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Description: Pen and brown ink, brown and bluish wash, 188 x 268 mm. Ruled framing lines in black ink. Dark stains in the lower corners, and a small repair at the bottom centre. Laid down. Inscribed at the lower left, in pen and brown ink, Willem Baur. Mark of the Royal Collection (Lugt 1638).

The bluish wash is applied to the hilltop on the left and to the background, while the warm brown wash characterizes the foreground. The motif may be a ravine below Tivoli.

The manner is close to that of a drawing in the Louvre, signed by Jacob Pynas in 1624.  Two landscapes in Amsterdam, attributed by G. S. Keyes to Jan or Jacob Pynas, seem to be by the same hand as the present drawing.  The old attribution to Baur seems less probable, but should perhaps not be discounted. The German Willem Baur (1607–1642) belongs to the same generation. He was in Rome around 1625 and 1633–37, and a member of the Bentveughels, with the nickname Slagzwaard. The use of patches of parallel hatching is reminiscent of some drawings in the “Strasbourg Album”, in particular the sheet with Orpheus and the wild animals, but the pen work is looser.  The use of hatching is more precise in Baur’s etchings. [Magnusson, Dutch Drawings no. 298]

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Foto: Hans Thorwid / Nationalmuseum, CC BY SA 