a landscape drawing by rembrandt

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  • A Landscape Drawing by RembrandtAuthor(s): Arthur M. HindSource: The British Museum Quarterly, Vol. 7, No. 3 (1933), p. 63Published by: British MuseumStable URL: http://www.jstor.org/stable/4421433 .Accessed: 24/06/2014 23:57

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    ONE of the finest examples of Rembrandt's landscape drawing, a Study of Cottages and Trees, was recently presented by the National Art Collections Fund. It came from the Woodburn collec- tion and appeared in a sale atSotheby's on 2o July 1932 (No. 63),but was up till then undescribed. The ground to the left of the dyke is left blank, but comparison with other drawings, particularly one at Chatsworth, Hofstede de Groot 835 (Vasari Society, 2nd Series VI.

    20), shows conclusively that it is a study on the bank of the Amstel a few miles outside Amsterdam. H. de G. 835 shows the same group of cottages and trees, a road and the towing-path left of the dyke, and then the bend of the river. The locality of this group of drawings, which includes two others at Chatsworth, H. de G. 837 and 838, reproduced in the Vasari Society III. 23 and IV. 25, is discussed

    by Frits Lugt, Mit Rembrandt in Amsterdam, Berlin, 1920, p. 112, &c. The group of cottages and trees is used by Rembrandt in his long

    landscape etching with Trees,farm-buildings, and a Tower (H. 244). The etching has in addition amid the trees on the right a building with a tower, which in the first state shows a cupola, probably the same building which appears in a drawing belonging to Mr Otto Gutekunst (Vasari Society, 2nd Series, V. I o). It is interesting to note how in the etching Rembrandt has eliminated the river and

    replaced it by a field on the left, and has added a sunset effect, with brilliant contrasts of light and shade, in making his composition.

    A. M. H.


    A LARGE drawing in body-colour on grey-blue paper, measur- ing I I ? I73

    inches, representing a Country Road flanked by Trees, with two ladies seated in theforeground, was recently purchased out of the Florence Fund. It appeared in a sale at Sotheby's on

    July 20 (lot Io05) under the name of I. Rademaker, from the late

    eighteenth-century inscription on the old paper mount (I. Rademaker

    fecit). Abraham Rademaker was a well-known topographical draughtsman of the late seventeenth and earlier eighteenth century

    K 63

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    Article Contentsp. 63[unnumbered]

    Issue Table of ContentsThe British Museum Quarterly, Vol. 7, No. 3 (1933), pp. 63-104Front MatterA Landscape Drawing by Rembrandt [pp. 63]A Landscape Drawing Attributed to Van Dyck [pp. 63-65]Blake's Songs of Innocence and Experience [pp. 65-66]Documents from Penshurst [pp. 66-68]William Gardiner, Justice of the Peace [p. 68]The Aberdeen Papers [pp. 68-70]Coleridge's Lectures on Philosophy [pp. 70-72]Anthony Trollope's Autobiography [p. 72]Plays from the Lord Chamberlain's Office [pp. 72-73]The Journals of George Sturt [pp. 73-74]The New Testament in Lithuanian [pp. 74-75]The Seamans Secrets [p. 75]Government Publications from the Public Record Office [pp. 75-76]A Digest of Commentaries on the Babylonian Talmud [pp. 76-77]Chinese Calligraphy [pp. 77-78]Antiquities from Al Amarna [p. 78]Objects from Mr Brunton's Excavations, 1930-1 [p. 78]Objects from the Sir Charles Hyde: Campbell-Thompson Excavations at Nineveh, 1930-2 [pp. 78-79]Antiquities from UR [p. 79]The Gilgamesh Epic in Sumerian [pp. 79-80]Early Painted Pottery from Persia [pp. 80-81]Early Chinese Bronzes [pp. 81-83]Two Pottery Lokapalas [pp. 83]A Maya Tripod Beaker [pp. 84]Ibero-Roman Silver from Cordova [pp. 84-85]A Rare Roman Coin from Richborough [pp. 85]Rodney Gold Badge [pp. 85-86]Wax Models by Italian Die-Engravers [pp. 86-87]Prints and Drawings Presented as a Tribute to Campbell Dodgson, Keeper, 1912-32 [p. 87]Miscellaneous Prints and Drawings [pp. 87-88]Other Gifts [pp. 88-94]Laboratory Notes: Stains in Silhouette on Bound MSS [pp. 94-97]Recent Publications [pp. 97-99]ExhibitionsGifts of the Egypt Exploration Society [pp. 99-100]Sir Walter Scott [p. 100]Japanese Colour Prints [pp. 100-101]Warren Hastings [pp. 101-103]

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