School of Rembrandt Harmensz. van Rijn

Sir Joshua Reynolds (L.2364);
Richard Houlditch (L.2214);
Lady Lucas;
Lord Brownlow;
Wilhelm R. Valentiner, his sale, Amsterdam, Mensing, 25 October 1932, lot x (as Rembrandt);
Eldridge R. Johnson, Moorestown, New Jersey

Bears label, on back of frame: Lyman Allyn Museum, Loan: 1936.46

W. R. Valentiner, Rembrandt, Des Meisters Handzeichnungen, Klassiker der Kunst XXXI, Stuttgart/Berlin/Leipzig 1925, no. 617 (as Rembrandt);
A.M. Hind, Vasari Society, 2nd Series, 1922, III, no. 9;
O. Benesch, Rembrandt, werk und Forschung, Vienna 1935, p. 43 (as Rembrandt);
Idem, The Drawings of Rembrandt, London, 1954-7. and second edition, enlarged and edited by E. Benesch, London and New York 1973, vol. IV, no. 748, reproduced (as by Rembrandt)

Attached all corners and center of edges to old backing (possibly the Richardson mount). Much crisper and stronger than in the catalogue illustration. Lightly foxed throughout. A repaired horizontal tear at center right edge. The paper is somewhat browned throughout, except for certain areas of apparent corrections by the artist (trees in background, shepherd's staff to left and bridge to right). The shepherd's face has some surface abrasion. Elsewhere ink is good and strong. Sold in a good modern gilt frame.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Benesch (loc. cit.) considered this a genuine Rembrandt drawing dating from circa 1646-7, but the details of handling and overall approach to composition are more in keeping with the works of Rembrandt pupils of this period.  No totally convincing attribution can be proposed at this time, but there are similarities with drawings from the 1640s by Ferdinand Bol, such as Abraham Entertaining the Angels, in Rotterdam, or the Hagar in the Desert, in the Lugt Collection.¹ Even more relevant, perhaps -- as Dr. Holm Bevers has kindly pointed out -- are comparisons with certain drawings now given to Aert de Gelder, such as the Hagar and Ishmael, in the British Museum.²

1. W. Sumowski, Drawings of the Rembrandt School, vol. 1, New York 1979, nos. 235^x, 250 ^x

2. M. Royalton-Kisch, Drawings by Rembrandt and his Circle in the British Museum, exh. cat., London, British Museum, 1992, cat. no. 105, reproduced