Landscape with hills and a river crossed by a bridge; steep hills at l foreground continuing in a ridge into the distance, a winding river in the valley at r with various boats, a tower and buildings at the foot of the bridge Pen and brown ink, with brown and grey wash Verso: Head of a bearded man Pen and brown ink


© The Trustees of the British Museum

  • VersoVerso
  • Full: FrontFull: Front

Department: Prints & Drawings

Registration number: Oo,9.117

Bibliographic reference
Sumowski 1979 continuing 1013xx
Hind 1915-31 125 (as doubtfully attributed to Rembrandt)
Royalton-Kisch 2010 Furnerius.5

Dutch Roy XVIIc

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Object types
drawing (scope note | all objects)

paper (all objects)
drawn (scope note | all objects)
Production person
Drawn by Abraham Furnerius (biographical details | all objects)
Formerly attributed to Rembrandt (School of) (biographical details | all objects)
1650-1654 (circa)
Schools /Styles
Dutch (scope note | all objects)

Landscape with hills, and a river crossed by a bridge; steep hills at left foreground continuing in a ridge into the distance, a winding river in the valley at right with various boats, a tower and buildings at the foot of the bridge. c.1650-54
Pen and brown ink with brown and grey wash, heightened with white. Remnants of a ruled framing line in pen and brown ink.
Verso: Head of a bearded man.
Watermark: crowned double-headed eagle with Basel crozier in the centre.

Inscription Content: Inscribed lower left, in pen and brown ink: ‘t/’.

Height: 154 millimetres
Width: 275 millimetres (chain lines horizontal, 23/4mm apart)

Some brown stains upper right and lower left; otherwise good.

Curator's comments
Entry from Martin Royalton-Kisch, 'Catalogue of drawings by Rembrandt and his school', 2010, Abraham Furnerius, cat. no.5:
In style the drawing on the recto is a characteristic example of Furnerius' work, as reconstructed on the basis of the three drawings that are inscribed with his name in an early hand.[1] The high degree of finish, the elaborate use of wash and the ductus of the line all seem typical.
It has been pointed out that the type of ideal landscape represented is similar to two works by Rembrandt and his followers which have now both been dated to around 1650, the etched 'Landscape with a Cow' (Bartsch 237, Hind 240)[2] and the painted 'Landscape with Ruins' at Kassel (Bredius 454; Corpus B12), which is thought to have been begun by Rembrandt in c.1640 but largely reworked by Ferdinand Bol in c.1650-55.[3] These comparisons suggest a date at the end of Furnerius' life, c.1650-54, for the present work. While the frequently mentioned links with the style of Furnerius' brother-in-law, Philips Koninck, are indisputable, Koninck's drawings rarely display such a keen interest in the classical ideal in landscape. In this respect the drawing echoes the work of Bol[4] and of Samuel van Hoogstraten (cf. cat. no.4; 1861,0810.15) at approximately the same date.
The verso contains the only purely figurative study attributable to Furnerius.

[1] The 'Mountain Landscape with arched Bridge' in St Petersburg, Sumowski 989xx, is perhaps the closest of the three, the others being the 'View of Amsterdam' in Oxford and the 'Amsterdam in the Fog' in Cambridge (Sumowski 984xx and 987xx).
[2] The comparison made by Middleton, 1878 (see Lit. below).
[3] The comparison made by Hind in London, 1915 (see Lit. below); for the date and attribution of the painting, see Corpus B12 and Royalton-Kisch, 1992, p.134.
[4] Compare the composition as a whole and the draughtsmanship of the trees in particular to the drawing in Hanover, Benesch 848a, which the compiler has grouped with Bol's work (op. cit., pp.130ff., repr. fig.35).

Bürger, 1858, p.401 (Rembrandt); Vosmaer, 1877, p.612 (Rembrandt); Middleton, 1878, p.299, under no.318 (not Rembrandt, but compares his etching Bartsch 237, Hind 240); Dutuit, IV, 1885, p.86 (Rembrandt); Bell, c.1905, repr. pl.XLV (Rembrandt); London, 1915, no.125, repr. pl.XVI (doubtful as Rembrandt, but composition suggested by his 'Landscape' at Kassel, Bredius 454, Corpus B12); Hirschmann, 1918, p.23 (wrongly as Hind 127: Furnerius; compares 'signed' sheet in Dresden [perhaps Sumowski 992xx]); Munich, 1973, I, p.177, under no.1212 (compares tower in background of school drawing in Munich [now attrib. to Maes, Sumowski 1899x]); Sumowski, 1979, etc., IV, 1981, no.1013xx, repr. (Furnerius; compares 'Forest Landscape', Croockewit-van Eeghen coll., Arnhem, Sumowski 1012xx, 'Mountain Landscape', St Petersburg, Sumowski 989xx, and cat. no.3 [Oo,9.113]; the inscription also found on a sheet formerly attributed to Titus van Rijn in the Mortimer Brandt Collection, New York [Exh. Leiden, 1956, no.84, repr. fig.38]).

landscape (all objects)

Acquisition date

Acquisition name
Bequeathed by Richard Payne Knight (as by Rembrandt) (biographical details | all objects)
Previous owner/ex-collection Sir Joshua Reynolds (L.2364) (biographical details | all objects)

Exhibition History
1992, BM, Drawings by Rembrandt and his Circle (not in catalogue, as Abraham Furnerius).

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