drawing

Evening (?) landscape; an open space, thick woodland on slopes beyond, a group of figures by a fire at l foreground and a man walking at r Watercolour and bodycolour

AN218945001001

© The Trustees of the British Museum

Department: Prints & Drawings

Registration number: Oo,10.134

Bibliographic reference
Royalton-Kisch 2010 With.8 (De With or (more probably) van Battem)

Location:
Dutch Roy XVIIc

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Object types
drawing (scope note | all objects)

Materials
paper (all objects)
Techniques
drawn (scope note | all objects)
Production person
Attributed to Gerrit van Battem (biographical details | all objects)
Formerly attributed to Adam Elsheimer (biographical details | all objects)
Attributed to Pieter de With (biographical details | all objects)
Date
1660 (fl. c)
Schools /Styles
Dutch (scope note | all objects)


Description
Evening landscape with figures by a fire; an open space, thick woodland on slopes beyond, a group of figures by a fire at left foreground and a man walking at right
Brush and dark brown wash, with white bodycolour, on brown paper.
Verso: laid down.
Watermark: none visible.

Inscriptions
Inscription Content: No inscriptions visible.


Dimensions
Height: 108 millimetres (Chain lines vertical, distance apart uncertain.)
Width: 156 millimetres


Condition
Good; slightly rubbed at corners to right.

Curator's comments
Not in Hind D+F catalogue.


Entry from Martin Royalton-Kisch, 'Catalogue of drawings by Rembrandt and his school', 2010, Pieter de With or (more probably) Gerrit van Battem, cat. no.8:

See the remarks to Royalton-Kisch no.6 (1895,0915.1032). This sombre nocturne was previously attributed to Gerrit van Battem and then to Adam Elsheimer, and belongs with a group of gouache drawings now often ascribed to Pieter de With.[1] The figures are especially reminiscent of his work and the distant castle is comparable to that in 1893,0731.1 (RK cat. no.5 as de With). The composition may also have been inspired by Rembrandt's 1647 painting of the Rest on the Flight into Egypt in Dublin,[2] which in turn was inspired by Elsheimer's version of the subject now in Munich, but probably known to Rembrandt through Hendrick Goudt's engraving of 1613.[3] A drawing in Hamburg attributed to Barent Fabritius was also inspired by the Rembrandt.[4]

1. In Payne Knight's bequest of 1824, three drawings with consecutive inventory numbers, Oo,10.134 (the present drawing), Oo,10.135 and Oo.10.136 were entered in the Register of acquisitions as by Gerrit van Battem. On the basis of the style of a figure drawing on the verso of Oo,10.135 they were all placed with drawings by Elsheimer by 1925 on the suggestion of J.H.J. Mellaert (see Hind, 1925 and London, 1926 in Lit. below). The figure sketch was subsequently reattributed to Hendrick Goudt and Oo,10.135 placed under his name, where it remains today. Oo.10.134 (the present drawing) and Oo.10.136 were retained under Elsheimer's name. The latter was later returned to Van Battem, but recently both nos.134 and 136 were placed with drawings by Pieter de With.
2. Bredius 576.
3. Hollstein 3.
4. Inv.22431, Sumowski 835X.

Literature: Hind, 1925, p.246 (moved to Elsheimer from Van Battem – see n.1 above); Hind, 1926[I], p.42, no.361 (as Elsheimer); London, 1926, pp.20-21 (as Hind, 1925); Drost, 1957, p.124 (not Elsheimer); Möhle, 1966, pp.160-1, no.55, repr. pl.33 (Elsheimer); Van Gelder and Jost, 1967-8, p.36 (not Elsheimer; Van Battem?).


Acquisition date
1824

Acquisition name
Bequeathed by Richard Payne Knight (Acquired as by van Battem) (biographical details | all objects)


Exhibition History
1966-7, Frankfurt, 'Elsheimer', no.156, repr. fig.143 (Elsheimer)
1982 Jan-Apr, Manchester, Whitworth AG, 'Payne Knight', no. 137 (Elsheimer)


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