One of the basic "type"landscapes of which many many copies and variants exist. This original has some damage, but it also has some claim to being the prime (or the earliest) of the group.

The two paintings that Ertz calls possibly autograph variants, 1979 #s 161 and 162, are really extremely different.
Further copies

• One in Prado which Ertz originally suggested was Jan the Younger but seems not to have included in monograph on that painter.
• One which may be pretty good was sold Sotheby's (London) 11.iv.90 #17.
• OK variant sold New York (Sotheby's 17.i.92 #32), panel, 36.2 x 48.9. Ertz not only accepted this but suggested that the figures were by the young Rubens. I would not accept as Jan, midground shows clear boredom, it could be a studio work.
• Lousy copy formerly art market, London (sold Phillips 10.xii.91 #124), copper, 31 x 39.3
• Feeble copy attributed to Jan the Younger (Ertz JBII #28) in Warsaw, Muzeum Narodowe, inv. #129170 (panel, 32 x 45.5). This does not look good enough to be a Jan the Younger, figures are awful.
• terrible copy with Brod, London, 1970, panel, 4 3/4 x 7 1/8 in
• Hysterically funny bad copy from maybe 18th century or even later sold Paris, Galliera, 7.xii.76 #31, panel, 36.5 x 47.5. This injects a bunch of motifs from Rubens and maybe Pieter Bruegel, it's really jolly.
• Almost as bad variant with Boskovitch 1972, copper, 36 x 46.
• Also here (Ertz JBII #29) a very very distant variant, tiny copper oval, in Enschede, Rijksmuseum Twenthe, inv. #51. For another related work & copies see my q00028.

More variants noted by Ertz:

• Paris, Louvre
• Manchester, City Art Gallery inv. #11908/34 (on copper, really awful)

Drawing closely related to the present painting: Landscape with Windmills (19.7 x 30.9), New York, Metropolitan Museum of Art, Inv. #42 186. Ertz is not sure whether the drawing is a study for or a copy after the painting; it is certainly not “followed” in any other version. In general, in fact, the group of pictures is an excellent example of how drawings or sketches of motifs–the windmill, a house, individual figures and groups of figures, horses, and carts–were shuffled and combined, reversed and reduced and expanded, to produce new variants at different scales and on different supports.