Below is a 20th century graphite drawing by Bob Miller:   I believe I'll just call this Drawing "Another Lost Soul" or "The Beginning of the End".  You know, It's to bad Vincent didn't die at the Borinage.   Is this another legacy which will be lost amongst the many? Click on lost legacy for dictionary definition.   Searched the web on Google for Lost legacy.  Results   about 2,580,000    Size of drawing  9 x 12 " Frame 14 x 17"  Description:  Drawn in 1994.  My Description will includes my own attribution of what was in the artist sole, thoughts, and mind as this drawing was being created. I might add, the reason I know this is that I was the artist.  Forget the folk-tales and myths that everyone sees something different of what the artist's main intentions were, for it is my belief that most art work worth looking at means only what the creator meant to convey.  These folk-tales and myths do have some merit though, for it is true with the art experts of today and of artist's foundations do all see something different, and is the main reason why there is so much controversy about art work from certain artist's in Foundations and Museums today.  Unless you want to remain as most, the rest who believe this myth, maybe you had better exit these writings now before you have an awakening.  To look into the artist's sole is like taking a trip through another mind and is not the worst thing in the world that could happen to you, but don't let yourself get carried away like Vincent van Gogh did by committing suicide.    This link  http://home.rmci.net/art-zee/newweb/vg3d.html    will take you to my website discovery and description of Vincent van Gogh's last painting before his death.  Feel free to browse through my website. To check out my discoveries on the decipherment of Rembrandt's Dr. Faustus. http://home.rmci.net/art-zee/newweb/bob1d.html   If you have any questions on this drawing which has absolute authentication and provenance, feel free to ask me your questions.   I will answer all logical inquires.    Description of what was in the artist's mind and soul as this drawing was created plus my explanations of other pictures I use as examples:   This mid 20th century frame was selected by myself for the framing and framed professionally.  While looking at it upside down you should be able to see the two large faces of Hendrickje, Rembrandt's mistress, one of her jealous conniving self looking to your left and a frontal view as the beautiful loving person that she was.     You might be able to see the two faces of Faust looking Rembrandt portrait in my drawing and in the original etching I added below called "Old Man With His Hand On His Hat" etching number 259.    Right-side up you should be able to see Rembrandt holding his mistress in both arms with his wife Saskia looking over his shoulder and of course the large head of Satin over his same right shoulder.                 There is a stronge possibility that he left this etching above unfinished due to self-preservation and not wanting or worried about some of his techniques coming out to light and being seen.  Little did he know it was nothing to be concerned with since it is still not seen or recognized  nearly 400 hundred years later.     Above is a mirror reversed image enhancement showing the comparison of Rembrandtish technique which is known to myself and possibly a few others. The tree trunk with the dead limb which is the perch for the two love birds.   Again his wife Saskia receiving the concoction of; 1-Ragla, 2-Tetrma and 3-Ant Sadla. This concoction, added to milk and administered over a period of two or three years would do the trick and is shown administered through a dead branch going to her mouth and through her two lips.  This made marriage possible after death! Unfortunately, Rembrandt gave no thought to the possibility of a Will. To read "Magic Disc" of the etching "Dr. Faustus in His Study", you must first turn it sideways, while holding it up to mirror, so that the mixture appears to run into the milk.  Again with strong enhanced lighting showing more REMBRANDTISH techniques.      The dead tree stump also represents Saskia's agony and torment as she will soon be as the stump itself, dead and broken, ashes to ashes.     What a marvelous etching of Rembrandt's, which most call  "The Escape from Egypt Rest Stop"  and is also one I studied along with others to help with my own drawing that is being shown.   You might note the same dead tree and love birds are in the drawing and also this Rembrandt etching above.  If you look into Saskia's eyes they may quite possibly look back at Rembrandt's good friend Dr. van Loon, as she is getting ready to feed young baby (Jesus) Titus.  I will not get into the rest I see in this etching right now, but believe me it is there and it does not change a thing under enhanced lighting but only becomes much clearer to me.  This represents the old tricks and eye-deceiving devices of intriguers which Vincent van Gogh was talking about and Vincent did say he very much knew Rembrandt     Trick signature area, forwards and reverse RHL   BobMiller Rembrandt "94" RHL     Another example of an etching out of my collection. believe done in 1663-5 signed in graphite with makers stamp on back. This is a blow-up of the stamp on the back-side of the etching to identify the artist. May be another lost Legacy,  but don't kid yourself, for the values are really here.  Rembrandt, Vincent, and Bob Miller,... what a combination! Another trick signature from the bankrupted exile. "Life isn't like a box of chocolates ... it's more like a jar of jalapenos. What you do today might burn your ass tomorrow. " - Author Unknown -                This bankrupt period in Rembrandt life is when he did his best art, age 52 till his death at the age of 63 in the year of 1669.  The experts say that this most likely cannot be the work of Rembrandt, he was not known to use trick signature at this time period in his life. Well, little do people know that he, Rembrandt, had used this technique in almost all of his works since he was a child. It seems to me that most go by what was said by the ones who had or have no idea about his works of art from all his lifes periods and episodes and what his paintings even looked like in his later period.  Most wind up reconstructing the period to fit their own liking and to go along with the stories which was made up in the past to fit what is now in collections, representing works known to be done by him.  Isn't it amazing, "one not only does not learn much about painting, but not even much good about the art of living; and that one finds oneself forced to learn how to live in the same way one must learn how to paint, without recourse to the old tricks and eye-deceiving devices of intriguers" as stated by Vincent van Gogh when at Cormans studio in Paris, France while living with his brother Theo. How little time it takes people to forget history that continues to repeat itself.  Oh hell, that can't be Rembrandt's work or he'd signed his own name.  Rembrandt shows me the very same hidden imagery he used in all of his works or maybe it's very possible it is just me as most tend to think.   I took Emode's Ultimate IQ Test and the result was;  Bob, you are a visual mathematician.  Did you know this means you are gifted at spotting patterns.  This and your overall high intelligence makes you good at understanding the big picture. If you believe that I am a artcon, I will make it easy for you to make your complaint.  So if you feel you need to make a complaint, click here:   http://www.ifccfbi.gov/index.asp  SASKIA'S FAREWELL TO REMBRANDT   Rembrandt, Oh how I've loved you so you painted me on canvas to make me look so beautiful. You promised to love and cherish me and that I'd always be your honey, but deep down inside my heart, I felt it was all about money. My parents were rich and famous, you knew that would bring you status and fame. You changed my name from van Uylenburgh to van Rijn, never to be changed again. I've had four of your children, 1635 to 41, now only poor Titus survives, the other three died so very young. Now, I lie here dying myself, can't breath, some unknown disease, Doctor Van Loon checks on me, he brings me medicine to help me sleep. He tells me how beautiful I am at 29, Don't worry my dear, you look better today, surely you will be fine! I could tell by the look that was in his eyes, he was just trying to comfort me with his little white lies. I know that I am dying and it will probably be soon, I know that I cannot be helped, not even by Doctor Van Loon. I feel I've been slowly poisoned by you my dear, your mistress, the housekeeper to. I can see it, it's in you paintings, also in the drawings and etchings you do. You haven't given me much credit, you've always thought that you were smarter than I. Well, I have a little surprise for you my dear, you will receive it after I die.    Saskia Written by Bob Miller "94"   Description of the minatory of the Rembrandt's above left to right  : Begin looking at the top left you'll see "The Rembrandt House" which was purchased by Rembrandt and Saskia in the year of 1639.  Not one payment was made on this house by them except the interest.  In the year of 1642 after a long illness Saskia dies.   They both lost three of their siblings since their marriage in 1634 to very early deaths before Titus was born in 1641-2.  The forth, young baby Titus was left for Rembrandt to raise by himself by house keepers and his young mistress Hendrickje after the death of his wife Saskia in 1642, the year of painting  'The Night Watch". Next, the naked lady with a poison snake rapped a round her leg and squeezing her breast could only represent one thing and that is what was administered to Saskia and the cause of their previous earlier siblings to become ill and died.  This also made Saskia so ill and cause her own death at an early age of 29.   This poison was past on to their only living son Titus through Saskia's body from birth and as a youngster and as a young adult was very sickly till his own death at the age of 27. Next, Saskia lying ill in her bed not understanding completely why she had become so sickly ill.  Rembrandt's talent of being able to capture on canvas his most inner truthful feeling and able to hide them so well was able to leave a painted diary of almost everything which happened in his life time.  This is what I believe is the magic of Rembrandt and why he is so much revered as to be painting in light and dark, shadows which are not supposed to be there.  If you look closely at the shadows in the blanket you should be able to see a plucked chicken referring that she is one dead chick. The next two pictures is from "Faust In His Study" 1652 (?) seven states with the anagram reversed and turned sideways  in-order to be deciphered.  Ragla, Tetrama, and Ant Sadla., three types of X Poison X mixed together and pored into the pale of Milk.  This would insure his marriage to his loving Mistress Hendrickje. In the next picture you can see Rembrandt holding his little mistresses head close to his bosom while his wife Saskia sits in the background.  Below is his etching of "A Woman Making Water" while a tree in the background seems to me to be doing the same thing.  You asked yourself why and how can this happen?  Well, it all reverts back to what was said before, Rembrandt's talent of being able to capture on canvas and in his drawing and etchings his most inner truthful thoughts and feeling and able to hide them so well was able to leave a painted diary of almost everything which happened in his life time. Back to the left side below Saskia wondering to herself is Saskia again, sitting up in bed grabbing her breast while spilling the rest of the poisoned medicine milk.  To the right is Rembrandt's "The Monk In The Cornfield 1646 (?) one state.  I personally do not believe this to be an act of love. Next we have Rembrandt's "The Ship of Fortune" 1633 one state.  Here we have a statue of Rembrandt with two faces and is that Balm falling down on his ass, or is it someone who is about to heave something at something big and wide? Back to the left under their home is Rembrandt's "Death Appearing To A Wedding Couple" 1639 one state.  This is one good example of his use of light and dark for you might be able to see the male embracing his sweetheart while his wife is fixing her drink to make a toast with the grim reaper. Next we have a painting of "Sophonisba Receiving The Poisoned Cup" 1634 and needless to say the model was Rembrandt's wife Saskia and the cup being handed to her by a young girl. further right we have the real art of making love while Saskia is making a Doctors visit with young baby Titus. Rembrandt's " The Hour Of Death" shows us a young woman making a visit to a court recorder for a final will to be made.   This was the tremendous surprise Saskia had left for her wonderful and considerate husband. Back to the left we have Saskia's friends morning her departure while it looks like some artist with a brush in the background is rather elated in her leaving.  Then we have the sickly looking Witch out of "The Night Watch" which is there only to represent in a metaphor.  This figure represent a dress while the obscure face represents her bare shoulder while the dead chicken help in the movements of the lady which is dancing with the Captain, Frans Banning Cocq.  http://home.rmci.net/art-zee/newweb/rem8d.html   Again in the next picture we have the plucked chicken lying across Saskia body in the shadows of the covers as she is in deep thought and turmoil over her illness.  Moving back to the bottom left we have a young girl that looks like she asking for silence using her thumb up against her lips while holding a dead bird.  If this drawing represent Hendrickje, Rembrandt's mistress, then we all should know that she was implicated in this supposed unsolved crime which could be called the perfect murder.  Saskia in the next picture is better represented than in the next one trying to get Rembrandt to come to bed.  Were there such a thing as detectives and prosecutors and profilers in those days, or did Rembrandt hold too much over the elite society back then on their own dealings?  I do believe if his art work were able to be seen back then as Rembrandt knew it would some 400 years later, that is if his works of art were to survive, he would have been staked out in the court yard till all his flesh had left his bones.   The last picture shows me Rembrandt at the side of his good friend Doctor van Loon, most likely both thanking the good Lord they were not found out. Bob Miller---vanrijngo