A Farm on the Amsteldijk, Seen from the Northwest

CC0 Public Domain Designation

Prints and Drawings

1650/53

Rembrandt van Rijn
Dutch, 1606-1669

Status: Currently Off View
Department: Prints and Drawings

Artist: Rembrandt van Rijn
Title: A Farm on the Amsteldijk, Seen from the Northwest
Place: Holland (Artist's nationality:)
Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.: 1650–1653
Medium: Pen and brown ink, with touches of brush and brown wash, on cream laid paper (discolored to tan)
Inscriptions: Inscribed verso, upper left, in graphite: ‘"9"; upper margin, in pen and brown ink: "No. 5 Rimbrant"; lower center, in graphite: "571"; lower right, in graphite: "H. de Gr. 954"; lower right, in pen and red ink: "6"
Dimensions: 15.1 × 25 cm (6 × 9 7/8 in.)
Credit Line: Clarence Buckingham Collection
Reference Number: 1953.37
IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world. Learn more.: https://api.artic.edu/api/v1/artworks/90534/manifest.json

Emile Michel, Rembrandt, sa Vie, son Oeuvre, et son Temps (Paris: Librairie Hachette, 1893), pp. 584-85.
Eugéne Dutuit, Tableaux et Dessins de Rembrandt, Supplément à l’oeuvre complet de Rembrandt (Paris: A. Lévy, 1885), p. 114.
C. Hofstede de Groot, Die Handzeichnungen Rembrandts (Haarlem: De Erven F. Bohn, 1906), no. 954, p. 217.
Société de Reproduction des Dessins de Maîtres (Paris, 1913), vol. V, n.p., (ill.).
Frits Lugt, “Wandelingen met Rembrandt in Amsterdam,” Feest-Bundel Dr. Abraham Bredius Aangeboden den Achttienden April 1915 (Amsterdam: Gebroeders Binger, 1915), vol. 1, p. 141; vol 2., no. 51, fig. 3.
Frits Lugt, Mit Rembrandt in Amsterdam (Berlin: Bruno Cassirer, 1920), pp. 5–6, fig. 3.
Otto Benesch, Rembrandt Werk und Forschung (Vienna: Gilhofer & Ranschburg, 1935), p. 57.
Harold Joachim, “Three Drawings by Rembrandt,” Art Institute of Chicago Quarterly, 48 (1954), p. 11 (ill.).
Otto Benesch, The Drawings of Rembrandt (London: Phaidon, 1957), vol. 6, no. 1297, fig. 1606.
Ira Moskowitz, Great Drawings of All Time (New York: Shorewood Publishers, Inc., 1962), vol. II, no. 592 (ill.).
Peter Schatborn, “Van Rembrandt tot Crozat: Vroege verzamelingen met tekeningen van Rembrandt,” Nederlands Kunsthistorisch Jaarboek 32 (1981), 22.
Boudewijn Bakker, Mària van Berge-Gerbaud, Erik Schmitz, and Jan Peeters, Landscapes of Rembrandt: His Favorite Walks, exh. cat. Gemeentearchief Amsterdam and Institut Néerlandais, Paris (Bussum: Thoth Publishers, 1998), p. 292–293 (ill. p. 292).
William W. Robinson, Bruegel to Rembrandt: Dutch and Flemish Drawings from the Maida and George Abrams Collection (New Haven and London: Yale University Press, 2002), p. 136, fig. 1.
Nathan Goldstein and Harriet J. Fishman, Drawing to See (Upper Saddle, N.J.: Pearson Prentice Hall, 2004), pp. 34–35 and 37, fig. 2.8.
Christiaan Vogelaar and Gregor J. M. Weber, et. al., Rembrandt’s Landscapes, exh. Cat. Stedelijk Museum de Lakenhal, Leiden and Staatliche Museen Kassel (Zwolle: Waanders Publishers, 2005), p. 152 (ill). In essay by Boudeweijn Bakker, “Nature or Art? Rembrandt’s Aethetics and the Netherlandish Tradition,” pp. 144–171.
Shelley Perlove and George S. Keyes (editors), Seventeenth-Century European Drawings in Midwestern Collections (Notre Dame, Indiana: University of Notre Dame Press, 2015), pp. 117, 166 no. 66, and 167 (ill.).

Bern, Switzerland, Kunstmuseum Bern, Rembrandt, Apr. 18–May 30, 1937, p. 44, cat. 195.
Rotterdam, Museum Boymans, Rembrandt, May 18–Aug. 5, 1956, p. 129, cat. 172, pl. 54; also Amsterdam, Rijksmuseum, Aug. 8–Oct. 21, 1956.
New York, Pierpont Morgan Library, Rembrandt Drawings from American Collections, Mar. 15–Apr. 16, 1960, pp. 39–40, cat. 52, pl. 44; also Cambridge, Mass., Fogg Art Museum, Harvard University, Apr. 27–May 29, 1960.
New York, Wildenstein and Company, Master Drawings from The Art Institute of Chicago, Oct. 17–Nov. 30, 1963, n.p., cat. 29.
Amsterdam, Rijksmuseum, Rembrandt 1669/1969, Sept. 13–Nov. 30, 1969, p. 173, cat. 7 (ill.).
Washington, D.C., National Gallery of Art, Rembrandt’s Landscapes: Drawings and Prints, Mar. 11–May 20, 1990, pp. 47-50 fig. 15, 57-58, and 104-106, cat. 16.
Boston, Museum of Fine Arts, Rembrandt’s Journey: Painter, Draftsman, Etcher, Oct. 26, 2003–Jan. 18, 2004, pp. 259, 263–64 and 330, cat. no. 191 (ill. p. 277); also the Art Institute of Chicago, Feb. 14–May 9, 2004.
The Art Institute of Chicago, “Rubens, Rembrandt, and Drawing in the Golden Age”, September 28, 2019 - January 5, 2020, pp. 254-55, 257 (ill.), 259, 277 (ill.), 278, 307-8, cat. 104, cat. by Victoria Sancho Lobis, et. al.

Jan Pieteresz. Zoomer (1641–1724), Amsterdam [stamp (Lugt 1511), recto, lower left, in black]. Baron Jan Gijsbert Verstolk van Soelen (1776–1845), The Hague and Soelen [Duthuit 1885]. Jacob de Vos Jacobszoon (1803–1882), Amsterdam [stamp (Lugt 1450), verso, lower left, in black]; sold, Amsterdam, May 22–24, 1883, lot 393, to Verstolk [Dutuit 1885]. Sir Francis Seymour Haden (1818–1910), London [stamp (Lugt 1227), verso, lower left, in black]; sold, Sotheby’s, London, May 15, 1891, lot 571, to Frederick Keppel [letter from Richard Zinser dated May 10, 1953]. Alfred Strölin (1871–1954) or his son Alfred Strölin (1912–1974), Paris and Lausanne, by 1913 [Societé 1913]; sold to the Art Institute of Chicago, 1953.

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Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.

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A Farm on the Amsteldijk, Seen from the Northwest

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Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.

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IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world.

Learn more.