- Museum number
A boy seated on the ground; wearing a broad-brimmed soft hat and seated on a cushion almost to right, his legs stretched out. c.1655
Drawn with the point of the brush in brown, with brown wash; framing lines in red chalk (above and below only) and pen and brown ink (above only).
Verso: see Inscriptions.
Watermark: foolscap with five bells and three balls.
- Production date
- 1655 (circa)
Height: 181 millimetres
Width: 234 millimetres (chain lines horizontal, 23-4mm apart)
- Curator's comments
- Entry from Martin Royalton-Kisch, ‘Catalogue of drawings by Rembrandt and his school’, 2010, Gerbrand van den Eeckhout, cat. no.9:
A characteristic drawing by Eeckhout, being one of a group of sixteen surviving sheets in which he employed the technique of using the tip of the brush for the outlines, with brown wash for the shadows. He may have been inspired by Rembrandt's example, as seen in cat.no.51; 1895,0915.1279 ['Hendrickje sleeping']. He may also have produced these drawings at approximately the same period, in the mid-1650s.
At least two of the other drawings in the group portray the same model (see cat.no.10; 1858,0724.11 and the 'Sleeping Boy, lying on the Floor' in the Courtauld Institute, London, Sumowski 793x). The design reflects a knowledge of the life studies etched and drawn by Rembrandt and his pupils in around 1646 (see under Hoogstraten cat.no.7 1895,0915.1267).
 Sumowski 782x-797x. The attribution of these drawings to Eeckhout is now generally accepted, although it attracted controversy in the past. As noted by Sumowski (under no.782x), two eighteenth-century sale catalogues (P. de Hollander, Haarlem, 14 August 1770, and H. Verschuuring, Amsterdam, 28 January, 1771) maintain this attribution, as do several nineteenth-century ones (see provenance information under Acquisition).
 As argued by Sumowski, 1962 (see Lit. below).
Hind, 1914-15, no.17, repr. (summarises London, 1915); London, 1915, no.145, repr. pl.XXI (anon. school of Rembrandt; acquired by British Museum with attribution to Maes; inclined to believe by Eeckhout, or possibly Maes); Hirschmann, 1918, p.23 (probably Eeckhout, comparing signed sheet in Amsterdam and drawing in Goldschmidt sale, no.187 [now Paris, Fondation Custodia, Sumowski 787x]); Valentiner, 1924, p.44 (Eeckhout); Exh. London, R.A., 1929, p.245, and 1929[I], p.220, under no.659 (as Hirschmann, 1918); Berlin, 1930, p.128, under no.4536 (related work in Berlin [Sumowski 786x] catalogued as 'Eeckhout?'); Amsterdam, 1942, pp.74 and 77, under no.10 (Eeckhout, comparing Amsterdam sheet); Sumowski, 1962, p.20, n.24 (Eeckhout, c.1655); Amsterdam, 1965, p.53,under no.69; Exh. Chicago-Minneapolis-Detroit, 1969-70, p.188, under no.67 (probably 1650s, as also other wash drawings by Eeckhout); Roy, 1972, p.192 (Eeckhout; the paper toned, as Paris drawing [Sumowski 788x, Musée Cognac-Jay]); Exh. Rotterdam-Paris, 1974, p.48, under no.33, n.10; Exh. London, 1976-77, p.14, under no.32; Exh. New York-Paris, 1977-8, pp.54-5, under no.35, nn.9 and 20 (Eeckhout; other drawings in the group of wash studies show the same model); Sumowski, 1979, etc., III, 1980, no.791x, repr. (Eeckhout, c.1655). Robinson, 1982, p.285 (attribution tentative).
- Not on display
- Exhibition history
London, 1895, no.414 (as Ter Borch);
1992 (ex. cat., as Eeckhout).
- Generally good; slight staining and creasing in lower corners.
- Acquisition date
- Acquisition notes
- J. Heywood Hawkins (according to Register and Museum archives, but not found in his sales, 1850; presumably Hawkins, who lived until 1877, retained some drawings or collected others, which he subsequently sold directly to Colnaghi's); purchased from Colnaghi and Scott, 1861.
- Prints and Drawings
- Registration number