Pen and brown ink, 119 x 200 mm. Loss at the right margin above centre, filled in. Watermark: Cockatrice. Chain lines: 20 mm. Numbered in the lower right corner, in pen and brown ink, 1812 (Sparre) and 198 (struck out). Mark of the Royal Collection (Lugt 1638).

According to Hofstede de Groot, this is a study for the painting in Berlin, but it has little in common with it. Kruse accepted the drawing as autograph, but reports that Saxl thought it a copy. Valentiner also judged it to be a copy. Benesch accepted the traditional attribution to Rembrandt and dated the sheet to about 1643.

Kruse rightly connected the drawing with one in Berlin, no longer accepted as Rembrandt. It shows only Tobit, his wife and the goat, but no interior. The figure of Tobit is almost identical, but the present drawing has awkward details, such as Tobit’s left leg and hand. There are also other weaknesses. In spite of a certain calligraphic elegance, there is a lack of defined space. The present drawing could be a copy. [Magnusson, Dutch Drawings no. 341]