Hind 243 ii/ii; B. 1, 1a-d. (as by Govaert Flinck, 1638; the 'k' in the signature made into an 'R') Medium: etching and drypoint. (as by Rembrandt, 1638) Norbert Schneider. 62, 100-01, 200-03, ill. (as by Rembrandt, 1637-1640; the signature as not in Rembrandt's hand, copied from an original signature no longer extant) Title: Landscape with an Obelisk. L'oeuvre complet de Rembrandt (Paris, 1883-1885), p. 22. 2 (Landau, 1983), no. 141. 213. Oil on oak panel, 54.5 x 71 cm (21 7/16 x 27 15/16 in.) Wolfgang Stechow. 103, pl. 443. XII-290) Rembrandt After 300 Years: An Exhibitoin of Rembrandt and his Followers. cat. (as by Rembrandt, 1668; with a qualifying note regarding the picture's authenticity) 227 ii/ii; B-B. 98, 313-15, cat. (as by Rembrandt; the signature as "later") Alfred M. Frankfurter (ed.). cat. Oil on oak panel, 54.5 x 71 cm (21 7/16 x 27 15/16 in.) (as by Rembrandt) Obelisks were important in the designed landscape or pleasure garden because they punctuated the vista or provided a place from which to gain a view. (as the pendant to Rembrandt's Landscape with the Good Samaritan, 1638, housed in the Muzeum Ksiazat Czartoryskich, Kraków, accession no. (as signed falsely and dated; as by Govaert Flinck, 1638) (catalogued under rejected attributions; attributed to Govaert Flinck; the 'k' in the signature made into an 'R') The stormy scene with a dramatically lit obelisk in the middle ground is close to Rembrandt’s own landscapes of the 1630s. "A New Look at The Landscape with an Obelisk." 38A. Bob Haak. 297-98, ill. (as by Rembrandt, 1633 or 1638; the latter date is more probable) Does something look wrong with this image? From the Egyptian obelisk at the Place de la Concorde to this obelisk in a meadow garden-a change of venue. A tiny figure in the distance carries a scythe for cutting hay to refill the rick. Jakob Rosenberg. Noteworthy Paintings, vol. Purchased by a certain Norton from the Samuel Woodburn sale at Christie and Manson, London for £9 on 15 May 1854, lot 77 (?). The two structures were contiguous in order to preserve precious warmth during the cold, damp Dutch winters. Rembrandt (Amsterdam, 1986), p. 226, no. This record has been reviewed by our curatorial staff but may be incomplete. Bernard Berenson: The Making of a Connoisseur (Cambridge, 1979), pp. Gary Schwartz. Rembrandt shows it is time to prepare for another winter, for the roof of the hayrick-just behind the marker-is lowered, indicating the hay has been used up. Creator: Govaert Flinck. Image Use Policy. panel. (as Rembrandt) (as Rembrandt) The Gardner Collection (New York, 1946), pp. Rembrandt: Every Painting, vol. Other resolutions: 320 × 213 pixels | 640 × 427 pixels | | | . Boudewijn Bakker. The Miscellaneous Works of Art Purchase Fund, 1957expand_more  P.12,548. Madlyn Millner Kahr. (as by Rembrandt, 1638) 41. (as by Rembrandt, 1638?) Hesse-Kassel ducal collection, by about 1775. No need to register, buy now! However, this scene with distant mountains and towering trees looks nothing like Holland; rather the travelers huddled in the foreground shadows suggest that it is some faraway place. (as by Rembrandt; probably refers to this painting) (eds.). (as by Govaert Flinck) Eugène Dutuit. Rembrandt (Cambridge, 1948), p. 97, no. Govaert Flinck's "Landscape With An Obelisk," painted in 1638. Rembrandt (New York, 1967), pp. "Dutch Landscape Painting: A Plurality of Interpretations." 6-21, figs. 737-42, figs. 57-58, lot 84. Rembrandt romanticized the view of the relatively barren landscape, adding features and making the obelisk appear considerably larger than it actually was. Otto Benesch. XXXI. Rembrandt Harmenszoon van Rijn was a Dutch painter and etcher. (as by Govaert Flinck, probably 1638; the 'f' in the signature as painted over with an 'R') In addition to the work of artists like Turner and Henry Moore, it has other types of stone object, including a collector’s cabinet produced by the Castrucci workshop in Prague in about 1610. Rembrandt (Berlin, 1969), p. 298. (eds.). Apollo (Jun., 1988), p. 153. In the designed landscape, the obelisk served two functions: as a garden ornament and as a monument with emblematic significance. 45-47, pl. 90. Object Credit: Rosenwald Collection. Probably taken to Paris by Jérôme Bonaparte, where the inscription was altered (?). Stolen in 1990. Cornelis Hofstede De Groot et al. Cynthia P. Schneider. Catalogue. Cynthia Saltzman. Peter C. Sutton et al. Philip Hendy. (as by Rembrandt, 1638) Erik Larsen. The Burlington Magazine for Connoisseurs (1956), p. 280. Christopher Wright. Fenway Court (1985), p. 73. 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