Stylistically, this belongs to a group of Eeckhout's earliest known drawings, which can be constructed around two studies for the artist's 1642 painting of Gideon's Sacrifice.1 Those drawings, both now in Braunschweig, are characterised by the same rapid, curling pen strokes alternating with more angular touches, distinctive, pointed facial types, and use of gray wash that are seen in the present drawing. Professor Werner Sumowski has confirmed the attribution to Eeckhout.
1. Herzog Anton Ulrich-Museum, inv. nos. Z 242, Z 330; W. Sumowski, Drawings of the Rembrandt School, vol. 3, New York 1980, nos. 601-602
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