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  • 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 Bowdoin III( Collector, Boston) - 1811.
  • Bowdoin College Museum of Art( Museum, Brunswick, Maine) 1811- . Bequest
  • Old Master Drawings at Bowdoin College
    • Bowdoin College 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
    • Bowdoin College Museum of Art. ( 4/20/1995 - 6/4/1995)
  • Baroque Drawings
    • Bowdoin College 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
    • Bowdoin College Museum of Art. ( 10/14/1993 - 12/19/1993)
  • Old Master Drawings from the Bowdoin College Museum of Art
    • Timken Museum of Art. ( 5/13/2005 - 8/14/2005)
Type: catalogue
Author: Henry Johnson
Document Title: Catalogue of the Bowdoin College Art Collections
Publ. Place: Brunswick, Maine
Reference: no. 49
Remarks: (as Rembrandt)
Publisher: Bowdoin College
Section Title: Pt. I, The Bowdoin Drawings
Date: 1885

Author: Rev. F. H. Allen
Document Title: The Bowdoin 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 Bowdoin College Ascribed to Northern Schools:  II
Date: 1914

Type: catalogue
Author: Bowdoin College Museum of Art
Document Title: Bowdoin Museum of Fine Arts, Walker Art Building
Edition: 4th
Publ. Place: Brunswick, Maine
Reference: no. 49
Remarks: (as Rembrandt)
Publisher: Bowdoin College
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 Bowdoin College
Publ. Place: Brunswick, Maine
Location: pp. 54-55
Reference: no. 24
Publisher: Bowdoin College
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 Bowdoin 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 Bowdoin 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 Bowdoin 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 Bowdoin College (Brunswick: Bowdoin College Museum of Art, 1985).