View from near the St Anthoniespoort, Amsterdam; the water skirted by a narrow belt of land on the horizon, a village to r and a drawbridge at l foreground Pen and brown ink, with brown wash, on grey paper


© The Trustees of the British Museum

Department: Prints & Drawings

Registration number: Oo,9.79

Bibliographic reference
Hind 1915-31 114
Royalton-Kisch 2010 131 (anonymous Rembrandt School)
Benesch 1973 A38

Dutch Roy XVIIc

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Object types
drawing (scope note | all objects)

paper (all objects)
drawn (scope note | all objects)
Production person
Circle/School of Rembrandt (anonymous) (biographical details | all objects)
1650 (circa)
Schools /Styles
Dutch (scope note | all objects)

View from near the St Anthoniespoort, Amsterdam; the water skirted by a narrow belt of land on the horizon, a village to right and a drawbridge at left foreground. c.1650
Pen and brown ink with brown wash on ‘oatmeal’ paper prepared with grey wash; ruled framing lines, apparently in the same ink.
Verso: see Inscriptions.
No watermark.

Inscription Content: Inscribed verso, in pencil, right of centre: '40 [in a circle]'.

Height: 123 millimetres
Width: 262 millimetres (chain lines horizontal, 28mm apart)

Good; a few minor stains and some spots at lower left, perhaps caused by water.

Curator's comments
Entry from Martin Royalton-Kisch, ‘Catalogue of drawings by Rembrandt and his school’, 2010, anonymous Rembrandt School, cat. no.131:
The view is taken from near the end of the St Anthoniebreestraat, the street where Rembrandt lived from 1639 until 1660. On the left is the second of the two drawbridges (the first is hidden behind the embankment) that served the St Anthoniespoort (St Anthony's Gate), the portcullis of the gate itself being recognisable from the five orbs that adorned the top of the structure. Beyond it is the 'Stone Bear' that was placed across the gate for defensive reasons, with the St Anthoniesdijk beyond, leading towards Houtewaal.[1] The vantage-point is visible in a print by Reinier Nooms, called Zeeman ( Bartsch 125).
Long attributed to Rembrandt himself, the style of the drawing has only general affinities with his, as has been pointed out by more than one writer.[2] The tentative penwork and overly liquid wash have no close parallels in his landscape drawings (compare cat. nos.64-70; 1895,0915.1257, Oo,9.104, 1895,0915.1282, 1984,1110.9, 1895,0915.1259, 1895,0915.1283, Gg,2.255). Yet the drawing could have been made by one of his pupils and is, with reservations, dated here to around 1650, the period of Rembrandt's most intensive activity as a landscape draughtsman.

[1] Identified by Lugt, 1915 (see Lit. below).
[2] See Lit. below: Seidlitz, 1913 and Benesch, 1955/73.

LITERATURE (as Rembrandt unless otherwise stated):
Bürger, 1858, p.402 ('superbe'); Vosmaer, 1877, p.613 (view near Muiden?); Kleinmann, III, 63; Hofstede de Groot, 1906, no.955; Wurzbach, 1910, p.418; Seidlitz, 1913, p.360 (not Rembrandt, likewise similar 'Windmills on west Side of Amsterdam', Benesch 1335, Copenhagen); London, 1915, no.114, repr. pl.XII (by Rembrandt, refuting Seidlitz, 1913; compares 'Windmills on west Side of Amsterdam', Benesch 1335, Copenhagen, 'View of London, with Old St Paul's', Benesch 788, Berlin, and 'View of Rhenen', Benesch 825, Bredius Museum, The Hague); Lugt, 1915, pp.43-5, 82 and 128, repr. fig.26 (identifies location); Lugt, 1915[II], pp.160-61, repr. fig.26; Eisler, 1918, p.76, repr. fig.37 (c.1651; relates to etching of 'Goldweigher's Field', Bartsch 234, Hind 249); Hirschmann, 1918, p.22 (as London, 1915); Lugt, 1920, pp.44-5, 85 and 130, repr. fig.26 (as Lugt, 1915); Benesch, 1935, p.41 (c.1646-7); Wimmer, 1935, p.40 (c.1650; compares 'Landscape with bather', Benesch 1352, Berlin, for contrast of styles in foreground and background); Wimmer, 1942, p.40 (as Wimmer, 1935); van Gelder, IV, 1946, p.21, repr. p.13; Benesch, IV, 1955/73, no.A38, repr. fig.1040/1101 (not Rembrandt - the drawing too impressionistic and lacking in clarity of accent); Rosenberg, 1959, p.116 (1640s; compares 'Sailing-Boat', Benesch 847, in Getty Museum); van Gelder, 1961, p.150; Slive, 1965, II, no.522 (by Rembrandt, c.1650); Exh. Brussels-Rotterdam-Paris-Bern, 1968-9, pp.117-8 (by Rembrandt, wrongly rejected by Benesch); Exh. Amsterdam-Paris, 1998-9, p.213, repr. fig.1.

dock/quay (all objects)

Associated places
Topographic representation of Amsterdam (all objects)

Acquisition date

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

Exhibition History
London, 1891, no.111;
1899, no.A63;
1938, no.114;
1956, p.12, no.6;
1992, BM, Drawings by Rembrandt and his Circle (not in catalogue, as School of Rembrandt).

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