Constantijn van Renesse

Jonathan Richardson Senior (L.2183);
with C.G. Boerner, Düsseldorf;
sale, Amsterdam, Sotheby Mak van Waay, 25 April 1983 (as Attributed to Renesse);
sale, Amsterdam, Christie's, 25 November 1991, lot 74;
Jacobus A. Klaver, Amsterdam 
 

W. Sumowski, Drawings of the Rembrandt School, vol. 9, New York 1985, pp. 4870-1, cat. no. 2168a^x

Unframed. Window mounted on japan paper. The upper corners are cut. There is a small spot where the paper has thinned at the centre of the right edge (not visible on the recto), and two small areas of damage at the man's right ear, and the lower right brim of his hat. Both very neatly repaired from the verso, and barely visible. A small tear at the centre of the lower edge, also repaired. Some pale fox marks, and the ink is a little sunk in parts, but the drawing still makes a good impression.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Sumowski dates this drawing circa 1650-55, and relates it to works by Renesse such as The Angel warns Joseph to flee to Egypt, and the study of a Bearded old man with cap in half-length in the British Museum.¹  He notes, however, that Jaap Bolten believes the drawing to be by Rembrandt's cousin and pupil, Karel van der Pluym.  Indeed, the drawing does appear to relate to that artist's painted work, in particular the Pensive Scholar, a similarly composed study of a man whose physiognomy is very close to the subject of this drawing.²  Parallels may also be drawn in the softness of approach and the delicate lighting of each work, which casts the man's face into half shadow.  Nevertheless, as Sumowski emphasises, it is harder to find a connection with any of the very small number of drawings that can be convincingly given to Van der Pluym.

1.  See Sumowski, op.cit., nos. 2167^x and 2168^x

2.  W. Sumowski, Gemälde der Rembrandt-Schüler, vol. IV, Landau 1983, p. 2380, cat. no. 1598