A seated Beggar Woman raising her Hands in Prayer, and a subsidiary study of her head

細節

Rembrandt Harmensz. van Rijn (1606-1669)
A seated Beggar Woman raising her Hands in Prayer, and a subsidiary study of her head
pen and brown ink
78 x 108 mm.

來源

S.G. von Festetics (L. 926), his inscription on the verso 'Samuel de Festetits 1850.'.
J.C. von Klinkosch; Wawra, Vienna, 15 April 1889, lot 732, illustrated.
Moriz und Elsa von Kuffner Stiftung; Sotheby's, London, 26 November 1970, lot 17, illustrated (£10,000 to Walter Johnson).

出版

Österreichische Kunsttopographie, Vienna, 1907, II, p. 225, fig. 242.
O. Benesch, Rembrandt, Werk und Forschung, Vienna, 1935, p. 16.
O. Benesch, The Drawings of Rembrandt, London, 1954, II, no. 388, fig. 438.
E. Haverkamp Begemann, Review of Otto Benesch, The Drawings of Rembrandt, Kunstchroniek, 1961, p. 15.
C. White, Rembrandt as an Etcher, A study of the artist at work, London, 1969, pp. 59-60, fig. 69.
O. Benesch, The Drawings of Rembrandt, (enlarged and edited by E. Benesch), London, 1973, II, no. 388, fig. 468. P. Schatborn, Drawings by Rembrandt in the Rijksmuseum, his anonymous pupils and followers, The Hague, 1985, pp. 48-9, note 3.
H. Belvers, P. Schatborn and B. Welzel, Rembrandt: the Master & his Workshop. Drawings and Etchings, exhib. cat., Berlin and elsewhere, 1991, pp. 244-5, under no. 27.

拍品專文

The present study is connected with the figure lying at Christ's feet in the centre of the Hundred Guilder Print, one of Rembrandt's most celebrated and monumental etchings (Bartsch 74) (fig. 1). Rembrandt worked on the print over several years around 1647. Two drawings related to the group around the figure of the woman, one in the Rijksmuseum, Amsterdam, and the other in the Kupferstichkabinett, Berlin, give a fascinating insight into the of Rembrandt's efforts to achieve a pose for his figures, O. Benesch, op. cit., 1973, nos. 183 and 188, figs. 211 and 216. Chronologically the Johnson study probably comes first. The figure then appears turned to the left on the recto of the Amsterdam drawing, showing her with only one arm up. The verso of the Amsterdam drawing shows a study of her head in almost the same direction as that in the present drawing. As for the Berlin drawing, it comes last and depicts the entire group around the woman. The beggar woman on the right of the sheet has the same gesture as the one in the Amsterdam sheet, but her body is slightly turned back to the right. The position and posture of the figures from the Berlin sheet are nearly unchanged in the print, although the composition is reversed.
Peter Schatborn mentions three other drawings related to the Hundred Guilder Print: A Man standing behind a Wheelbarrow in the Louvre, A Man standing with his Arm stretched out in Count Seilern's Collection, Courtauld Institute Galleries, London and A Woman with a Child in the Pushkin Museum, Moscow, O. Benesch, op.cit., nos. 185, 184 and 1071.