A standing woman with a basket, advancing to the right
pen and brown ink
412 x 178 in. (11.4 x 5 cm)
with Leo Franklyn, London.
O. Benesch, ‘Neuentdeckte Zeichnungen von Rembrandt’, Jahrbuch der Berliner Museen, VI, 1964, p, 112, fig. 7 (as by Rembrandt).
O. Benesch, Collected Writings, I, Rembrandt, ed. E. Benesch, New York, 1970, p. 251, fig. 213 (as by Rembrandt).
O. Benesch, The Drawings of Rembrandt, revised and edited by Eva Benesch, vol. II, London, 1973, no. 234A, fig. 274 (as by Rembrandt).
M. Royalton-Kisch, The Drawings of Rembrandt. A revision of Benesch’s catalogue raisonné, 2012, Benesch 234A, ill. (http:/; accessed November 2020; as attributed to Rembrandt).
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Lot Essay

Benesch published this drawing as by Rembrandt (see Literature) and dated it to circa1633 (op. cit., 1973). He compared the heavy penwork with that seen in four drawings with figures rendered in similar fashion (ibid., nos. 235, 242, 243 and 246, figs. 274, 286, 287, 288 and 291). While pointing out that the bleeding of the ink makes it difficult to fully confirm the attribution, Martin Royalton-Kisch is inclined to attribute the drawing to Rembrandt (op. cit.) based on comparison with a drawing showing The artist drawing from a model (recto); Joseph expounding the Prisoners' Dream (verso)as well as three other sheets (see Benesch, op. cit., 1973, nos. 235, 300, 423 and 778, figs. 275, 366, 509-510 and 980). Peter Schatborn on the other hand has raised doubts over the attribution to Rembrandt and did not include the drawing in the recently published catalogue of the artist’s drawings (P. Schatborn and E. Hinterding, Rembrandt. The Complete Drawings and Etchings, Cologne, 2019). Schatborn recently suggested that the drawing can be compared to a group of figure drawings executed with similar broad penwork which are now no longer considered to be by Rembrandt (Benesch, op. cit., 1973, nos. 209-212, figs. 244-248).

We are grateful to Peter Schatborn and Martin Royalton-Kisch for their assistance in cataloguing this drawing.
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