- Museum number
View of the Drachenfels and Godesberg; a plain bisected by a road on which are two women walking, two small hills surmounted by ruins in the mid-distance, a range of mountains (Siebengebirge) beyond, 1663
Pen and brown ink with watercolour.
Verso: laid down on old mat.
No watermark visible.
- Production date
Height: 234 millimetres
Width: 357 millimetres (chain lines horizontal, 24/26mm apart)
- Curator's comments
- See Hind for details of a similar drawing.
Entry from Martin Royalton-Kisch, 'Catalogue of drawings by Rembrandt and his school', 2010, Lambert Doomer, cat. no.8:
The drawing dates from 1663, the year of Doomer's Rhine journey (see cat. no.5, Oo,10.173). The view shows the ruins of Godesburg to the right of centre, with those of the castle on the Drachenfels to the left (the Rhine flowing between them is not visible). The continuation of the Siebengebirge is seen in the distance. Godesburg, founded in around 1210 by Dietrich von Hengsbach, Archbishop of Cologne, was enlarged in the fourteenth century and occupied, in 1583, by Dutch troops in the service of Gebhard Truchsess von Manfeld. It was later destroyed by Duke Ferdinand of Bavaria, Archbishop of Cologne from 1612-50. The castle of Drachenfels, begun in 1147 and founded by Arnold, Archbishop of Cologne, was extended in the fifteenth century, but was in ruins during much of the sixteenth and seventeenth centuries. Occupied by the Swedes in 1633, Duke Ferdinand demolished it in 1634 and most of the remains collapsed in 1788.
Doomer made two other drawings of the locality: a more close-up view, of the same date, now in the Lugt Collection, Fondation Custodia, Institut Néerlandais, Paris (Sumowski 405), and a 'View of the Drachenfels', also made on the Rhine journey, now in the Albertina, Vienna.
 The history is related in Exh. Brussels-Rotterdam-Paris-Bern, 1968-9, p.43, quoting W. Einfeldt, 'Chronik der Burg Drachenfels', Munich, 1907, E. Renard, 'Kunstdenkmäler der Rheinprovinz', V, 4, 1907 and H. Neu, 'Der Drachenfels', Cologne, 1949.
 Schulz, 1974, no.219, repr. The Paris drawing is his no.218 and Exh. Paris-Haarlem, 1997, no.41, repr. in colour (which associates the Vienna drawing with that formerly in the Tonneman sale of 1754). Schulz, 1972 (see Lit. below), also points to other views of the same landscape made in the 1630s by Wenzel Hollar, and to an etching in 'Amoenissimi prospectui', London, 1643.
London, 1915, p.72, no.5, repr. pl.XXXVI; Hofstede de Groot, 1915[II], p.61 (inscription should be read 'Anssje' for 'Angers'); Hofstede de Groot and Spiess, 1926-7, p.198, repr. p.195, fig.18 (notes two related views [on which see above]); Haentjes, 1960, repr. p.58; Dattenberg, 1967, p.113, no.125, repr.; Exh. Brussels-Rotterdam-Paris-Bern, 1968-9, p.43, under no.39; Schulz, 1970, p.18, n.30 (listing drawings made on Rhine journey); Schulz, 1972, I, p.54 and II, no.308; Schulz, 1973, p.7; Schulz, 1974, p.23 and cat. no.217, fig.115; Sumowski, 1979 etc., II, no.404, repr.; Exh. Koblenz-Bonn, 1992, no.10, repr. p.157; Exh. Paris-Haarlem, 1997-8, under no.41.
- Not on display
- Exhibition history
1992 Sept-Oct, Rheinische Landesmuseum, Bonn & Mittelrhein Museum, Koblenz, no 10
- Acquisition date
- Prints and Drawings
- Registration number