to the introduction of the heavy vegetation at the upper right, carrying with it further reinforcement below (a linear over-loading in Sumowski s words). Sumowski s suggestion that the drawing is by Pieter de With is not convincing. It is quite different from all other figure drawings and landscapes he proposes. In some ways the drawing seems closer to Drost. But the most interesting parallel, even stylistically, is a drawing of the same subject in the Kupferstichkabinett, Berlin. The setting is similar, and even here a heavy accent has been added on the right, and the vegetation is fuzzy. 3 Yet another version is in Dresden. 4 Here only the main group is drawn, and the intervening angel comes down in the rays of light that descends from above. 3 Valentiner, I, 1925, no Valentiner, I, 1925, no

14 14 #53 Abraham's Sacrifice Pencil, pen and brown ink, brown and grey wash, whote body-colour, 167x185 mm NM 2033/1863 Double, ruled framing lines in brown ink. The body-colour applied in the clouds at the upper right. Watermark: Pascal lamb (Cf. Heawood 2843: Holland 1648). Chain lines: 23 mm. Numbered in the lower right corner 1834 (Sparre) and 191 (changed from 181, struck out), pen and brown ink. Mark of the Royal Collection (Lugt. Provenance: Crozat *C. G. Tessin (List , p. 46v; Cat. 1749, livre 15, no. 43) *Kongl. Biblioteket (Cat. 1790, no. 1834) *Kongl. Museum (Lugt Bibliography: Kruse & Neumann 1920, no. I:10 *Kruse & Neumann 1921, no. I:10

15 15 #54 The Good Samaritan Pen and dark grey ink, on brown paper, 216x170 mm NM 2024/1863 Laid down. Numbered in the lower right corner 1826 (Sparre) and 890 (struck out), pen and brown ink. Mark of the Royal Collection (Lugt. Provenance: Crozat *C. G. Tessin (List , p. 46v; Cat. 1749, livre 15, no. 49, Rembrandt) *Kongl. Biblioteket (Cat. 1790, no. 1826, Rembrandt) *Kongl. Museum (Lugt Not in Kruse. Remarks on the mount show that some scholars thought the drawing Italian. However, the synthetic rendering of the figures is reminiscent of the previous drawing, and the broad strokes of the terrain and vegetation is also close.

16 16 #55 Man in an Oriental Dress Gesturing to Kneeling Man Graphite pen and brown ink, 203x163 mm NM 2031/1863 Ruled framing lines in brown ink. Laid down. Numbered in the lower right corner 1833 (Sparre) and 188 (struck out). Mark of the Royal Collection (Lugt. Provenance: Crozat *C. G. Tessin (List , p. 46v; Cat. 1749, livre 15, no. 40) *Kongl. Biblioteket (Cat. 1790, no. 1833) *Kongl. Museum (Lugt Bibliography: Kruse & Neumann 1920, no. IV:42 *Kruse & Neumann 1921, no. IV:42. A fairly precise under-drawing in pencil could mean that the drawing is a copy.

17 17 #56 Young Man Kneeling Before a Standing Man in an Oriental Dress Black chalk, pen and brown ink, brown wash, 152x147 mm NM 2021/1863 Ruled framing lines in brown ink. Diagonal fold at the lower right. Laid down. Numbered in the lower right corner 1823 (Sparre), 98 (struck out) and 209 (struck out), pen and brown ink. Mark of the Royal Collection (Lugt. Provenance: Crozat *C. G. Tessin (List , p. 46v; Cat. 1749, livre 15, no. 58) *Kongl. Biblioteket (Cat. 1790, no. 1823) *Kongl. Museum (Lugt Bibliography: Hofstede de Groot 1906, no *Kruse & Neumann 1920, no. IV:37 *Kruse & Neumann 1921, no. IV:37 *Valentiner I, 1925, nr The subject is perhaps Jonathan taking leave of David (I Sam. 20). As Kruse noted, there is some relationship to a drawing in Frankfurt. This is also aknowledged by Valentiner, who considered this a copy, possibly after

18 a drawing by Rembrandt of c Although the drawing has a measure of calligraphic elegance, like the preceeding drawing, the treatment of the hands is curious. 5 Valentiner, I, 1925, no

19 19 #57 Christ on the Road to Emmaus Graphite, pen and brown ink, 132x112 mm NM 2061/1863 Ruled framing lines in brown ink. Laid down. Numbered in the lower right corner 1861 (Sparre) and 260 (struck out), pen and brown ink. Mark of the Royal Collection (Lugt. Provenance: Crozat *C. G. Tessin (List , p. 46v; Cat. 1749, livre 15, no. 17) *Kongl. Biblioteket (Cat. 1790, no. 1861) *Kongl. Museum (Lugt Bibliography: Hofstede de Groot 1906 no *Kruse & Neumann 1920, no. II:12 *Kruse & Neumann 1921, no. II:12 *Valentiner II, 1934, no. 518 * H.-M. Rotermund, The motif of radiance in Rembrandt s biblical drawings, Journal of Warburg and Cortauld Institutes, 15 (1952), p. 117, fig. 24a Considered by Valentiner to be a copy after Rembrandt of around The under-drawing makes it almost certain that it is a copy; there are graphite

20 lines guiding even the spontaneous scribble on the right. The same hand as the following no. 20

21 21 #58 The Incredulity of Thomas Graphite, pen and brown ink, on greish paper, 150x125 mm NM 2048/1863 Ruled framing lines in brown ink. Drying marks in the upper left corner. Laid down. Numbered in the lower right corner 1848 (Sparre) and 78 (struck out), pen and brown ink. Mark of the Royal Collection (Lugt. Provenance: Crozat *C. G. Tessin (List , p. 46v; Cat. 1749, livre 15, no. 31) *Kongl. Biblioteket (Cat. 1790, no. 1848) *Kongl. Museum (Lugt Bibliography: Hofstede de Groot 1906, no *Kruse & Neumann 1920, *Kruse & Neumann 1921, no. II:6 *Valentiner II, 1934, nr. 516 According to Valentiner e copy after a drawing by Rembrandt of around Se the previous no.

22 22 #59 Walking Man in an Oriental dress Graphite, pen and brown ink, 128x102 mm NM 2043/1863 Ruled framing lines in brown ink. Laid down. Numbered in the lower right corner 1843 (Sparre) and 347 (struck out), pen and brown ink. Mark of the Royal Collection (Lugt. Provenance: Crozat *C. G. Tessin (List , p. 46v; Cat. 1749, livre 15, no. 36) *Kongl. Biblioteket (Cat. 1790, no. 1843) *Kongl. Museum (Lugt Bibliography: Hofstede de Groot 1906, no *Kruse & Neumann 1920, no. IV:34 *Kruse & Neumann 1921, no. IV:34. Possibly the same hand as Cat. 41.

23 23 #60 The Wineyard Workers Receiving their Pay Red chalk, point of brush in grey and grey wash, 218x249 mm NM 1989/1863 Laid down. Numbered in the lower right corner 1796 (Sparre) and 184 (struck out), pen and brown ink. Mark of the Royal Collection (Lugt. Provenance: Crozat *C. G. Tessin (List , p. 46v; Cat. 1749, livre 15, no. 82) *Kongl. Biblioteket (Cat. 1790, no. 1796) *Kongl. Museum (Lugt Bibliography: Kruse & Neumann 1920, no. II:24 (probably Bol) *Kruse & Neumann 1921, no. II:24 (probably Bol). Kruse recognized the similarity in manner with the washed chalk drawing in the Hamburger Kunsthalle by Eeckhout, The Satyr at the Peasants, which he believed to be by Bol. 6 6 Sumowski, Drawings, 3, 1980, no. 625.