Landscape with cottages, meadows and a distant windmill; with cottages amid trees at l. c.1650 Pen and brown ink, with grey-brown wash, on light grey-brown prepared paper


© The Trustees of the British Museum

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Department: Prints & Drawings

Registration number: 1895,0915.1257

Bibliographic reference
Hind 1915-31 100
Royalton-Kisch 2010 64 (Rembrandt)
JCR 785

Dutch Roy XVIIc

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Object types
drawing (scope note | all objects)

paper (all objects)
drawn (scope note | all objects)
Production person
Drawn by Rembrandt (biographical details | all objects)
1650 (circa)
Schools /Styles
Dutch (scope note | all objects)

Landscape with cottages, meadows and a distant windmill; with cottages amid trees at left. c.1650

Pen and brown ink with brown wash on paper prepared with pale greyish-brown wash; framing lines in pen and brown ink.

Verso: see Inscriptions.

Watermark: none.

Inscription Content: Inscribed verso, in graphite: '2 [in a circle]'.

Height: 98 millimetres (chain lines vertical, 26mm apart)
Width: 212 millimetres

Generally good; some surface dirt and slight foxing, upper right.

Curator's comments
Entry from Martin Royalton-Kisch, ‘Catalogue of drawings by Rembrandt and his school’, 2010, Rembrandt, cat. no.64.
Although neglected in the Rembrandt literature, the style of the drawing is characteristic of the master in around 1650.[1] Comparison may be made with the sketch in Oxford (Benesch 1227) that is related to the etched 'Landscape with a Milkman' (Bartsch 213, Hind 242), with the 'View of Houtewaal' in the Woodner collection in the National Gallery of Art in Washington (Benesch 1261), the 'Landscape with a Farmstead' at Chatsworth (Benesch 846) and the 'Sailing Boat' in the J. Paul Getty Museum (Benesch 847). There is no nearer comparison among the works attributed to any of Rembrandt's followers. The treatment of the details, atmosphere and distant horizon is perhaps especially close in the Washington drawing.
The location has not been identified. The low hill to the right suggests that it was not in the immediate vicinity of Amsterdam.[2]

[1] The drawing was not included in Benesch, 1935, or in his catalogue, even as an attributed work, possibly an oversight; Wimmer, 1935, declared it to be somewhat doubtful but without giving reasons, and more recently Schatborn, 1994, has voiced concerns, but without producing alternative analogies (see Lit. below).
[2] As noted by Boudewijn Bakker (conversation of 2 August, 1989).

LITERATURE (always as Rembrandt unless otherwise stated):
Robinson, 1876, no.785 (acquired after 1869); Lippmann, IV, no.72; Kleinmann, IV, no.61; Hofstede de Groot, 1906, no.959; Wurzbach, 1910, p.418; London, 1915, no.100; Wimmer, 1935, p. 59 (c.1648-50; somewhat doubtful); Wimmer, 1942, pp.59 and 68 (not Rembrandt); Slive, 1965, II, no.521, repr. (c.1647- 50); White, 1992, p.268, repr. fig.38; Schatborn, 1994, p.23 (attribution doubtful - forms not strong; lacks suggestive power); Royalton-Kisch, 2000[I], pp.158-9, repr. fig.32 (as Exh. London, 1992).

Acquisition date

Acquisition name
Purchased from Col John Wingfield Malcolm (biographical details | all objects)
Previous owner/ex-collection John Malcolm of Poltalloch (biographical details | all objects)

Acquisition notes
John Malcolm of Poltalloch (acquired after 1869 edition of the Malcolm catalogue); purchased with his collection, 1895.

Exhibition History
London, 1895, no.384a;
1899, no.A41;
1938, no.100;
1972-3, no.251;
1992, Drawings by Rembrandt and his Circle, no.73, repr. in colour (c.1650).

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