Landscape with farmhouses amid trees; figures on a curving road in the foreground and water to r Pen and brown ink, with brown wash and watercolour, touched with white


© The Trustees of the British Museum

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Department: Prints & Drawings

Registration number: Oo,9.108

Bibliographic reference
Sumowski 1979 continuing 1519x
Hind 1915-31 3
Royalton-Kisch 2010 Koninck.P.12

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 Philips Koninck (biographical details | all objects)
1674 (circa)
Schools /Styles
Dutch (scope note | all objects)

Landscape with farmhouses and trees; figures on a curving road in the foreground and water to right. c.1674

Pen and brown ink with grey and brown wash and some bodycolour, touched with pen and grey ink; framing-line below in pen and brown ink.

Verso: see Inscriptions.

Watermark: Paschal Lamb in a crowned shield (comparable to Laurentius p.269, no.655, datable 1645).

Inscription Content: Inscribed lower right in pen and dark brown ink (eighteenth century?): ‘R:B:t [‘t’ in superscript]’; and verso, in graphite, upper centre (eighteenth century?): ‘battem’ and centre (seventeenth-eighteenth century): ‘fabritius’; on the verso of backing card, upper centre, in pen and brown ink, (eighteenth century): ‘Rembrandt.’.

Height: 170 millimetres
Width: 250 millimetres (chain lines horizontal, 24mm apart)

Cut slightly irregularly; rubbed, spotted and stained, as if affected by damp; whites partly oxidised.

Curator's comments
Entry from Martin Royalton-Kisch, 'Catalogue of drawings by Rembrandt and his school', 2010, Philips Koninck, cat. no.12:
The location depicted has not been identified.
The drawing belongs to a distinct group within Philips Koninck's oeuvre because of its technique. The use of broadly-brushed bodycolour, sometimes in combination with a restricted range of colours, creates particular stylistic and atmospheric effects, seen in cat. nos.9-10 (Oo,9.83 and Gg,2.257) as well as the present work, and some half-a-dozen surviving landscape drawings in other collections.[1]
On account of similarities in style between this group of drawings and Koninck's oil paintings, they have long been recognised as late works.[2] The date, 1674, written on cat. no.10 (Gg,2.257) establishes the period to which they belong.

[1] The drawings in other collections are reproduced by Sumowski, nos.1365 (Haarlem, inv.P*25), 1517x (Chantilly, inv.XII.374), 1520x (New York, Metropolitan Museum of Art, inv.1975.131.152) and 1521x (Amsterdam, Gemeentearchief, inv.Dr.472a). The variant of the drawing in New York (Sumowski 1520x) in the Teylers Museum in Haarlem is a copy (see Haarlem, 1997, no.233).
[2] Vosmaer, 1877, compared the present drawing to a painting in the Rijksmuseum, which is dated 1676 (see Lit. below).

LITERATURE (always as P. Koninck except Bürger, 1858):
Bürger, 1858, p.402 (Rembrandt); Vosmaer, 1877, p.613 (attributes to P. Koninck rather than Rembrandt; compares painting in Rijksmuseum, inv.A206 [repr. Sumowski, 'Gemälde', no.1072]); London, 1915, pp.81-2, no.3, repr. pl.XLIX; Gerson, 1936, no.Z49; Turin, 1974, p.49, under no.64 (compares drawing in Turin of an 'Arched Grotto', inv.16504); White, 1974, p.40 (comparing New York drawing [on which see n.1 above]); Sumowski, 1979 etc., VI, 1982, no.1519x, repr. (late work of 1670s, comparing e.g. cat. nos.9-11; Oo,9.83; Gg,2.257; and Oo,9.85).

Acquisition date

Acquisition name
Bequeathed by Richard Payne Knight (as Rembrandt) (biographical details | all objects)
Previous owner/ex-collection Thomas Hudson (biographical details | all objects)

Exhibition History
London, 1972-3, no.241;
1956, p.30, no.5.

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