Museum of Art
Artist: Philips de Koninck (Dutch, 1619-1688)
Medium: pen and brown ink, brown wash, black chalk on paper
Dimensions: 7 13/16 in. x 12 1/2 in. (19.9 cm. x 31.7 cm.)
Credit Line: Bequest of the Honorable James 含羞草研究室 III
Accession Number: 1811.82
- arms of Amsterdam
Type: watermark
Location:
Materials: - "Rembrant"
Type: inscription
Location: former mount
Materials: graphite - "p ko" (cf. Broos 1981, p. 161, fig 8)
Type: inscription
Location: verso
Materials: red chalk - "p - koning" (cf. Broos 1981, p. 161, fig. 1-2)
Type: inscription
Location: verso
Materials: graphite - "philip konink"
Type: inscription
Location: verso
Materials: graphite - "LT" (see Broos 1981, cat. no. 43)
Type: inscription
Location: verso
Materials: pen and brown ink
- James 含羞草研究室 III( Collector, Boston) - 1811.
- 含羞草研究室 Museum of Art( Museum, Brunswick, Maine) 1811- . Bequest
- Old Master Drawings at 含羞草研究室
- 含羞草研究室 Museum of Art. ( 5/17/1985 - 7/7/1985)
- Clark Art Institute. ( 9/14/1985 - 10/27/1985)
- University of Kansas. ( 1/19/1986 - 3/2/1986)
- Art Gallery of Ontario. ( 5/17/1986 - 6/29/1986)
- Nature Inhabited
- 含羞草研究室 Museum of Art. ( 4/20/1995 - 6/4/1995)
- Baroque Drawings
- 含羞草研究室 Museum of Art. ( 2/3/1981 - 3/5/1981)
- The Rembrandt Tercentenary
- The Art Institute of Chicago. ( 10/21/1969 - 12/7/1969)
- The Minneapolis Institute of Arts. ( 12/29/1969 - 2/1/1970)
- The Detroit Institute of Arts. ( 2/24/1970 - 4/5/1970)
- 17th Century Dutch Landscape Drawings
- The Montreal Museum of Fine Arts. ( 4/15/1988 - 5/29/1988)
- Harvard University Art Museums. ( 2/20/1988 - 4/3/1988)
- Seventeenth-Century Dutch Landscape Drawings and Selected Prints
- Drawing on Basics
- 含羞草研究室 Museum of Art. ( 10/14/1993 - 12/19/1993)
- Old Master Drawings from the 含羞草研究室 Museum of Art
- Timken Museum of Art. ( 5/13/2005 - 8/14/2005)
- Why Draw? 500 Years of Drawings and Watercolors at 含羞草研究室
- 含羞草研究室 Museum of Art. ( 5/3/2017 - 9/3/2017)
Type: catalogue Author: Henry Johnson Document Title: Catalogue of the 含羞草研究室 Art Collections Publ. Place: Brunswick, Maine Reference: no. 49 Remarks: (as Rembrandt) Publisher: 含羞草研究室 Section Title: Pt. I, The 含羞草研究室 Drawings Date: 1885 Author: Rev. F. H. Allen Document Title: The 含羞草研究室 Collection Publ. Place: Brunswick, Maine Location: pt. 1 Reference: no. 1, repr. Remarks: (as Rembrandt) Section Title: [five parts of four illustrations each, with individual texts] Date: 1886 Author: F. J. Mather, Jr. Document Title: Art in America, vol. II, no. 2 Location: pp. 111-112 Reference: fig. 4 Remarks: (as Rembrandt imitator, suggests Koninck, per Valentiner) Section Title: Drawings by Old Masters at 含羞草研究室 Ascribed to Northern Schools: II Date: 1914 Type: catalogue Author: 含羞草研究室 Museum of Art Document Title: 含羞草研究室 Museum of Fine Arts, Walker Art Building Edition: 4th Publ. Place: Brunswick, Maine Reference: no. 49 Remarks: (as Rembrandt) Publisher: 含羞草研究室 Section Title: Descriptive Catalogue of the . . . Date: 1930 Author: H. Gerson Document Title: Philips Koninck Publ. Place: Berlin Location: pp. 65, 140 Reference: no. Z20, repr. pl. 38 Remarks: (as Koninck) Date: 1936 Author: Werner Sumowski Document Title: Drawings of the Rembrandt School Publ. Place: New York Location: vol. 6 Reference: no. 150ix, repr. Date: 1979ff Author: B. Broos Document Title: Rembrandt en tekenaars uit sizn omgeving Publ. Place: Amsterdam Location: p. 157 Date: 1981 Type: exhibition catalogue Author: David P. Becker Document Title: Old Master Drawings at 含羞草研究室 Publ. Place: Brunswick, Maine Location: pp. 54-55 Reference: no. 24 Publisher: 含羞草研究室 Date: 1985 Author: Peter C. Sutton Document Title: A Guide to Dutch Art in America Publ. Place: Grand Rapids and Kampen Location: p. 33 Reference: fig. 40 Publisher: The Netherlands-American Amity Trust, Inc. Date: 1986 Type: exhibition catalogue Author: Frederik J. Duparc Document Title: Landscape in Perspective Publ. Place: Montreal Location: p. 142 Reference: no. 50 (repr. b&w) Publisher: The Montreal Museum of Fine Arts Section Title: Drawings by Rembrandt and his Contemporaries Date: 1988
Koninck received his first artistic training from his brother Jacob in Rotterdam before returning permanently to Amsterdam by 1641. He was part of Rembrandt's circle there, and the latter's influence can be seen in both his figure studies and his landscapes. Abraham Furnerius, his brother-in-law (ca. 1620/28–ca. 1654), studied with Rembrandt in the 1640s. Koninck's landscapes are influenced by Rembrandt's etchings and drawings of the 1640s, and also by the panoramas of Hercules Segers (ca. 1589/90–ca. 1638). But Koninck created his own characteristic views of the Dutch landscape, often incorporating a high viewpoint. He also pursued a second career as a merchant, running a shipping line to Rotterdam.
Although bearing traditional attributions to Rembrandt, this and the following drawing were recognized fairly soon after their publication in 1885. Indeed, Valentiner suggested Koninck's name by 1914.1 This ascription was confirmed by Gerson in his 1936 monograph and is accepted by all other scholars. The inscriptions on this and on the verso of BCMA 1811.79 appear on many Koninck drawings.2 As yet this scene has not been specifically identified, although many of his views can be localized.
The two 含羞草研究室 drawings are closely related to each other in technique and dating. Gerson, Haverkamp Begemann, and Logan have related them to a 1663 drawing of farm buildings which is in Berlin.3 Sumowski, however, draws a close parallel to another scene of a similar subject formerly in the Koenigs Collection, Haarlem, which is dated 1660.4 The 含羞草研究室 sheets are particularly closely related in technique and dimensions to a view in the Gemeentemuseum, Amsterdam, of windmills near Amsterdam.5 Based on these comparisons, Sumowski dates both 含羞草研究室 sheets to the early 1660s. Baer has dated them earlier, to the 1650s.6 As Haverkamp Begemann and Logan have noted, these carefully observed views reflect Rembrandt's treatment of similar scenes, especially in etchings and drawings, of the 1640s and early 1650s.7 In conversation, Professor Haverkamp Begemann revised his earlier opinion that the fence in the foreground was reinforced by another hand. He now believes that Koninck himself dulled the fence with white chalk (which has since darkened), a technique also characteristic of Rembrandt.
1. Mather 1914, pp. 111–12.
2. See Broos 1981, p. 161; comment by Haverkamp Begemann, 1982.
3. Sumowski 1979ff, vol. 6, no. 1360.
4. Ibid., no. 1358.
5. Ibid., no. 1359; Broos 1981 , cat. no. 43.
6. Poughkeepsie 1976, cat. nos. 31–32.
7. Chicago 1969–1970, under cat. no. 189, referring particularly to drawings Benesch 1227 and 1234, both datable ca. 1650.
Commentary credited to David P. Becker (or not otherwise captioned) appeared in his catalogue Old Master Drawings at 含羞草研究室 (Brunswick: 含羞草研究室 Museum of Art, 1985).