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| Leonaert Bramer Wedding Feast at Cana ca. 1619-27 drawing (made in Italy) private collection |
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| Leonaert Bramer Sacrifice of Iphigenia ca. 1623 oil on copper Museum Prinsenhof, Delft |
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| Leonaert Bramer Quarrel between Odysseus and Ajax ca. 1625 oil on copper Museum Prinsenhof, Delft |
"Leonaert Bramer (1596-1674) may have been a pupil of his father's, the obscure painter Hendrick Bramer. A painting by his father was copied by the son in a drawing. Bramer headed south in 1615. According to the account given by Cornelis de Bie, he travelled via Atrecht and Amiens to Paris. He probably took ship from Marseilles to Rome. . . . He was to remain in Italy for almost twelve years. . . . Bramer's nickname as a member of the Bentvueghels was Nestelghat. On a drawing of portraits of his fellow members he appears with a glass in his hand next to the portrait of Wouter Crabeth, with whom he lived for several years. On 18 October 1627, while Bramer was eating and drinking in the Osteria della Rosa, a row broke out, daggers were drawn and people were hurt. Claude Lorrain tried to intervene, but was wounded for his pains. The outcome of the affair is not known. Soon afterwards, Bramer returned to the Netherlands – perhaps to escape prosecution. In 1628 he was back in Delft and on 30 April 1629 he became a member of the guild there. . . . Joachim von Sandrart wrote about the drawings Bramer made in Italy, 'he made the most of Italy, leaving behind a great many of his drawings'. Sandrart went to Italy in 1629, the year after Bramer's precipitate departure from Rome. While there, Sandrart may have come across drawings that Bramer had not taken back with him to the Netherlands."
– Peter Schatborn, from the catalogue of a 2001 exhibition at the Rijksmuseum, published in English as Drawn to Warmth: 17th-century Dutch artists in Italy, translated by Lynne Richards
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| Leonaert Bramer The Mocking of Christ 1636 drawing Morgan Library, New York |
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| Leonaert Bramer Presentation of Christ in the Temple ca. 1630-40 oil on panel Philadelphia Museum of Art |
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| Leonaert Bramer Judgment of Solomon ca. 1640-50 oil on panel Metropolitan Museum of Art, New York |
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| Leonaert Bramer Lute Player, or, Allegory of Vanity ca. 1640-50 etching British Museum |
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| Leonaert Bramer Still-life with an open traveling-box on a table ca. 1650 etching Philadelphia Museum of Art |
"Leonaert Bramer is one of the most intriguing and at the same time most underrated artists of the Dutch seventeenth century. . . . Bramer evidently knew well the greatest of his Delft contemporaries, Johannes Vermeer, for he came to the latter's defense when his future mother-in-law, Maria Thins, was trying to prevent him from marrying her daughter. In fact, it is likely that Bramer, rather than Carel Fabritius, was Vermeer's teacher. Bramer had a wide-ranging interest in European literature and illustrated Virgil's Aeneid, Till Uilenspiegel, and various Spanish novels, always in a style as much Italian and French in origin as Dutch."
– notes from Foolscap Fine Art, The Hague
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| Leonaert Bramer Holy Family passing four men ca. 1660-69 drawing with watercolor Art Institute of Chicago |
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| Leonaert Bramer Anointing of Tobit's eyes before 1674 drawing British Museum |
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| Leonaert Bramer Miraculous Draught of Fishes before 1674 drawing Teylers Museum, Haarlem |
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| Leonaert Bramer Study for a ceiling before 1674 drawing British Museum |
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| Leonaert Bramer Aeneas and Anchises before 1674 drawing Metropolitan Museum of Art, New York |
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| Leonaert Bramer Death Triumphant before 1674 oil on slate private collection |