|Title||Landscape with Ruins|
|Alternative Title||Landscape and a Castle; Landscapes with Classical Ruins and Figures|
|Collection||National Trust for Scotland (Brodick Castle)|
|Artist|| Attributed to circle of Breenbergh, Bartholomeus (Dutch painter, etcher, and draftsman, 1598-1657)
Attributed to Poelenburgh, Cornelis van (Dutch painter and draftsman, 1594 or 1595-1667)
Previously attributed to Breenbergh, Bartholomeus (Dutch painter, etcher, and draftsman, 1598-1657)
|Date Earliest||possibly about 1617|
|Date Latest||possibly about 1627|
|Description||The painting depicts ruins, set to right of the composition, with an extensive mountainous view visible in the left-hand distance. Two figures converse on a rock in the centre foreground. Two peasants walk separately along a diagonal route before the ruins in the middle ground.|
|Current Accession Number||Pending|
|Measurements||17 x 22.3 cm (estimate)|
|Material||oil on metal (copper)|
|Acquisition Details||Accepted by Her Majesty's Treasury on death of Mary Louise Hamilton, Duchess of Montrose, in 1957, in lieu of inheritance tax and allocated by her express wish to The National Trust for Scotland, as part of the Brodick Castle estate.|
|Provenance||Jean-Baptiste-Pierre Le Brun (1748-1813); William Beckford (1760-1844); by descent to Susan Euphemia Beckford, Duchess of Hamilton (d. 1859); by descent to William, 12th Duke of Hamilton (d. 1895); passed under the terms of a Trust Disposition and Settlement of 1893 to only child Mary Louise Hamilton, later Duchess of Montrose.|
|Principal Exhibitions||The Art of Claude Lorraine, Hayward Gallery, London, 1969, cat. no. 128.|
|Publications||Kitson, M., The Art of Claude Lorraine, London, 1969, cat. no. 128, p. 57, pl. 3; Röethlisberger, M., Bartholomeus Breenbergh: The Paintings, Berlin and New York, 1981, p. 39, nos 56 and 57; Sluijter-Seiffert, N., Cornelis van Poelenburch (c. 1593-1667), unpublished doctoral dissertation, Leiden University, 1984, p. 238, no. 126.|
Inscriptions: 1) pencil, paper tape, frame: 'DRAWING ROOM'; 2) pencil, frame, a series of numbers: '1B / 27 / 24 / 25'; 3) pencil, frame: 'NO 10'.
Labels: 1) paper, typed, adhered to original brown backing paper: 'The National Trust for Scotland / BREENBERG: Classical Ruins / and Figures. On copper / 6 1/4§ x 8 1/2§. BC2/127 . / William Beckford Collection.'; 2) paper, inscribed in brown ink, frame: 'Breemberg'; 3) paper, printed, frame: '53'.
Inventory and Sales Catalogue Entries:
[Breenbergh's] paintings are often very similar to those of his older contemporary, Poelenburgh (in Rome and Florence from 1617 to 1625/7), and can be easily confused with them; nevertheless, there is no doubt that this spirited little landscape with its spiky figures is by Breenbergh and from his Roman period. Both artists inherited the Elsheimerian tradition of the small idyllic landscape but gave it a more pastoral and naturalistic interpretation. Also influenced by Brill, they popularized a type of picture showing the Campagna bathed in a soft light and enlivened with herds and ruins.
Röethlisberger (1981) subsequently refuted Kitson, writing of this work and its companion:
A pair. The first was engraved before 1666 as Poelenburgh, the second in 1777 as Breenbergh. Both have since gone as Breenbergh. It would seem that they are in fact by Poelenburgh, painted towards the end of his Italian period or in the early Utrecht years. They have a somewhat more picturesque touch than his earlier works, but they are smaller than most of them.
Kitson (1968) compares this painting to a landscape by Claude Lorraine, dated 1630, which appeared on the New York art market in the 1960s (see Röethlisberger, ‘New Additions to Claude', The Burlington Magazine, vol. 110 (March 1968), pp. 115-119, fig. 2).
|Rights Owner||The National Trust for Scotland|