Landscape with two thatched huts below a bank above which is a wood; with pigs, a hand-cart and figures including a woman bending over in the foreground to r Pen and brown ink, touched with brown wash


© The Trustees of the British Museum

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Department: Prints & Drawings

Registration number: 1946,0713.160

Bibliographic reference
Sumowski 1979 continuing 1728x
Hind 1915-31 Add.28a
Royalton-Kisch 2010 Lievens.J.22
Phillipps-Fenwick 1935 p.190(1)

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 Jan Lievens (biographical details | all objects)
1660-1670 (c.)
Schools /Styles
Dutch (scope note | all objects)

Sandpit with barns, figures and swine; landscape with two thatched huts below a bank above which is a wood with pigs, a hand-cart and figures including a woman bending over in the foreground to right. c.1660-70
Pen and brown ink, with brown wash; framing-lines in pen and (darker) brown ink.
Verso: blank.
No watermark visible.

Inscription Content: Inscribed on the mat, lower right, in pen and brown ink over graphite: ‘Jean Lievens de Leyden / eleve de P Lastman 1609-‘; lower left, in pen and brown ink: ‘448.’; and in graphite: ‘1732’; on verso of mat in graphite: ‘8.’.

Height: 251 millimetres
Width: 412 millimetres (chain lines horizontal, 27mm apart)

Generally good; some accidental grey blotches lower centre; some light foxing.

Curator's comments
Entry from Martin Royalton-Kisch, 'Catalogue of drawings by Rembrandt and his school', 2010, Jan Lievens, cat. no.22:
For the problems posed in attributing landscape drawings to Jan Lievens and his son, Jan Andrea Lievens, see the biography of the latter.
A second version of the composition, which differs in detail and lacks the figures, the swine and the cart in the foreground, is in Paris (Institut Néerlandais, F. Lugt Collection), and the watermark in its paper is datable c.1664.[1] The slightly more stilted style and extra staffage in the British Museum's drawing has prompted the plausible suggestion that it is based on the drawing in Paris, which may possibly have been sketched directly from nature.[2] In Munich there is a drawing of the same scene, viewed from slightly further to the left, signed by Gerbrand van den Eeckhout.[3] This differs from the Paris drawing in details such as the fully closed barn doors and the size of the hayrick, although the placement of a stool on the far left is the same, along with the planks next to it. In addition, a version of the view in Amsterdam has been ascribed to Jacob Esselens.[4] It is a moot point as to whether the drawings were all made on a joint excursion,[5] and the divergent details undermine the hypothesis. In style the drawing is close to sheets in Braunschweig (inv. Z419) and Vienna (inv.8907) both of which are inscribed with early attributions to Jan Andrea Lievens.[6]

[1] Inv. 2477, 257 x 405 mm, Sumowski 1727x; Exh. Paris, 1997, no.88, repr. (mentioning the watermark).
[2] Sumowski under no.1728x.
[3] Inv.1951, 192 x 282 mm, Sumowski 675, Munich, 1973, no.550, repr. pl.388. It may be that the figures and grey wash in this sheet are later additions by another hand.
[4] Inv. A315, Amsterdam, 1942 (see Lit. below). Esselens is said to have been a pupil of Lievens by Josi, 1821.
[5] The joint excursion was suggested by Henkel in Amsterdam, 1942, and followed by Van Hasselt (in Exh. Brussels-Rotterdam-Paris-Bern, 1968-9), Wegner (Munich, 1973, no.550) and Ekkart (Schneider-Ekkart, 1973 ed. only, p.392, no.SZ441). Short of discovering that all the drawings share the same watermark it will remain impossible to ascertain.
[6] The latter is Sumowski 1737x.

Popham, 1935, p.190, no.1, repr. pl.lxxxi (Lievens); Amsterdam, 1942, p.79, under no.20 (Lievens; compares versions of same view, one by Lievens in Lugt collection [inv.2477; Sumowski 1727x], one signed by Eeckhout in Munich [inv.1951; Sumowski 675] which considered superior to version in Amsterdam; the latter ascribed to Esselens; these sketches all probably made at same time); Exh. Brussels-Rotterdam-Paris-Bern, 1968-9, pp.99-100 (as Amsterdam, 1942); Schneider-Ekkart, 1973 ed. only, p.392, no.SZ441; Exh. Braunschweig, 1979, p.168, under no.78 (Amsterdam and Munich versions suggest a joint excursion by Lievens, Esselens and Eeckhout probably in 1663 when the latter dated some drawings made on travels [as suggested in Munich, 1973, under no.550]); Amsterdam, 1981, p.123, under no.32 (as Amsterdam, 1942); Sumowski, 1979 etc., VII, 1983, no.1728x (not done from nature but based on Lugt version; Lievens probably drew the site at another time rather than together with Esselens and Eeckhout); Exh. Paris-Haarlem, 1997, pp.199-200, under no.88 (based on Lugt version which has a watermark datable c.1664; site perhaps in the Veluwe near Arnhem or Rhenen; otherwise as Amsterdam, 1942, but uncertain if artists travelled together); Exh. Washington-Milwaukee-Amsterdam, 2008-9, no.137, repr. (Lugt drawing datable c.1664 through watermark).

farming (scope note | all objects)

Acquisition date

Acquisition name
Donated by The Art Fund (as NACF) (biographical details | all objects)
Previous owner/ex-collection Samuel Woodburn (Christie's, 6.vi.1860/538 as 'Lievens - Views of Dutch farm houses and barns - pen and bistre', 4 in) (biographical details | all objects)
Previous owner/ex-collection Sir Thomas Phillipps (biographical details | all objects)
Previous owner/ex-collection Sir Thomas Lawrence (L.2445) (biographical details | all objects)
Previous owner/ex-collection Count Moritz Christian Johann von Fries (L.2903) (biographical details | all objects)
Previous owner/ex-collection Thomas Fitzroy Fenwick (biographical details | all objects)

Acquisition notes
Moritz von Fries (L.2903); Thomas Lawrence (L.2445); Samuel Woodburn, sale, Christie’s, 4 June, 1860, lot 538 (one of 4 drawings in the lot, the others here J. Koninck cat. no. 4, and J. Lievens cat. nos.23 and 20 [respectively 1946,0713.161-163]), bt Sir Thoms Phillipps, 10s; by descent to Thomas Fitzroy Phillipps Fenwick; presented by the National Art-Collections Fund, 1946.

Exhibition History
1938, London, Royal Academy, p.179, no.537 (as by Jan Lievens, pace J.G. van Gelder);
1965, London, no.25 (Lievens)
2008/9 Oct-Jan, Washington, NG of Art, Jan Lievens (1607-1674)
2009 Feb-April, Milwaukee Art Museum, Jan Lievens (1607-1674)

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