Landscape with three gabled Cottages beside a Road

Name: REMBRANDT HARMENSZ. VAN RIJN (1606-1669)
Brand: Landscape with three gabled Cottages beside a Road
Price: 70000.00 GBP
Availability: SoldOut

Price Realised GBP 88,200

Estimate

GBP 50,000 - GBP 70,000

Closed: 21 Mar 2025

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REMBRANDT HARMENSZ. VAN RIJN (1606-1669)

Landscape with three gabled Cottages beside a Road

Price Realised GBP 88,200

Closed: 21 Mar 2025

Price Realised GBP 88,200

Closed: 21 Mar 2025

Details Lot Essay Related Articles More from

REMBRANDT HARMENSZ. VAN RIJN (1606-1669)
Landscape with three gabled Cottages beside a Road
etching and drypoint
1650
on laid paper, without watermark
a very good impression of this rare and important print
third, final state
printing sharply and with good contrasts
with burr in places, and fine wiping marks in the sky and inky relief
trimmed to or just inside the borderline, occasionally shaved into the subject
with square sheet corners above
extensive additions in light brown ink and grey wash
some defects and repairs
Sheet 159 x 203 mm.

Siegfried Barden (1854-1917), Hamburg (Lugt 218 and 2756).
With E. & R. Kistner, Nuremberg.
Private Collection, Switzerland; acquired from the above in 1996 (DM 130,000); then by descent to the present owners.

Bartsch, Hollstein 217; Hind 246; New Hollstein 248

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Lot Essay

is perhaps the most atmospheric rendering of a theme that appears repeatedly in Rembrandt's etchings - a bucolic view down a country lane lined with cottages and trees. The print is closely related to a drawing, (Benesch 835; Kupferstichkabinett der Staatlichen Museen, Berlin; inv. no. KdZ 3116), which depicts a similar cluster of farm buildings, known as . The exact location of this etching has not been identified, however, the (longhouses) were typical of the region around Amsterdam, particularly along the old roads, the Sloterweg, the Amstelveenseweg, and the Diemerdijk.
As the print varies from the drawing in several respects, it is generally thought that the artist composed the scene from more than one study. However, it has also been suggested that he had begun working on the plate outdoors, and completed it in the studio. This would explain the removal of a section of the tree, still faintly visible in the sky above the foliage over the central chimney. This combination of naturalistic observation and artistic intervention is typical of many of Rembrandt's etched landscapes, where fidelity to the subject is subordinate to composition and atmosphere.