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paper (fiber product)17 × 10 Cm
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About the artwork
Artist supplied description.
Rembrandt and his contemporaries shared a fascination with the Kostverloren estate, in part because of the successive misfortunes that its owners seemed to endure. Already by Rembrandt’s time it had taken on its name, which translates as “lost expenses” or, more colloquially, “money pit.” The site faced another setback when much of the castle was destroyed in a fire. After this damage—and before its eventual repair—Rembrandt entered the grounds of the castle and recorded its diminished state. His emphasis on decay is made clear by the felled tree in foreground; its strident horizontality sets off the faded majesty of the castle’s once-grand structures.
Artwork metadata
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| Medium | paper (fiber product) |
| Dimensions | 17 × 10 Cm |
| Certificate | Certificate not provided |
Timeline
Chain of custody, exhibitions, and verification milestones synced from the provenance service.
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King Friedrich August II of Saxony (1797–1854), Dresden [stamp (Lugt 971), recto, lower right, in black]
King Friedrich August II of Saxony (1797–1854), Dresden [stamp (Lugt 971), recto, lower right, in black]
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Emile Michel, Rembrandt, sa Vie, son Oeuvre, et son Temps
Emile Michel, Rembrandt, sa Vie, son Oeuvre, et son Temps (Paris: Librairie Hachette, 1893), p. 579.
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22
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exhibition
The Art Institute of Chicago, "Rubens, Rembrandt, and Drawing in the Golden Age", September 28, 2019 - January 5, 2020, pp. 258, 260 (Ill.), 308, 334, (ill.), cat. 105, cat. by Victoria Sancho Lobis, et. al.
The Art Institute of Chicago, "Rubens, Rembrandt, and Drawing in the Golden Age", September 28, 2019 - January 5, 2020, pp. 258, 260 (Ill.), 308, 334,(ill.), cat. 105, cat. by Victoria Sancho Lobis, et. al.
Sat
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Shelley Perlove and George S. Keyes
Shelley Perlove and George S. Keyes (editors), Seventeenth-Century European Drawings in Midwestern Collections (South Bend, Indiana: University of Notre Dame Press, 2014), pp. 117, 168 no. 67, 169 (ill.)
Sat
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Susan Donahue Kurestsky, et. al., Time and Transformation in Seventeenth-Century Dutch Art, exh. Cat.
Susan Donahue Kurestsky, et. al., Time and Transformation in Seventeenth-Century Dutch Art, exh. Cat. (Poughkeepsie, New York: Frances Lehman Loeb Art Center, Vassar College, 2005), p. 159 (ill.).
Sat
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Stijn Alsteens, Mària van Berge-Gerbaud, Marie-Christine Boucher, Hans Buis, Quentin Buvelot, José de Los Llanos, and Sophie-Charlotte Renouard de Bussiere, Regards sur l’art hollandais du XVIIe siècle, exh. cat., Institut Néerlandais
Stijn Alsteens, Mària van Berge-Gerbaud, Marie-Christine Boucher, Hans Buis, Quentin Buvelot, José de Los Llanos, and Sophie-Charlotte Renouard de Bussiere, Regards sur l’art hollandais du XVIIe siècle, exh. cat., Institut Néerlandais (Paris: Fondation Custodia, 2004), under no. 75, note, 4, p. 356.
Sat
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Nov
exhibition
Boston, Museum of Fine Arts, Rembrandt's Journey: Painter, Draftsman, Etcher, Oct. 26, 2003–Jan. 18, 2004, pp. 279–80 (ill. p.. 279) and 330, cat. no. 193; also the Art Institute of Chicago, Feb. 14–May 9, 2004.
Boston, Museum of Fine Arts, Rembrandt's Journey: Painter, Draftsman, Etcher, Oct. 26, 2003–Jan. 18, 2004, pp. 279–80 (ill. p.. 279) and 330, cat. no. 193; also the Art Institute of Chicago, Feb. 14–May 9, 2004.
Sat
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note
Otto Benesch, The Drawings of Rembrandt
Otto Benesch, The Drawings of Rembrandt (London: Phaidon, 1957), vol. VI, no. 1270 (ill.).
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exhibition
Rotterdam, Museum Boymans, Rembrandt, May 18–Aug. 5, 1956, p. 130, cat. 173; also, Amsterdam, Rijksmuseum, Aug. 8–Oct. 21, 1956.
Rotterdam, Museum Boymans, Rembrandt, May 18–Aug. 5, 1956, p. 130, cat. 173; also, Amsterdam, Rijksmuseum, Aug. 8–Oct. 21, 1956.
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Otto Benesch, Rembrandt Werk und Forschung
Otto Benesch, Rembrandt Werk und Forschung (Vienna: Gilhofer & Ranschburg, 1935), p. 47.
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and by descent, to at least 1925 [Friese, Lilienfeld, and Wichmann 1925]....
and by descent, to at least 1925 [Friese, Lilienfeld, and Wichmann 1925]. Willem J. R. Dreesmann (1885–1954), Amsterdam
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Hermann Friese, K. Lilienfeld, and Heinrich Wichmann, Rembrandts Handzeichnungen
Hermann Friese, K. Lilienfeld, and Heinrich Wichmann, Rembrandts Handzeichnungen (Dresden: Hermann Freise, 1925), vol. III, p. 22, no. 128.
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Frits Lugt, Mit Rembrandt in Amsterdam
Frits Lugt, Mit Rembrandt in Amsterdam (Berlin: Bruno Cassirer, 1920), pp. 107–12, fig. 66.
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Max Eisler, Rembrandt als Landschafter
Max Eisler, Rembrandt als Landschafter (Munich: F. Bruckmann A.-G., 1918), p. 8, pl. 44; pp. 86–88.
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F. Lippmann and C. Hofstede de Groot, Original Drawings by Rembrandt Harmensz van Rijn: reproduced in the colours of the originals by Emrik & Binger at Haarlem
F. Lippmann and C. Hofstede de Groot, Original Drawings by Rembrandt Harmensz van Rijn: reproduced in the colours of the originals by Emrik & Binger at Haarlem (The Hague, 1911), series IV, part I, no. 23 (ill.).
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C. Hofstede de Groot, Die Handzeichnungen Rembrandts
C. Hofstede de Groot, Die Handzeichnungen Rembrandts (Haarlem: De Erven F. Bohn, 1906), no. 320, p. 77-78.
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22
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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
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. 289, ill. p 93 (color) and p. 288. [did we lend to this show?]
Sat
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exhibition
Art Institute of Chicago, Great Drawings from The Art Institute of Chicago: The Harold Joachim Years 1958–1983, July 24–Sept. 30, 1985, pp. 80–81, cat. 31 (ill.); also Saint Louis Art Museum, Mar. 25–May 4, 1986.
Art Institute of Chicago, Great Drawings from The Art Institute of Chicago: The Harold Joachim Years 1958–1983, July 24–Sept. 30, 1985, pp. 80–81, cat. 31 (ill.); also Saint Louis Art Museum, Mar. 25–May 4, 1986.
Sat
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Nov
exhibition
Amsterdam, Rijksmuseum, Rembrandt 1669/1969, Sept. 13–Nov. 30, 1969, p. 245, cat. 127 (ill.).
Amsterdam, Rijksmuseum, Rembrandt 1669/1969, Sept. 13–Nov. 30, 1969, p. 245, cat. 127 (ill.).
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I. H. van Eeghen, Rembrandt aan de Amstel
I. H. van Eeghen, Rembrandt aan de Amstel (Amsterdam: Genootschap Amstelodamum, 1969), n.p. (fig. VI).
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Seymour Slive, Drawings by Rembrandt, II
Seymour Slive, Drawings by Rembrandt, II (New York: Dover Publications, Inc., 1965), pl. 466.
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Nov
exhibition
New York, Wildenstein and Company, Master Drawings from The Art Institute of Chicago, Oct. 17–Nov. 30, 1963, n.p., cat. 30, pl. 13a.
New York, Wildenstein and Company, Master Drawings from The Art Institute of Chicago, Oct. 17–Nov. 30, 1963, n.p., cat. 30, pl. 13a.
Wed
22
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note
sold to the Art Institute of Chicago, 1961.
sold to the Art Institute of Chicago, 1961.
Wed
22
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note
The Art Quarterly
The Art Quarterly (Autumn 1961), pp. 306 (ill.) and 312.
Tue
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Art Institute of Chicago Annual Report
Art Institute of Chicago Annual Report (1960–1961), pp. 11 and 19 (ill.).
Tue
22
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note
sold, F....
sold, F. Muller & Co., Mar. 22–25, 1960, lot 26, to Richard Zinser, New York
Tue
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note
Terence Mullaly, “£17,485 is Paid for Interior by De Hooch,” Daily Telegraph and Morning Post
Terence Mullaly, “£17,485 is Paid for Interior by De Hooch,” Daily Telegraph and Morning Post (Mar. 23, 1960), p. 15 (ill.).
© Artist-Unknown. All rights reserved.