Details
BARTHOLOMEUS SPRANGER (ANVERS 1546-1611 PRAGUE)
Saint Dominique lisant dans un paysage
pierre noire, plume et encre brune, lavis brun, filigrane cercle
29,4 x 20,6 cm (11 1/2 x 8 1/8 in.)
Post lot text
BARTHOLOMEUS SPRANGER, SAINT DOMINIC READING IN A LANDSCAPE, BLACK CHALK, PEN AND BROWN INK, BROWN WASH, WATERMARK CIRCLE
This newly discovered sheet is among the earliest works, and certainly among the earliest drawings known by Bartholomeus Spranger, the leading artist at the Prague court of Emperor Rudolf II. It was made during the years the artist spent in Rome in preparation for an engraving by Cornelis Cort published in 1573 (S. Metzler, Bartholomeus Spranger. Splendor and Eroticism in Imperial Prague. The Complete Works, New York, 2014, no. 160, ill.). Another drawing related to the same print – in reverse compared to the print and incised for transfer – is at the Art Institute of Chicago, inv. 1979.119 (Metzler, op. cit., no. 89, ill.). Sally Metzler already assumed the existence of a second drawing used by Cort in the process of making his engraving (op. cit., p. 270, under no. 160). A further drawing at the Louvre (inv. 21232) is undoubtedly a later copy after the print (Metzler, op. cit., pp. 270-271, n. 1, under no. 160).
Details
BARTHOLOMEUS SPRANGER (ANVERS 1546-1611 PRAGUE)
Saint Dominique lisant dans un paysage
pierre noire, plume et encre brune, lavis brun, filigrane cercle
29,4 x 20,6 cm (11 1/2 x 8 1/8 in.)
Post lot text
BARTHOLOMEUS SPRANGER, SAINT DOMINIC READING IN A LANDSCAPE, BLACK CHALK, PEN AND BROWN INK, BROWN WASH, WATERMARK CIRCLE
This newly discovered sheet is among the earliest works, and certainly among the earliest drawings known by Bartholomeus Spranger, the leading artist at the Prague court of Emperor Rudolf II. It was made during the years the artist spent in Rome in preparation for an engraving by Cornelis Cort published in 1573 (S. Metzler, Bartholomeus Spranger. Splendor and Eroticism in Imperial Prague. The Complete Works, New York, 2014, no. 160, ill.). Another drawing related to the same print – in reverse compared to the print and incised for transfer – is at the Art Institute of Chicago, inv. 1979.119 (Metzler, op. cit., no. 89, ill.). Sally Metzler already assumed the existence of a second drawing used by Cort in the process of making his engraving (op. cit., p. 270, under no. 160). A further drawing at the Louvre (inv. 21232) is undoubtedly a later copy after the print (Metzler, op. cit., pp. 270-271, n. 1, under no. 160).
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