Old Man Guided by a Little Boy Pen and point of brush in brown ink, 130 x 84 mm NM 2035/1863

Transcription

1 1 [Rembrandt] #13 Old Man Guided by a Little Boy Pen and point of brush in brown ink, 130 x 84 mm NM 2035/1863 No waternark. Chain lines: 25 mm. Numbered in the lower right corner 192 (struck out) and 1836 (Sparre), pen and brown ink. Mark of the Royal Collection (Lugt 1638). Provenance: Roger de Piles? *Crozat (Mariette, p. 101) *C. G. Tessin (List , p. 46v; Cat. 1749, livre 14, no. 44) *Kongl. Biblioteket (Cat. 1790, no. 1836) *Kongl. Museum (Lugt 1638) Bibliography: Hofstede de Groot 1906, no *Kruse & Neumann 1920, no. IV:24 *Kruse & Neumann 1921, no. IV:24 *O. Benesch, Rembrandt, Werk und Forschung, Wien 1935, pp. 38 and 41 *O. Benesch, Rembrandt, Selected Drawings, London & New York 1947, no. 107 * A. L. Romdahl, "Rembrandts teckningar", Nationalmusei årsbok, Stockholm 1921, pp. 106f *Benesch , I, no. 189, fig. 201 *Ch. Tümpel, " Iconografische verklaring van de voorstelling ut twee tekeningen van Rembrandt", Kroniek van het Rembrandthuis, 26 (1972), pp.69ff *Benesch 1973, I, no.189, fig. 219 *D. Vogel-Köhn, Rembrandts Kinderzeichnungen, Cologne 1981 (Diss. 1977), no. 56 *Giltaij 1988, under no. 16, fig. a *P. Schatborn, in

2 2 Rembrandt: the Master and his Workshop, New Haven & London 1991, p. 66, fig. 16c. Exhibitions: Amsterdam, Rembrandt Tentoonstelling, 1935, no. 53 *Stockholm 1956, no. 113 *Rotterdam, Museum Boymans - Amsterdam, Rijksmuseum, Rembrandt tekeningen, 1956, no. 93 *Wien, Arbertina, Rembrandt, 1956, no. *New York-Fort Worth-San Francisco, Dürer to Delacroix, 1986, no. 87 *Stockholm 1992, no The emphasis in this drawing is on the old man, while the boy at his side is rather loosely sketched. The form of the old mans high hat has been changed into a wider and flatter head gear. The drawing seems to be cut on the left. The two figures recur in a drawing in Rotterdam, there with a third, female figure on the left holding the old mans hand. 1 It seems that this was the case also in our drawing before is was cut. In the Rotterdam drawing the emphasis is even more on the old man, both the boy and the woman are just sketched in. The old man has the flat, turban like head cover, the posture is more shrunken but with the set jaws of a man with his mind made up. To the left his head is drawn once more, with a sad expression, wearing a simple cap the expression is closer to that of the Stockholm drawing. It would seem as if different types of head gear was tried to support and strenghten the mode expressed. The subject matter has proven difficult to determine. Kruse, Benesch and others have connected the drawing with the Visitation of 1640 in the Detroit Institute of Art, and see the man as Zacharias, who is sometimes represented as supported by a youth. 2 The boy is vaguely similar, but the female figure suggests yet another subject, Abraham's dismissal of Hagar and Ismael. Benesch has doubted that the figure is that of a woman, and Schatborn has suggested that it represents Jacob, Benjamin and an older son. However, Giltaij has convincingly argued for the older identification of Hagar and Ismael for the Rotterdam drawing. The emotions of grief, fatal determination and resignation expressed by the succession of heads in the two drawings would all be appropriate in this case. There is an almost identical rendering of an old man in one of the many black chalk drawings by Rembrandt from the early 1640s. 3 Such studies would have provided material for a number of compositions. Probably Rembrandt tried the same figure in different contexts, modifying the expression accordingly. In contrast, the two pen drawings, identical in style, must be part of the exploration of a specific theme. Benesch dates the drawings c , while Giltaij suggests a slightly later date, about , basing himself on the lack of finely defined detail and the broad manner of reworking. The question whether Rembrandt's style developed so orderly that this kind of close dating is meaningfull, remains open. 1 Benesch 1973, I, no A Corpus of Rembrandt Paintings, III, no. A Coll. Ch. A. Duit, Benesch 1973, IV, no. 665b.

3 3 [Rembrandt] #14 Woman Teaching a Child to Walk Pen and brown ink, 160 x 165 mm NM 2074/1863 Laid down. Mark of the Royal Collection (Lugt 1638). Numbered in the lower right corner no 60 (struck out) and, on the mount, 1873 (Sparre) and 2., pen and brown ink. Provenance: Crozat *C. G. Tessin (List , p. 46v; Cat. 1749, livre 15, no. 2) *Kongl. Biblioteket (Cat. 1790, no. 1873) *Kongl. Museum (Lugt 1638) Bibliography: Michel 1893, p. 240 *F. Lippmann, Original Drawings by Rembrandt. Reproduced in the Colours of the Originals, I. Series, Berlin , no. 130 *Hofstede de Groot 1906, no *F. Saxl, "Zu einigen Handzeichnungen Rembrandts", Repertorium für Kunstwissenschaft, 31, Berlin 1908, p. 234 *Kruse & Neumann 1920, no. IV:12 *Kruse & Neumann 1921, no. IV:12 *O. Benesch, Rembrandt, Werk und Forschung, Wien 1935, p. 41 *R. Hamann, Rembrandt, 1948, p. 153 *Benesch , no. 709 *W. Scheidig, Rembrandt als Zeichner, Leipzig 1962, nr. 35 *S. Slive, Drawings of Rembrandt, New York 1965, no. 134 *B. Haak, Rembrandt, His Life, His Work, His Time, 1969, p. 195 *Benesch 1973, IV,

4 no. 706, fig. 895 *D. Vogel-Köhn, Rembrandts Kinderzeichnungen, Cologne 1981 (Diss. 1974), no. 71. Exhiditions: Amsterdam 1953, no. 49 *Stockholm 1956, no. 108 *Rotterdam, Museum Boymans - Amsterdam, Rijksmuseum, Rembrandt tekeningen, 1956, no. 127 *Wien, Albertina, Rembrandt, 1956, no. 72 *Stockholm 1967, no. 271 *Stockholm , no The child learning to walk is wearing a head protection and is held in a harness by a woman. A first sketch of the child on the left was abandoned and repeated to the right. The drawing fits well in style with the previous drawings. A similar scene is also depicted in the background of the etching The Hog of 1643 (Bartsch 157). If, as has been tentalively suggested, the child is Rembrandt s son Titus, who was born in September 1641, the drawing must have been made in the second half of The identification of the child as Titus is hardly conclusive, and a scene with an infant in a walking frame attended by the same (?) old woman is found also in the etching Male nude standing and seated, dated around 1646 (Bartsch 194). Benesch believes that this drawing and the following two (Cat. 15, 16) come from the same sketckbook. However, the paper in the present drawing seems to be different. Benesch dates the group of drawings around 1646, while Vogel-Köhn prefers a slightly earlier date. The evidence for dating provided by the etchings is not conclusive. As White has pointed out, the spatial structure of the etching with the two nudes is unclear; it seems to combine independent studies. Appearantly the genre scenes were added to the prints in order to make them more atractive. The artist may have resorted to older sketches or sometimes worked from memory. 4 Se also the following number. 4 Chr. White, Rembrandt as an etcher, London 1969, pp. 178f.

5 5 [Rembrandt] #15 Woman Suckling a Baby Pen and brown ink. 178 x 154 mm NM 2038/1863 (recto), 2040/1863 (verso)

6 6 Verso: Woman holding a child, and the head of a man with a turban, pen and brown ink. Right edge torn irregularly, perhaps from a sketch-book. No watermark. Chain lines: mm. Numbered in the lower right corner 1839 (Sparre), pen and brown ink. Mark of the Royal Collection (Lugt 1638). Provenance: Jan van de Capelle? *Roger de Piles? *Crozat *C. G. Tessin (List , p. 46v; Cat. 1749, livre 15, no. 38) *Kongl. Biblioteket (Cat. 1790, no. 1839) *Kongl. Museum (Lugt 1638) Bibliography: F. Lippmann, Original Drawings by Rembrandt. Reproduced in the Colours of the Originals, II. Series (Continued dy C. Hofstede de Groot), The Hague , no. 17 *Hofstede de Groot 1906, no *F. Schmidt-Degener, Tentoonstelling van Rembrandts tekeningen in de Bibliothèque Nationale te Paris, Onze Kunst, 14 (1908), p. *F. Saxl, "Zu einigen Handzeichnungen Rembrandts", Repertorium für Kunstwissenschaft, 31, Berlin 1908, p. 336 *C. Neumann, Aus der Werkstatt Rembrandts, Mü nchen 1918, pp. 119ff *Kruse & Neumann 1920, no. IV:8-9 *Kruse & Neumann 1921, no. IV:8-9 *O. Benesch, Rembrandt, Werk und Forschung, Wien 1935, p. 41 * Henkel 1942, p. 9, under no. 21 *J. Rosenberg, Rembrandt, Cambridge, Mass. 1948, p. 147, fig. 196 *Benesch , IV, no. 707 *E. Haverkamp-Begemann, "Otto Benesch. The Drawings of

7 Rembrandt", Kunstchronik, 14 (1961), p. 54 *W. Scheidig, Rembrandt als Zeichner, Leipzig 1962, no. 36 *S. Slive, Drawings of Rembrandt, New York 1965, no. 234 O. Benesch, Collected Writings I, London 1970, p. 258 *Benesch 1973, no. 707, figs *D. Vogel-Köhn, Rembrandts Kinderzeichnungen, Cologne 1981 (Diss. 1974), no. 69 *Royalton-Kisch 1992, p. 87, under no. 31. Exhibitions: Amsterdam 1935, no. 48 *Stockholm 1956, no. 80 *Rotterdam, Museum Boymans - Amsterdam, Rijksmuseum, Rembrandt tekeningen, 1956, no. 63 *Wien, Albertina, Rembrandt, 1956, no. 71 *Stockholm 1967, no. 274 Stockholm , no Rembrandt seems to have kept his studies of women and children in a separate folder. An album containing 135 such studies was later owned by the painter Jan van de Capelle, according to an inventory of his estate in It is tempting to assume that Roger de Piles acquired this album. This and the following drawing are probably two sheets from the same sketchbook, which seems to have been reused, since there are drawings of a head with a turban on the verso of this sheet, and an unfinished turban on the next. The drawings of turbans are done with a finer pen, and according to Benesch by a different hand. More likely they are earlier, and the unfinished sketchbook reused. Another head with a turban, neglected by Benesch, was published by Chr. White. 5 The drawing is in the British Museum. 6 It is clearly the same hand, and the features of the face, in particular the mustasche, suggest that it is also the same model. The head is on the verso of a drawing of a standing oriental in the British Museum, dated c Rembrandt made numerous studies of women with infants on their lap during the years around 1640, when several of his children were born and he had the occation to study this motif in his own home. Vogel-Köhn therefore places them in the period , also on stylistic grounds, while Benesch preferred a slightly later date. A further echo of these studies can be found in Rembrandts paintings of the Madonna and child of the mid 1640s, one such painting is in the Hermitage, another in Cassel. 7 On the other hand Frits Lugt connected the Stockholm drawings with a study a woman and child in the Louvre and dated them Haverkamp- Begeman, in his review of Lugt, added two more drawings to the group and agreed with Lugt on the earlier dating of the drawings. 9 5 Chr. White, Three drawings by Rembrandt, Master Drawings, I:2 (1963), p. 38, pl. 32a. 6 Benesch 1973, II, no. 207 (dated c. 1633); Royalton-Kisch 1992, no. 30 (c. 1639). 7 A. Bredius, Rembrandt. The Complete edition of the Paintings. Revised by H. Gerson, London 1969, nos. 570 and Lugt , no Woman holding a baby in a private collection, London, and a Man playing with a child in the British Museum, Benesch 1973, III, nos. 658 and 659 (dated ). For the latter drawing Royalton-Kisch 1992, no. 31 (c ). 7

8 8 [Rembrandt] #16 Two Studies of Women with Children Pen and brown ink, brown wash, 165 x 167 mm NM 2039/1863 Laid down. Numbered in the lower right corner 1840 (Sparre), pen and drown ink. Mark of the Royal Collection (Lugt 1638). Provenance: Jan van de Capelle? *Roger de Piles? *Crozat *C. G. Tessin (List , p. 46v; Cat. 1749, livre 15, no. 39) *Kongl. Biblioteket (Cat. 1790, no. 1840) *Kongl. Museum (Lugt 1638) Bibliography: F. Lippmann, Original Drawings dy Rembrandt. Reproduced in the Colours of the Originals, I. Series, Berlin , no. 131 *Michel 1893, p. 213 *R. von Seidlitz, "Rembrandts Zeichnungen", Repertorium für Kunstwissenschaft, 17, Berlin 1894, pp. 122 and 125 *Hofstede de Groot 1906, no *F. Saxl, "Zu eineigen Handzeichnungen Rembrandts", Repertorium für Kunstwissenschaft, 31, Berlin 1908, p. 232 *C. Neumann, Aus der Werkstatt Rembrandts, München 1918, p. 232 *Kruse & Neumann 1920, no. IV:7 *Kruse & Neumann 1921, no. IV:7 *O. Benesch, Rembrandt, Werk und Forschung, Wien 1935, p. 41 *Henkel 1942, p. 9 *Benesch , no. 708 *E. Haverkamp-Begemann, "Otto Benesch, The Drawings of Rembrandt", Kunstchronik, XIV (1961), p. 53 *J. G. van

9 9 Gelder (Ed.), Great Drawings of all Times, II, New York 1962, no. 574 *S. Slive, Drawings of Rembrandt, New York 1965, no. 135 *P. Desargues, Rembrandt et Saskia a Amsterdam, Lausanne 1965, no. 200 *Benesch 1973, no. 708, fig. 899 *D. Vogel-Köhn, Rembrandts Kinderzeichnungen, Cologne 1981 (Diss. 1974), no. 70 *Royalton-Kisch 1992, p. 87. Exhibitions: Amsterdam 1935, no. 47 *Stockholm, 1956, no. 81 *Rotterdam, Museum Boymans - Amsterdam, Rijksmuseum, Rembrandt tekeningen, 1956, no. 62 *Wien, Albertina, Rembrandt, 1956, no. 70 *Stockholm 1967,? *Paris Brussels Amsterdam , no. 80 *Stockholm , no See the previous drawing.

10 10 [Rembrandt] #17 Sketch for the Etched Portrait of Jan Cornelisz Sylvius Pen and brown ink. 143 x 115 mm NM 137/1973 No watermark. Chain lines: 36 mm. Inscribed in the lower left corner RimBrant, and numdered in pencil No 11, pen and black ink. Mark of J. G. De la Gardie (Lugt 2722a). Inscribed on the verso Portrait de Viellard a la plume. N. 826 Reimbrant, pen and brown ink. Provenance: Prince Charles de Ligne (Bartsch 1794, p. 204, no. 15) *Duke Albert of Sachsen-Teschen *Count J. G. De la Gardie (Lugt 2722a) *Gift to the museum in Bibliography: A. Welcker, "Een unbekend eerste ontwerp voor Rembrandts ets van Jan Cornelis Sylvius (B. 280)", Oud Holland, LXIX (1954), pp. 229ff, fig. 3 *Björklund & Barnard, Rembrandt's Etchings. True and False, London & Paris 1955, under no. 46E *Amsterdam & Rotterdam, Rembrandt Tentoonstelling. Etsen, 1956, under no. 57 (K.G. Boon) *K.G. Boon & Chr. White, Hollstein s Dutch and Flemish etchings, engravings and woodcuts, XVIII: Rembrandt van Rijn, Amsterdam 1969, under no. 280 *Chr. White, Rembrandt as an Etcher, London 1969, p. 127, fig. 169 *Benesch 1973, no. 762a, fig. 961 *B. Welzel in in Rembrandt: the Master and his Workshop,

11 New Haven & London 1991, p. 228, fig. 22b *Royalton-Kisch 1992, pp. 116f, fig. 46b *M. Royalton-Kisch, Rembrandt s drawings for prints: Some observations, Rembrandt and his Pupils (G. Cavalli-Björkman ed.), Stockholm 1993, pp.177ff *M. Royalton-Kisch, in Rembrandt the Printmaker (exh cat.), Zwolle 2000, pp. 70, 223f. Exhibitions: Stockholm 1956, no. 96 *Stockholm , no Preparatory drawing (in reverse) for the etching of 1646 (Bartsch 280). The portrait was posthumous, as Sylvius had died in A portrait was painted for the widow in 1645, perhaps by a pupil. 10 However, there is a preparatory by Rembrandt in the National Gallery, Washington, quite close in style to the present drawing. 11 These portraits were probably based on studies made in connection with Rembrandt s etched portrait of 1633 (Bartsch 266). The drawing was dated in 1646 by Benesch, but a date as early as about 1640 has deen proposed by Welcker and Boon. The sketch shows the final arrangement of the etching, including the position of the two verses below. The main difference is the absence of the outstreched hand casting a shadow outside the frame. This was introduced in a second preparatory drawing in the British Museum. 12 The present drawing shows the peculiar calligraphy of initial studies, a kind of tentative scribble, in which the pen is seldom lifted from the paper. The second drawing is concerned with the distribution of light and shadow which is achieved with short strokes and hatchings, aided by wash. 10 A. Bredius, Rembrandt. The Complete edition of the Paintings. Revised by H. Gerson, London 1969, no. 237: Probably by Eeckhout. 11 Benesch 1973, III, no Benesch 1973, III, no. 763; Royalton-Kisch 1992, no

12 12 [Rembrandt] #18 Three Cottages by a Road Pen and brown ink, brown wash, corrections with white body-colour on the cottage to the left, 182 x 242 mm NM 2087/1863 No watermark. Numbered in the upper right corner 1886 (Sparre), pen and drown ink. Provenance: C. G. Tessin (List , p. 46v?) *Kongl. Biblioteket (Cat. 1790, no. 1886) *Kongl. Museum (Lugt 1638) Bibliography: G. Upmark, Stockholmer Handzeichnungen, Stockholm 1893, no. 18 *F. Lippmann, Original Drawings by Rembrandt. Reproduced in the Colours of the Originals, II. Series (Continued dy C. Hofstede de Groot), The Hague , no. 14 *Hofstede de Groot 1906, no *The Vasari Society, , 3:24 *M. Eisler, Rembrandt als Landschaftler, Munich 1918, p. 53 *G. Wengström, "Rembrandts landskapsskisser i Nationalmuseum", Nationalmusei årsbok, 1921, pp. 117f *Kruse & Neumann 1920, no. VII:1 *Kruse & Neumann 1921, *O. Benesch, Rembrandt, Werk und Forschung, Wien 1935, p. 32 *G. Wimmer, Rembrandts Landschaftszeichnungen, Frankfurt 1935, p. 16 *Benesch , no. 795 *S. Slive, Drawings of Rembrandt, New York 1965, no. 231 *Benesch 1973, no.795, fig. 995 *M. Bernhard, Rembrandt Handzeichnungen, Munich 1976, no. 280 *E. Starcky, "Quelques dessins de Rembrandt dans les Collections du Louvre: problèmes du cronologie", La Revue du Louvre, 4 (1985), p. 261 *G. Goldner, European Drawings I:

13 Catalogue of the Collections, J. Paul Getty Museum of Art, Malibu 1988, p. 258 *E. Starcky, Rembrandt et son école. Dessins du Musée du Louvre, Paris (Exh. cat.), under no. 19 *B. Bakker, Langhuis en stolp in Rembrandt s farm drawings and prints, Rembrandt s Landscapes: Drawings and Prints (exh. cat.), Washington 1990, p. 54. Exhibitions: Stockholm 1956, no. 107 *Rotterdam, Museum Boymans - Amsterdam, Rijksmuseum, Rembrandt tekeningen, 1956, no. 99 *Wien, Albertina, Rembrandt, 1956, no. 49 *Stockholm 1967, no. 283 *Paris - Brussels - Amsterdam, , no. 81 *Washington, National Gallery of Art, Rembrandt's Landscapes. Drawings and Prints, 1990, no. 2 *Stockholm , no. 144 *Leiden, Stedelijk Museum de Lakenhal, Rembrandt s Landscapes, 2006, no A drawing of two similar cottages are in the Getty Museum, Malibu. 13 The style is identical, the difference being the use of wash in the present drawing that lends it a character of finished composition. Benesch brought together a group of drawings in various collections with similar characteristics, dating them all around 1641, comparing them to a series of etching of that period (Bartsch ). 14 However, the drawings could very well have been made some years before Rembrandt executed similar motifs in etching. Recently Cynthia Schneider has pointed to the stylistic affinity with drawings of the mid 1630s, in particular two landscape drawings in silver point in Rotterdam and Berlin. 15 They depict the same type of cottages, which are not found in the vicinity of Amsterdam, but which he could have seen in the eastern provinces. Rembrandt travelled with Saskia to Friesland after their engagement in 1633, when he drew her portrait in silver point. He probably also visited these part of the country 1634 and 1635, as H. Bevers pointed out, dating the Berlin drawing c Formerly at Chatsworth: Benesch 1973, IV, no. 796; Goldner, op.cit., no. ; 14 Benesch 1973, IV, nos , Schneider in the exh. cat., Washington 1990, p. 75. The Rotterdam drawing: Benesch 1973, II, no. 341 (about 1637); J. Giltaij 1988, no. 11 ( ). The Berlin and Rotterdam drawings are thoroughly discussed in Bevers 2006, no Bakker, loc.cit; and Bevers 2006., p. 41.

14 14 [Rembrandt] #19 The Calvary Pen and brown ink, brown wash, white body-colour. 248 x 212 mm. NM 2006/1863 Arched at the top. The framing lines in brown ink are drawn freehand and apparently by the artist. The lower right corner as well as some small losses along the right edge are filled in. No watermark. Chain lines: mm. Numbered in the lower right corner 63 (struck out), and on the mount 1810 (Sparre), pen and brown ink. Mark of the Royal Collection (Lugt 1638). Provenance: Roger de Piles? *Crozat (Mariette, p. 101) *C. G. Tessin (List , p. 46v; Cat. 1749, livre 15, no. 69) *Kongl. Biblioteket (Cat. 1790, no. 1810) *Kongl. Museum (Lugt 1638) Bibliography: Hofstede de Groot 1906, no *Kruse & Neumann 1920, no.ii:3 *Kruse & Neumann 1921, *A. Romdahl, Rembrandts teckningar i Nationalmuseum. Någran anmärkningar till John Kruses katalog, Nationalmusei årsbok, 1021, pp. 95f *A. M. Hind, A Catalogue of Rembrandt's Etchings, London 1923, p. 74, under no. 123 *H. Hell, "Die sp äten Handzeichnungen Rembrandts", Repertorium für Kunstwissenschaft,

15 51, 1930, p. 33 *Valentiner, II, 1934, no. 488 *O. Benesch, Rembrandt, Werk und Forschung, Wien 1935, *F. Lugt, Musée du Louvre. Inventaire général, III, 1939, p. 15, under no *O. Benesch, Rembrandt, Selected Drawings, London & New York 1947, no. 198 *J. Q. van Regteren- Altena, Holländische Meisterzeichnungen, Basel 1948, pl. 21 *Benesch , no. 924 *Benesch 1973, no. 924, fig *P. Schatborn 1985, under no. 36 *C. van Tuyll in Rembrandt dessinateur (exh. cat.), Paris 2006, p Exhibitions: Amsterdam 1935, no. 82 *Stockholm 1956, no. 117 *Rotterdam, Museum Boymans - Amsterdam, Rijksmuseum, Rembrandt tekeningen, 1956, no. 201 *Munich 1956? * Stockholm 1967,? *Stockholm , no The drawing seems to have evolved in stages. A first sketch in light brown ink has been reworked in a darker ink in many places, including the figure of Christ, the woman below the cross, the soldiers to the right, the figures in the extreme left foreground, the shrubbery on the right, and the arched line at the top right. There are also traces of correction in white (now transparent) in the area to the right of the cross. There the ink has been smudged to create shading. The paper is scraped where the chest contour of Christ is drawn. There is a clear difference in the manner between the figures on the left, especially the two standing women, and the rest. While the woman nearest the cross is drawn with short, cautious strokes and the arms in particular are unconvincing, the horse s head nearby and the figures below are rendered boldly with an undulating line. On the right, the manner is more vigourous and the figures on the extreme left has been very extensively reworked. One can imagine that the drawing was left unfinished and work resumed later, or even that Rembrandt finished a drawing begun by someone else. Obviously he did not feel the need to redo the area to the left of the cross, it must have provided all the indication he needed. Benesch dated the drawing about 1653, and connected it with the numerous drawings and etchings treating the passion, executed in the early 1650s. The drawing has been repetedly compared to a drawing of Christ between the two thieves in the Louvre, and a Christ crucified in a private collection in Paris. 17 Schatborn has pointed to the similarity in the combination of the finely drawn contours and hatchings with broader and less tidy pen strokes in the present drawing and the drawing of Susanna in Amsterdam, as an argument for dating that drawing around Benesch 1973, III, nos. 652, Benesch 1973, III, no. 592; Schatborn 1985., no. 36.

16 16 [Rembrandt] #20 An Eye Operation Pen and brown ink, brown wash, corrections with white body-colour. 244x190 mm NM 2046/1863 Ruled framing lines in brown ink. Watermark: Coat of arms with fleur-de-lis. Chain lines: 24 mm. Inscribed in the lower left corner R, and numbered in the lower right corner 1846 (Sparre) and 76 (struck out), pen and brown ink. Mark of the Royal Collection (Lugt 1638). Provenance: Crozat (Mariette, p. 101) *C. G. Tessin (List , p. 46v; Cat. 1749, livre 15, no. 14) *Kongl. Biblioteket (Cat. 1790, no. 1846) *Kongl. Museum (Lugt 1638) Bibliography: K. Madsen, Studier fra Sverige, Copehagen 1892, p. 65 *Michel 1893, p. 524 *F. Lippmann, Original Drawings by Rembrandt. Reproduced in the Colours of the Originals, I. Series, Berlin , no. 129 *W. von Seidlitz, "Rembrandts Zeichnungen", Repertorium für Kunstwissenschaft, XVII (1984), p. 125 *Hofstede de Groot 1906, no.1602 *R. Graeff, Rembrandts Darstellung der Tobiasheilung, Stuttgart 1907, pp.

17 60f *F. Saxl, "Zu einigen Handzeichnungen Rembrandts", Repertorium für Kunstwissenschaft, XXXI (1908), p. 234 *Kruse & Neumann 1920, no. IV:16 *Kruse & Neumann 1921, no. IV:16 *A. Romdahl, "Rembrandts teckningar", Nationalmusei Årsbok, 1921, p. 102 *O. Benesch, Rembrandt-Bibel, Mitteiligungen der Gesellschaft für Vervielvältigende Kunst, 1922, pp. 35f *Valentiner I, 1925, no. 254 *H. Kauffmann, "Zur Kritik der Rembrandtzeichnungen", Repertorium für Kunstwissenschaft, XLVII (1926/27), p. 159 *O. Benesch, Rembrandt, Werk und Forschung, Wien 1935, p. 51 *Bibeln eller den Heliga Skrift med bilder av Rembrandt, Stockholm 1954, pl. 110 *Benesch , no. 1154, fig *W. Sumowski, Bemerkungen zu Otto Benesch Corpus der Rembrandtzeichnungen, Bad Pyrmont 1961, p. 21 *S. Slive, Drawings of Rembrandt, New York 1965, no. 133 *S.J., "Rembrandt's eye-operation", Bulletin of the New York Academy of Medicine, Vol. 45, no. 12 (December 1969), pp *Benesch 1973, no. 1154, V, fig Exhiditions: Amsterdam 1935, no. 50 *Stockholm 1956, no. 159 *Rotterdam, Museum Boymans - Amsterdam, Rijksmuseum, Rembrandt tekeningen, 1956, no. 200 *Wien, Albertina, Rembrandt, 1956, no. 92 *Jerusalem, Israel Museum, Rembrandt, 1965, no. 43 *Stockholm 1967, *Washington - Fort Worth - San Francisco, Dürer to Delacroix, 1986, no. 92 *Stockholm , no The drawing was at an early date associated with Rembrandt s many versions of the healing of Tobit. In them the blind Tobit is always depicted as a venerable, bearded old man seated in a chair, usually Tobias stands behind him, while his mother applies the fish gall that works the cure. The angel who helped Tobias to catch the fish is also present. However, according to Tobias 11:11-13, this happened outdoors and Tobias applied the gall. In the present drawing an ordinary interior is depicted, there is a fireplace on the left, the man is beardless and the clothes are in dissaray, and several more persons are present. Benesch therefore concluded that the scene represented an operation to the head to remove stones, calloses on the head that were believed to cause insanity, a subject common in Netherlandish art since the 16 th century. However, it could represent an eye-operation, an interpretation advanced by several historians of medicine. 19 The surgeon would be the man standing behind the patient, holding a cataract knife in the customary way between his teath. Perhaps the candle in the right corner was added as a symbol of seing the light. Kruse follows Graeff in that the healing of Tobit sometimes was depicted as an operation rather than an application of an ointment. Two drawings, in Cleveland and Museum Fodor, Amsterdam, both show an instrument like a knife used. 20 But in both cases the man operated on is old and bearded, and the angel is present. In our drawing, the summary outlines, the many correction and hasty creation of shades by smudging the wet ink with a finger indicates that this may be a sketch from life. There is little room for calligraphic subtleties and details, with the exception of the seated figure who would have been still in his chair. It is tempting to assume that 19 Cf. Graeff, op.cit., and the signature S.J., op.cit. 20 Benesch 1973, III, nos. 547, 548.

18 18 witnessing an eye-operation provided Rembrandt with a new approach to the subject of the healing of Tobit. Already Kruse stressed the stylistic affinity with the two drawings in Cleceland and Amsterdam. The old woman with a hair-cloth, pointed chin and a purse in her belt could be the same and is drawn in the same, summary but precise manner. In the Cleveland drawing the woman standing by herself to the right, drawn in a slightly different manner, parallels the woman in the same position in the present drawing. Kruse s conclusion that they are contemporary seems justified. He suggests c. 1636, but reports that Saxl and Graeff prefers a later date, c Benesch date the two drawings , while he places the Stockholm drawing as late as The style of our drawing, and in particular the woman on the right, is close to the drawing of Susanna in Amsterdam, and if the date of around 1650 is correct, that date would also apply to this drawing P. Schatborn 1985, no. 36.

19 19 [Rembrandt] #21 Woman Suckling a Child Pen and brown ink. 86 x 68 mm NM 2055/1863 Ruled framing lines in brown ink. No watermark. Chain lines: 20 mm. Numbered in the lower right corner 1855 (Sparre) and 84 (struck out) in pen and brown ink. Mark of the Royal Collection (Lugt 1638). Provenance: Roger de Piles? *Crozat *C. G. Tessin (List , p. 46v; Cat. 1749, livre 15, no. 24) *Kongl. Biblioteket (Cat. 1790, no. 1855) *Kongl. Museum (Lugt 1638) Bibliography: Hofstede de Groot 1906, no *F. Saxl, "Zu einigen Handzeichnungen Rembrandts", Repertorium für Kunstwissenschaft, XXXI (1908), p. 234 *Kruse & Neumann 1920, no. IV:11 *Kruse & Neumann 1921, no. IV:11 *O. Benesch, Rembrandt, Werk und Forschung, Wien 1935, p. 49 *G. Paulsson, Konstverkets byggnad, Stockholm 1942, p. 98 *Konstrevy, 1954:4 (Cover ill.) *Benesch , no. 1073, fig *Chr. White, Three drawings by Rembrandt, Master Drawings, I:2 (1963), p. 38 *O. Benesch, Collected Writings I, London 1970, p. 258 *Benesch

20 , V, no. 1073, fig *D. Vogel-Köhn, Rembrandts Kinderzeichnungen, Cologne 1981 (Diss. 1977), no. 91 Exhibitions: Stockholm 1956, no. 157 *Rotterdam, Moseum Boymans - Amsterdam, Rijksmuseum, Rembrandt tekeningen, 1956, no. 95 *Wien, Albertina, Rembrandt, 1956, no. 89 *Stockholm 1967, no. 272 *Washington - Fort Worth - San Francisco, From Dürer to Delacroix,1986, no.91 *Stockholm , no. 151 The mother and child are drawn with a few, bold strokes, showing Rembrandt s mastery in characterizing a motif with simple means. Another sketch in the same manner, possibly of the same model, is in a British private collction. 22 This little study is probably cut out of a larger sheet, in a way collectors often treated sheets with disparate sketches. Most of Rembrandts drawings of mothers and children seem to date from the late 1630s, but this one has been dated on stylistic grounds to the late 1650s. 22 Benesch 1973, IV, no. 707A (about 1646).

21 21 [Rembrandt] #22 Woman Holding an Infant in her Arms Pen in brown ink, retouched in pen and grey ink, 70 x 57 mm NM 2054/1863 There are scrape markes around the head of the woman. Crudely drawn framing lines in brown ink. No watermark. Chain lines: 25 mm. Numbered in the lower right corner 1854 (Sparre), pen and brown ink. Mark of the Royal Collection (Lugt 1638). Provenance: Roger de Piles? *Crozat *C. G. Tessin (List , p. 46v; Cat. 1749, livre 14, no. 22) *Kongl. Biblioteket (Cat. 1790, no. 1854) *Kongl. Museum (Lugt 1638) Bibliography: Hofstede de Groot 1906, no *F. Saxl, "Zu einigen Handzeichnungen Rembrandts", Repertorium für Kunstwissenschaft, XXXI (1908), p. 234 *Kruse & Neumann 1920, no. IV:30 *Kruse & Neumann 1921, no. IV:30 (probably school drawing) *O. Benesch, Rembrandt, Werk und Forschung, Wien 1935, p. 55 *Benesch , no *Benesch 1973, IV, no. 1084, fig. 1378

22 22 Exhibitions: Vienna, 1956, no. 114 (not exhibited) *Stockholm , no. 152 The character of the original pen sketch has been compromised by later reworking. There is hatching in grey ink to the right of the child, along the womans profile, and some very crude lines between her head and that of the child, as well as at the upper left and along the womans back. In addition there are also scrape marks all around the womans head. In spite of all this, it appears to be a study in Rembrandt s late, summary and somewhat angular manner. Benesch dates it

23 23 [Rembrandt] #23 Christ Among the Doctors Pen and brown ink, 190x230 mm NM 2005/1863 Ruled framing lines in brown ink. No watermark. Chain lines: 23 mm. Numbered in the lower right corner 1809 (Sparre) and 68 (struck out) in pen and brown ink. Mark of the Royal Collection (Lugt 1638). Provenance: Crozat *C. G. Tessin (List , p. 46v; Cat. 1749, livre 15, no. 68) *Kongl. Biblioteket (Cat. 1790, no. 1809) *Kongl. Museum (Lugt 1638) Bibliography: F. Lippmann, Original Drawings by Rembrandt. Reproduced in the Colours of the Originals, II. Series (Continued by C. Hofstede de Groot), The Hague , no. 19 *Hofstede de Groot 1906, no *F. Saxl, "Zu einigen Handzeichnungen Rembrandts", Repertorium für Kunstwissenschaft, 31, Berlin 1938, p. 336 *Kruse & Neumann 1920, no. II:4 *Kruse & Neumann 1921, no. II:4 *Valentiner I, 1925, no. 347 *E. W. Bredt, Rembrandt-Bibel, Munich 1921, II, p. 25 *O. Benesch, Rembrandt, Werk und Forschung, Wien 1935, p. 55 *Benesch , no.

24 936 *O. Benesch, Rembrandt as a Draughtsman, London 1960, no. 72 *S. Slive, Drawings of Rembrandt, New York 1965, no. 236 *O. Benesch, Collected Writings I, London 1970, p. 95 *Benesch 1973, V, no. 936, fig *H. Hoekstra, Rembrandt en de Bijbel, 1980, p. 77 *E. Starcky, Essai sur le gôut pour les dessins de Rembrandt en France au XVIIIe siècle, Rembrandt and his Pupils (G. Cavalli-Björkman, ed.), Stockholm 1993, pp. 202f (not Rembrandt). Exhibitions: Amsterdam, Rijksmuseum, Rembrandt tentoonstelling, 1935, no. 83 *Stockholm 1956, no. 155 *Rotterdam, Museum Boymans - Amsterdam, Rijksmuseum, Rembrandt tekeningen, 1956, no. 205 *Wien, Albertina, Rembrandt, 1956, no. 105 *Stockholm 1967, no. 298 *Stockholm , no Christ is seated on a bench surrounded on two sides by the doctors, who focus their attention on him. On the left other people are approaching. The vast space of the Temple is suggested with a few pen stroken, the upper part of two persons show that a stair ascends from a lower level in the back. The subject is also treated in an etching of 1652 (Bartsch 65) and in a drawing in the Louvre. 23 The setting is similar in all three cases, and the figures are rendered without much modelling both in the etching and the drawings. In the Louvre drawing the scene is turned so that Christ faces the doctors, which resembles the treatment of the motif in an etching of 1630 (Bartsch 66), which is possibly the point of departure for the present composition. The etching of 1652 is more like the present drawing, but the space has been narrowed, concentrationg on the main figures and their reactions. The drawing has been partly reworked in a darker ink, basically strengthening some outlines without introducing any modifications. The only exception would be that a figure behind the tall man standing erect in the middle has vanished : visible is the foot and leg of a man walking and a very thin line suggesting a back. The summarily treated of forms in these drawings can be compared to the drawing of Homer reciting in the Jan Six album, dated 1652 by the artist. 24 It confirms that this manner is representative of Rembrandt s drawing style at the time. 23 Benesch 1973, V, no Benesch 1973, V, no. 913.

25 25 [Rembrandt] #24 Christ and the Adulteress? Pen and brown ink, 189x250 mm NM 1998/1863 Restoration of minor losses in the upper right corner and at the upper edge. Ruled framing lines in brown ink. Watermark: Foolscap. Chain lines: 23 mm. Numbered in the lower right corner 1803 (Sparre) and 182 (struck out), pen and brown ink. Mark of the Royal Collection (Lugt 1638). Provenance: Crozat *C. G. Tessin (List , p. 46v; Cat. 1749, livre 15, no. 81) *Kongl. Biblioteket (Cat. 1790, no. 1803) *Kongl. Museum (Lugt 1638) Bibliography: F. Lippmann, Original Drawings by Rembrandt. Reproduced in the Colours of the Originals, II. Series (Continued by C. Hofstede de Groot), The Hague , no. 12 *Hofstede de Groot 1906, no *Kruse & Neumann 1920, no. II:5 *Kruse & Neumann 1921, no. II:5 *E. W. Bredt, Rembrandt-Bibel, Munich 1921, II, p. 64 *Valentiner I, 1925, no. 406 *J.L. van Rijckevorsel, Rembrandt en de Traditie, Rotterdam 1932, p. 185 *O. Benesch, Rembrandt, Werk und Forschung, Wien 1935, p. 62 *O. Benesch, Rembrandt, Selected Drawings, London & New York 1947, no. 266 *Benesch , no *S. Slive, Drawings of Rembrandt, New York

26 1965, no. 299 *K. Clark, Rembrandt and the Italian Renaissance, New York 1960, pp. 165f, 178, 189, fig. 170 *O. Benesch, Collected Writings I, London 1970, p. 242 *Benesch 1973, no. 1038, fig *E. Starcky, Essai sur le gôut pour les dessins de Rembrandt en France au XVIIIe siècle, Rembrandt and his Pupils (G. Cavalli-Björkman, ed.), Stockholm 1993, pp. 202f. Exhibitions: Amsterdam, 1935, no. 87 *Stockholm 1956, no. 156 *Rotterdam, Museum Boymans - Amsterdam, Rijksmuseum, Rembrandt tekeningen, 1956, no. 212, fig. 62 *Wien, Albertina, Rembrandt, 1956, no. 137 *Stockholm 1967, no. 269 *New York 1968, no. 66? *Stockholm , no. 26 The drawing has been interpreted as representing the story of Christ and the adulteress as told in John 8:3-5 (a controversial passage, that seems to be a later insertion into the text). She has been convicted and is led off to be stoned. In response to the pharisee s questions, Christ is kneeling to write on the ground, avoiding to answer. When pressed further he says: He who is without guilt cast the first stone. According to H.-M. Rothermund, the prevalence in Rembrandt s oeuvre of subjects like this one, stressing Christ as a teacher and healer, may suggest a connection with pius lay movements like the doopsgezinden. 25 The subject is rarely depicted in art and its identification not absolutely clear. Although the persons and their actions fit well with the story, it looks like a grave is opening in front of Christ and that he is not writing, but pointing (and what is the rectangle in the foreground?). The woman could be a mourner, and the resurrection of Lazarus comes to mind. The drawing is similar in style to the previous drawing, and to other drawings of the first half of the 1650s. K. Clark considered the penmanship derived from Venetian quattocento masters (Carpaccio, Gentile Bellini), noting the classicist influences on the composition in the symmetry and the opposition of figures seen from the back and front. 25 H.-M. Rothermund, Rembrandt und die religiösen Laienbewegungen in den Niederlanden seiner Zeit, Nederlands Kunsthistorisch Jaarboek, 4 (1952/53), pp. 146f.

27 27 [Rembrandt] #25 The Arrest of Christ Pen and brown ink, brown wash, grey wash in the sky, corrections with white body colour, 205 x 301 mm NM 2002/1863 Ruled framing lines in brown ink. In addition there are lines drawn freehand by the artist along the botton and left side. No watermark. Chain lines: 26 mm. Numbered in the lower right corner 1806 (Sparre) and 56 (struck out), pen and brown ink. Mark of the Royal Collection (Lugt 1638). Provenance: Crozat *C. G. Tessin (List , p. 46v; Cat. 1749, livre 15, no. 73) *Kongl. Biblioteket (Cat. 1790, no. 1806) *Kongl. Museum (Lugt 1638) Bibliography: F. Lippmann, Original Drawings by Rembrandt. Reproduced in the Colours of the Originals, II. Series (Continued by C. Hofstede de Groot), The Hague , no. 13 *Hofstede de Groot 1906, no *F. Saxl, "Zu einigen Handzeichnungen Rembrandts", Repertorium für Kunstgeschichte, 31, Berlin 1908, p. 336 *C. Hofstede de Groot, Rembrandt-Bijbel, Amsterdam , II, no. 25 *C. Neumann, Aus der Werkstatt Rembrandts, München 1918, p. 123, fig. 44 *Kruse & Neumann 1920, no. II:1 *Kruse & Neumann 1921, no. II:1 *E. W. Bredt, Rembrandt-Bibel, Munich 1921, II, p. 11 *H. Hell, "Die späten Handzeichnungen Rembrandts", Repertorium für Kunstwissenschaft, 51, Berlin 1930, p. 32 *Valentiner, II, 1934, no.456 *O. Benesch, Rembrandt,

28 Werk und Forschung, Wien 1935, p. 63 *O. Benesch, Rembrandt, Selected Drawings, London & New York 1947, no. 273 *Benesch , no *O. Benesch, Rembrandt as a Draughtsman, London 1960, no. 98 *S. Slive, Drawings of Rembrandt, New York 1965, no. 230 *O. Benesch, Collected Writings, I, London 1970, p. 98 *Benesch 1973, V, no. 1044, fig Exhibitions: Amsterdam, 1935, no. 84 *Stockholm 1956, no. 161 *Rotterdam, Museum Boymans - Amsterdam, Rijksmuseum, Rembrandt tekeningen, 1956, no. 203, fig. 51 *Wien, Albertina, Rembrandt, 1956, no. 138 *Stockholm 1967, no. 297 *Washington - Fort Worth - San Francisco, Dürer to Delacroix, 1986, no. 90 *Stockholm , no. 159 *Stockholm, 2005, no There is no known painting with this theme, but three drawings show an extended interest in it. They are, if indeed autograph, relatively late works, produced within the course of a decade, and show a gradual change in the motif and a refinement of its meaning. The earliest drawing, in Berlin, has been dated around It represents the actual betrayal, in accordance with the first two gospels. The composition is remarkable in the strong contrast between the lit area where Judas kisses Christ, and the dark area with the soldiers, where the ear of one of them was cut off. A later drawing, dated around by Benesch, follows John 18:6 in showing how those who are to apprehend Christ fell to the ground when he declared himself. 27 His divinity is manifested by the light that emmanates from him and he is also drawn larger than the other figures. An episode from Mark 14:51-52 was also added in the foreground, the young man who was laid hold of but escaped naked. The soldier having his ear cut off is part of the group of soldiers but less evident. In the present drawing the emphasis has shifted again. Christ, from whom the light emanates, dominates all. The outward conflict has been played down in this friese-like arrangement, in spite of the fact that the episodes with the soldier and the fleeing youth are included. They rather emphasise the event as part of the divine plan, in keeping with the words of Christ in John 18:11: Put thy sword in the sheath: the cup which my father hath given me, shall I not drink it? The angular, rough hewn-forms executed with a reed pen indicate a late work, the usual assumption being a date around The other two drawings are probably not by Rembrandt, but the components of the composition are so similar that the two drawing must be strongly influenced by the present drawing or reflect earlier stages of the composition. 26 Berlin: Benesch 1973, V, no The drawing is not included in H. Bevers catalogue of Rembrandt s drawings in the Kupferstichkabinett (2006). 27 Count Seilern: Benesch 1973, V, no

29 29 [Rembrandt] #26 Homer Dictating to a Scribe Pen, point of brush in brown ink, brown wash, correction in white bodycolour. Upper corners rounded, and the top slightly arched, 149 x 168 mm. NM 1677/1875 First a light ink has been used and then a darker one. The white body colour has been applied afterwards. The white colour has oxidized in places and become transparent in others. In some places where it has been applied thickly, it has partly peeled off. Some very fine lines in black reinforce the eyes, nose and mouth of the old man. Laid down. Inscribed in the lower left corner 1/r., pencil. On the verso, on the cardbord support, the collectors mark of J. T. Sergel (Lugt 2339b), numbered No 121, pen and brown ink, for the sale in Numbered /15/v, pencil, indicating the number of the portfolio when it arrived at the museum. Provenance: J. T. Sergel. Bibliography: J. Kruse, Ein neuentdeckte Homerus-Zeichnung von Rembrandt in Nationalmuseum zu Stockholm, Oud Holland, 27 (1909), pp. 221f *F. Schmidt-Degener, Bredius Feest Bundel, 1915 no. 11 *G. J. Hoogewerff, Rembrandt en een italiaanische maecenas, Oud Holland, 35

30 (1917), pp *C. Ricci, Rembrandt in Italia, Milan 1918, p. 41 *Kruse & Neumann 1920, no. V:4 *Kruse & Neumann 1921, no. V:4 *Valentiner II, 1934, no. 567 *O. Benesch, Rembrandt, Werk und Forschung, Wien 1935, p. 68 *J. Rosenberg, Rembrandt, Cambridge, Mass. 1946, p. 168, fig. 244 *R. Hamann, Rembrandt, 1948, pp. 189, 191 *Benesch , no *C. Müller-Hofstede, Kunstchronik, 9 (1956), p. 94 *W. Sumowski, Nachträge zum Rembrandtjahr 1956, Wissenschaftl. Zeitschr. d. Humbolt-Universität zu Berlin, VII (1957/58), p. 227, fig. 33 *O. Benesch, "Rembrandt and Ancient History", Art Quarterly, (1959), p. 328 *H. Gerson, Rembrandt. Paintings, Amsterdam 1968, no. 371a *B. Haak, Rembrandt, 1969, p. 311 *J. R. Buendia, "En turnu exp. R.", Goya, 95 (1970), p. 279 *O. Benesch, Collected Writings I, London 1970, p. 225, fig. 186 *Benesch 1973, V, no. 1066, fig *G. Schwartz, Rembrandt, his Life, his Paintings, Harmonsworth 1985, p. 316, fig. 366a *M. Royalton-Kisch, Rembrandt s sketches for his paintings, Master Drawings, 27 (1989), pp. 141f, fig. 26 Exhiditions: Stockholm, 1956, no. 186 *Rotterdam, Museum Boymans - Amsterdam, Rijksmuseum, Rembrandt tekeningen, 1956, no.254 *Wien, Albertina, Rembrandt, 1956, no. 146 *Stockholm 1967, no. 299 *New York 1968, no. 68 *Stockholm , no As noted above, the drawing was begun with a light brown ink, and continued in a darker ink. White body colour is in part applied with a fine brush to add precision to the summary, broad pen strokes. This is particularly evident in the face of the scribe, where it is applied on top of broad ink strokes to define eyes and mouth. Other applications of white seem to be correction that have later turned semi-transparent. The dull, dark brown washes in the area behind and above the old man seems alien and was probably added later, but in that case it must be true of the white body-colour on the sleve too, since it covers some of the wash. The drawing may be connected with a painting of Homer dictating, painted for the Italian collector Antonio Ruffo. Documents show that a half finished painting was sent to Ruffo for aproval in November 1662, who returned it to be finished. 28 The painting was later damaged by fire, a fragment with only Homer is in the Mauritzhuis in the Hague. 29 No drawing is mentioned in the documents, but it reasonable to assume that ideas on the subject were exchanged before the painting was begun. The present drawing may have been a sketchy model, sent to Ruffo for appoval. The fact that it is from the collection of the Swedish sculptor Johan Tobias Sergel would speak in favour of that assumption, since much of his collection of drawings was formed in Rome in the 1770s. However Sergel could also have come across it in England or Sweden, or his friend Ehrensvärd could have found it in Holland. There are many possibilities. The character of the drawing makes it more likely a part of the design process than a finished model. The drawing could reflect the first version of the composition. Ruffo returned the painting in order to have changes made. According to an inventory of 1737, there were two scribes and not one, and 28 W. Strauss & M. van den Meulen, The Rembrandt documents, New York, pp. 508f. 29 A. Bredius, Rembrandt. The Complete edition of the Paintings. Revised by H. Gerson, London 1969, no. 483.

31 Homer s head is seen more in profile in the drawing than in the preserved fragment of the painting. The drawing was most likely made in

32 32 [Rembrandt] #27 Girl Asleep in a Window Pen, point of brush in brown ink, brown wash, correction in white bodycolour, 163 x 175 mm NM 2084/1863 Ruled framing lines in black ink. No watermark. Chain lines: 25 mm. Numbered in the lower right corner in pen and brown ink 1883 (Sparre). Mark of the Royal Collection (Lugt 1638). Provenance: Crozat *C. G. Tessin (List , p. 36v; Cat. 1749, livre 17, no. 177) *Kongl. Biblioteket (Cat. 1790, no. 1883) *Kongl. Museum (Lugt 1638) Bibliography: K. Madsen, Studier fra Sverige, Copenhagen 1892, pp. 66ff *Hofstede de Groot 1906, no *C. Neumann, Rembrandts Handzeichnungen, München 1919, no. 63 *Kruse & Neumann 1920, no. IV:3 *Kruse & Neumann 1921, no. IV:3 *Valentiner II, 1934, no. 711 *O. Benesch, Rembrandt, Werk und Forschung, Wien 1935, p. 61 *A. M. Hind, Rembrandt, Oxford 1938, p. 50 *O. Benesch, Rembrandt, Selected Drawings, London & New York 1947, no. 248 * Benesch , no. 1101

33 *H. Gerson, Rembrandt. Gemälde, Amsterdam 1968, p.104, fig. a *Benesch 1973, V, no. 1101, fig *Royalton-Kisch 1992, p. 134 *H. Bevers, in Drawings by Rembrandt and his Pupils. Telling the difference (exh cat.), Los Angeles 2009, p. 122, fig. 17a. Exhibitions: Stockholm 1933, no. 49 *Amsterdam 1935, no. 80 *Stockholm 1956, no. 171 *Rotterdam, Museum Boymans - Amsterdam, Rijksmuseum, Rembrandt tekeningen, 1956, no. 230 *Munich, 1956, no.? *Stockholm 1967, no. 295 *New York, 1969, no. 65 *Kupferstickkabinett, Berlin Rijksmuseum, Amsterdam, Rembrandt: The Master and his Workshop. Drawings and Etchings, , no. 35 *Stockholm , no The woman is sitting with her eyes closed and the arm resting on the window sill. The details of her face and the illuminated part of her dress are rendered with sparing, fine lines, and some contours have been lightened with white body colour, in particular the upper lip has been made lighter with a small touch of white. Other forms are summed up with broad strokes of the reed pen and brush. The transparent wash gives depth. A second drawing in the same manner in Stockholm seems to be of the same model (See the next no). The model is probably Hendrickje Stoffels, who lived with Rembrandt from 1649 on. A third drawing possibly also depicting her is in the British Museum. 30 Most likely they were made in the second half of the 1650s, when also several portraits believed to be of her were painted. 31 Like the paintings, broad strokes define the outlines and the masses of light and dark. 30 Royalton-Kisch 1992, no A. Bredius, Rembrandt. The Complete edition of the Paintings. Revised by H. Gerson, London 1969, nos. 111, 118, 437.