Flat landscape with a broad river and church in the distance; peasants in a field in the foreground, a cottage beyond to r Pen and brown ink and brown wash, touched with watercolour, over graphite


© The Trustees of the British Museum

Department: Prints & Drawings

Registration number: Oo,9.92

Bibliographic reference
Sumowski 1979 continuing 2301xx
Hind 1915-31 8
Royalton-Kisch 2010 Ruijscher.4

Dutch Roy XVIIc

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Object types
drawing (scope note | all objects)

paper (all objects)
drawn (scope note | all objects)
Production person
Formerly attributed to Philips Koninck (biographical details | all objects)
Attributed to Jan Ruijscher (biographical details | all objects)
1648-1652 (circa)
Schools /Styles
Dutch (scope note | all objects)

Landscape with Naarden church in the distance; peasants in a field in the foreground, a cottage beyond to right. c.1648-52

Pen and brown ink with brown wash and graphite,* touched with red chalk and with white; framing-lines in pen and brown ink, and an obliterated framing-line 5mm from the lower edge.
* It is conceivable that the rather evenly applied lines of graphite in the sky were added posthumously. In an undated note (perhaps c.1959) in British Museum files, Christopher White found the sky 'unusual' for the seventeenth century.

Verso: blank (see Inscriptions)

Watermark: lily in shield, indistinct.

Inscription Content: Inscribed lower right, in pen and black ink, perhaps a price, now illegible.

Height: 110 millimetres
Width: 319 millimetres (chain lines horizontal, 24mm apart)

Generally good; slightly rubbed; a surface loss, lower left; other, minor blemishes; whites oxidizing.

Curator's comments
In Hind as P. Koninck.

Entry from Martin Royalton-Kisch, 'Catalogue of drawings by Rembrandt and his school', 2010, attributed to Johannes Ruijscher, cat. no.4:
The view is of Naarden, the same location represented in another drawing by Ruijscher now in Rotterdam, and almost repeats the composition of another view now in Amsterdam.[1] Which of these views was drawn first is uncertain. That in Rotterdam, like the present version, seems to correct the discrepancy in scale between the two pairs of figures in the Amsterdam version by omitting the smaller pair. The higher degree of finish in the British Museum's drawing suggests that it may be the last, definitive representation.
The style seems so commensurate with the other drawings in the group described under cat. no.2 (Oo,9.90) that, given that this and cat. nos.1-3 have consecutive inventory numbers from Payne Knight's collection (respectively Oo,9.91, 90 and 89), it now seems hard to understand why the present work was ever separated from them, despite the additional use here of red chalk and graphite.

[1] Rotterdam, 1988 (where Naarden identified) and Sumowski, 1979 etc. (see Lit. below).

LITERATURE (always as Ruijscher unless otherwise stated):
Bürger, 1858, p.402 (Rembrandt); London, 1915, p.82, no.8, repr. pl.L (P. Koninck, to whom closer than Ruijscher, whose authorship has also beeen suggested); Van Dyke, 1927, p.143, repr. pl.XLVII, fig.187; Welcker, 1934, p.78 (quotes London 1915; compares Amsterdam A 2425 [Sumowski 2300xx] and Koenigs drawing [now Rotterdam, inv.H.33 [Sumowski 2299xx]); Gerson, 1936, no.Z.XII (not Koninck; Ruijscher more plausible; compares Amsterdam drawing A2425 [Sumowski 2300xx] and Berlin drawing KdZ.4711 [Sumowski 2314xx]); Amsterdam, 1942, p.102, under no.1; Rotterdam, 1988, under no.134; Sumowski, 1979 etc., X, 1992, p.5206, no.2301xx, repr. (composition as Amsterdam A2425, Sumowski 2300xx and style as Rotterdam H.33, Sumowski 2299xx).

Acquisition date

Acquisition name
Bequeathed by Richard Payne Knight (as Rembrandt) (biographical details | all objects)

Exhibition History
No exhibitions.

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