- Museum number
View of Amsterdam from the north-west; windmill seen in distance. c.1640
Watermark: Strasbourg lily with initials LC (Hinterding catalogue, variant A.a.b., datable c.1645)
- Production date
- 1640 (circa)
Height: 112 millimetres
Width: 153 millimetres
- Curator's comments
- For other impressions see F,5.158 and 1895,0915.426. For copies see F,5.59; 1880,0807.90; 1840,1114.2, 1847,0414.5 and 1902,0514.580; and 1848,1221.163.
Selected literature: Lugt 1920, pp. 131-3; Schneider 1990, no. 74; Amsterdam 1993, no.33; Amsterdam 1998, pp. 210-12; White 1999, pp. 215-16.
Hinterding et al. 2000:
The etching shows in reverse the profile of Amsterdam from the north east. Looking north west across the city, it depicts to the right the windmills on the walled fortifications, the largest and nearest of which stood on the outermost bulwark on the River IJ, the so-called 'Rijzenhoofd'. The stump of a tower to the right of this is roughly in the position of the Zuiderkerk (South Church), perhaps showing it before the completion of the spire [as suggested in Amsterdam 1993, no.33]. To the left of the Rijzenhoofd, on Rapenburg Island, are the warehouses and shipyards of the Dutch East India Company (the Verenigde Oostindische Compagnie), the Montelbaanstoren, the Oude Kerk (Old Church), perhaps also (as a stump) the Westerkerk (West Church) and in the far distance the Herring Packers Tower (Haringpakkerstoren). The representation is not painstakingly accurate and substitutes the formality of a precise topographical view with an atmospheric approach that embraces such details as the haphazard scrub in the foreground marshland. Rembrandt probably tinkered with the view as he drew on the plate, out of doors, seated on the Kadijk, the dyke that ran up the northeastern edge of the city. [On Rembrandt executing plates out of doors, see the Introduction to Hinterding et al. 2000, pp. 74-5].
The style is indistinguishable from that of the two horizontal etchings of 1641, the 'Landscape with a cottage and large tree' and the 'Landscape with a cottage and haybarn' (B.226 and B.225; F,5.204), both dated 1641. [The etching has until now been dated c. 1640, but the present writer produced a false 'panorama', joining the three prints together (the 'View of Amsterdam' in the centre, with B.226 to the left and B.225 to the right), to
prove this point in a lecture in 1992, and mentioned it to Theo Laurentius, who reported it with additional observations in Laurentius 1996, p. 84. The ensemble of prints works surprisingly convincingly as a single panorama. Laurentius suggests that the panorama was intentional, and that the 'Windmill' (B.233) was an alternative, earlier idea for the position on the left of B.210].
- Not on display
- Exhibition history
2006 Apr-Jun, Hull, Ferens AG (Sth Bank Tour), Rembrandt
2006 Jun-Sep, Bath, Victoria AG (Sth Bank Tour), Rembrandt
2006 Oct-Dec, Newcastle, Laing AG (Sth Bank Tour), Rembrandt
2007 Apr-Jun, Stoke-on-Trent, Potteries MAG (Sth Bank Tour), Rembrandt
2007 Jun-Sep, Blackpool, Grundy AG (Sth Bank Tour), Rembrandt
2019-2020 21 Sep-5 Jan, Carlisle, Tullie House Museum, 'Ink into Art: Rembrandt Etchings'
- Acquisition date
- Prints and Drawings
- Registration number