Domenico Campagnola (Padua 1500-1564)
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Domenico Campagnola (Padua 1500-1564)

A village in a mountainous landscape, a wood behind and a stream to the right

Details
Domenico Campagnola (Padua 1500-1564)
A village in a mountainous landscape, a wood behind and a stream to the right
with inscription ‘Titian’ (?) (twice)
pen and brown ink
7 ¾ x 11 ½ in. (19.7 x 29 cm)
Provenance
Anonymous sale, probably Ernst Heinrich Ehlers (1835-1926), Göttingen; C.G. Boerner, Leipzig, 9-10 May 1930, lot 89.
Erik Jurié von Lavandal, Vienna; Auktionhaus für Altertümer Glückselig Gesellschaft, Vienna, 13-14 June 1933, lot 251.
Anonymous sale; Galerie Fischer, Lucerne, 16 June 1950, lot 1895, where acquired by Robert Landolt.
Literature
J. Byam Shaw, The Italian Drawings of the Frits Lugt Collection, Paris, 1983, I, pp. 237-238, under no. 232.
T.B. Nickel, Die Landschaftszeichnungen von Domenico Campagnola (1500-1564), unpublished Ph.D. thesis, Universität Wien, 2018, no. 58.
Exhibited
Chur, Kunsthaus Chur, Aus Churer Privatbesitz. Graphik, Zeichnung, Aquarell, 1952, no. 129.
Zurich, Graphische Sammlung ETH, Zwiegespräch mit Zeichnungen. Werke des 15. bis 18. Jahrhunderts aus der Sammlung Robert Landolt, 2013-2014, no. 36, ill. (catalogue entry by M. Matile).
Special notice

These lots have been imported from outside the EU or, if the UK has withdrawn from the EU without an agreed transition deal, from outside of the UK for sale and placed under the Temporary Admission regime. Import VAT is payable at 5% on the hammer price. VAT at 20% will be added to the buyer’s premium but will not be shown separately on our invoice.
Sale room notice
Please note that there is additional literature for this lot which is not stated in the printed catalogue:
T.B. Nickel, Die Landschaftszeichnungen von Domenico Campagnola (1500-1564), unpublished Ph.D. thesis, Universität Wien, 2018, no. 58.

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Lot Essay


As already recognized in the 1930 auction catalogue (see Provenance), the graphic style of this rocky landscape is entirely characteristic of Domenico Campagnola’s draughtsmanship. The meticulous rendering of every detail, the gentle linear quality and the crosshatching in the shadowy areas betray Campagnola’s activities as a printmaker. Furthermore, the compositional qualities show the influence of the work of Titian, and of Giulio Campagnola (who adopted the young Domenico), to whom Domenico was greatly indebted. James Byam Shaw grouped the present drawing, which should be placed early in the artist’s career, with a sheet in the Frits Lugt Collection, Paris (inv. 1503) and with a signed drawing in the British Museum, London (inv. 1895-9-15-836; see K. Oberhuber, in Le Siècle de Titien, exhib. cat., Paris, Grand Palais, 1993, no. 107, ill.), pointing out the similarities in their style and ‘closed composition’ (Byam Shaw, op. cit., under no. 232). To this group can be added a stylistically very similar drawing in the Morgan Library and Museum, New York, bought by Pierpont Morgan as Giulio, but now given to Domenico (inv. I,59).
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