Rembrandt Harmensz. van Rijn
Property from the Estate of the Late Lilian Honor Lewis
Rembrandt Harmensz. van Rijn

Landscape with a Cottage and a Hay Barn: Oblong (B., Holl. 225; H. 177; New Holl. 199)

Details
Rembrandt Harmensz. van Rijn
Landscape with a Cottage and a Hay Barn: Oblong (B., Holl. 225; H. 177; New Holl. 199)
etching with touches of drypoint, 1641, partial watermark Strasbourg Lily (probably Hinterding A-4WR-a, dated 1641), a good, early impression, printing with touches of burr on the signature and in the reeds at the extreme left, with fine wiping marks in the sky, thread margins all around, a few pinpoint foxmarks, two flattened creases across the upper right corner, otherwise in very good condition, framed
P. 128 x 321 mm., S. 129 x 323 mm.
Provenance
Adam Gottlieb Thiermann (died 1860 or 1861), Berlin (L. 2434).
Kupferstichkabinett der Staatlichen Museen, Berlin (L. 1633), with their de-accession stamp (L. 2398); acquired from the widow of the above in 1861; presumably their sale, Amsler & Ruthardt, Berlin, 15-18 May 1921.
With Colnaghi’s, London (with their label on the reverse of the frame and their stocknumber C. 11984 in pencil verso.)
Percival Duxbury (1872-1945), Bredbury, Cheshire; acquired from the above in 1922 (£200); then by descent to the present owners.

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Charlie Scott
Charlie Scott

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Lot Essay

In this expansive landscape, the distant views on either side of the cottage juxtapose town and country, urban and rural life. In fact three elements are being depicted - the rich city on the left, the grand country manor house on the right and the humble country existence in the centre. Although realistic, it is undoubtedly a work of Rembrandt's imagination, created in his studio from various motifs he observed in the surrounding countryside. It is generally accepted that the town in the distance is Amsterdam, but there is some dispute as to the identity of the substantial country house. The consensus appears to be that it is the ruins of Kostverloren House.

Landscape with a Cottage and Haybarn has always been one of Rembrandt's most famous and highly prized landscapes. An indication of its popularity is that White and Boon list no fewer than five etched copies of it. It required a particularly skilful manipulation of the etching process, varying the biting from the darkest lines of the cottage to the lightest on the far horizon.

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