View of Cleves from a hill in the S; a peasant woman on a track near the foreground, below to l a windmill, the River Rhine visible before and beyond the town Pen and brown ink, brown wash and watercolour


© The Trustees of the British Museum

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Department: Prints & Drawings

Registration number: Oo,10.173

Bibliographic reference
Hind 1915-31 1
Sumowski 1979 continuing 485x
Royalton-Kisch 2010 Doomer.5

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 Lambert Doomer (biographical details | all objects)
Schools /Styles
Dutch (scope note | all objects)

View of Cleves; view from a hill in the South, a peasant woman on a track near the foreground, below to left a windmill, the River Rhine visible before and beyond the town, 1663

Pen and brown ink with watercolour; framing lines in pen and dark brown ink.

Verso: see Inscriptions.

No watermark.

Inscription Content: Verso, in pen and brown ink: ‘Der [?] Stat [?] Cleef’.
(I am grateful for help with this transcription from Stijn Alsteens.)

Height: 220 millimetres
Width: 361 millimetres (chain lines horizontal, 25mm apart)

Good; a small, rubbed patch above horizon left of centre; nick at top centre edge; small brown stain (surface dirt) in central sky.

Curator's comments
Entry from Martin Royalton-Kisch, 'Catalogue of drawings by Rembrandt and his school', 2010, Lambert Doomer, cat. no.5:
The drawing belongs to a group of views, many of which are in the British Museum, that were made on Doomer's Rhine journey of 1663 and which seem to have come from a single sketchbook or series of sheets. Some five landscape compositions by Doomer are of Cleves, some of them known in more than one version, others only through later, autograph replicas - the original drawings of 1663 do not all survive.[1] A later, autograph version of the present composition, with extra figures added to the foreground, has been recorded.[2]
Cleves is viewed from the north west. Built on two hills, it is divided between the castle area with the market and parish church on the one hand, and the settlement known as the 'Unterstadt'. From the left, we see the Heidelberg Mill, the Castle with the Schwanenburg Tower, the Collegiate Church ('Stiftskirche'), the town mill and the Wingert Tower. In the background, nearby Qualburg and its church can also be made out.
The same view was depicted by several artists, perhaps the closest to the present work being a drawing by Jacob Esselens now in the Hermitage, St Petersburg.[3]

[1] The particular set, consisting of fourteen drawings, first reconstructed by Schulz, 1972, I, p.54 (and again in 1974, p.23). There are six British Museum drawings in the group: the present sheet and cat. nos.6, 8, 10, 11 and probably also cat. no.9. (1886,1012.539, Gg,2.265, 1946,0713.152, 1946,0713.153 and 1854,0628.115). See also Schulz, 1974, nos.192-6.
[2] Photograph in the Rijksbureau voor Kunsthistorische Documentatie, The Hague (neg.no.18593; whereabouts unrecorded). Repr. Gorissen, 1964, pl.27 and Dattenberg, 1967, no.100, and dated to the early 1670s by Schulz, 1972, II, p.365, no.274 (but not mentioned in Schulz, 1974). See further n.2 above.
[3] As pointed out by Schulz, 1974, p.84, under no.192. The drawing is repr. Exh. Brussels-Rotterdam-Paris, 1972-3, no.32, pl.33. Other comparable views, by Braun and Hogenberg, Cuyp, Feltman, van Goyen, Ruisscher, Rutgers and van Kessel are listed by Schulz, 1972, II, pp.364-5, under no.273, and Gorissen, 1964, nos.6ff. The drawing by Rutgers (Museum van Gijn, Dordrecht, folio 73 of an album of drawings by Rutgers) may have been based on the present work by Doomer (see Niemeijer, 1964, p.129).


London, 1915, pp.71-2, no.1, repr. pl.XXXV (as from the Tonneman collection); Spiess, 1930, p.244, repr. fig.230; Dattenberg, 1938, p.391, no.6, repr. p.388, fig.5; Exh. Düsseldorf, 1953, no.29, repr. (a reproduction exhibited); Gorissen, 1956; Gorissen, 1964, no.25, repr.; Niemeijer, 1964, p.129 (folio 73 of Rutgers album based on present work - see n.3 above); Dattenberg, 1967, p.91, no.99, repr. p.90; Schulz, 1970, p.18, n.31 (first description of the author's 'London Group'); Schulz, 1970[I], p.10; Schulz, 1972, I, p.54 and II, p.364, no.273; Exh. Brussels-Rotterdam-Paris, 1972-3, under no.32; Schulz, 1973, p.6; Schulz, 1974, pp.23 and 84, no.192, repr. pl.97 (c.1663); Turin, 1974, p.37, under no.35; Schatborn, 1977[I], p.53 (not from Tonneman collection); Exh. New York-Paris, 1977-8, p.48, under no.30, n.11.; Exh. Paris-Antwerp-London-New York, 1979-80, p.135, under no.112; Sumowski, II, 1979, no.485x; Amsterdam, 1981, p.124, under no.32.

Associated places
Topographic representation of Cleves (scope note | all objects)
(Europe,Germany,North Rhine-Westphalia (Germany),Cleves)

Acquisition date

Acquisition name
Bequeathed by Richard Payne Knight (biographical details | all objects)
Previous owner/ex-collection Jeronimus Tonneman (See Acquisition Notes - this drawing not in Tonneman collection.) (biographical details | all objects)

Acquisition notes
Although the description of the drawing fits that given in the J. Tonneman sale catalogue (De Leth, Amsterdam, 21 etc. October 1754, portfolio T, no.6, bt Punt, f.7), Schatborn, 1977, p.53 points out that those drawings were probably all later versions made on ledger paper.

Exhibition History
1958 Apr, BM, Eight centuries of landscape ... water-colours, case 22
1992, BM, Drawings by Rembrandt and his Circle, not in catalogue

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