BARTOLOMÉ ESTEBAN MURILLO (SEVILLE 1617-1682)
BARTOLOMÉ ESTEBAN MURILLO (SEVILLE 1617-1682)
BARTOLOMÉ ESTEBAN MURILLO (SEVILLE 1617-1682)
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BARTOLOMÉ ESTEBAN MURILLO (SEVILLE 1617-1682)

Le jeune Christ comme le bon berger

Details
BARTOLOMÉ ESTEBAN MURILLO (SEVILLE 1617-1682)
Le jeune Christ comme le bon berger
inscrit ‘Murillo f.’ (en haut à droit et en bas à gauche), et ‘38’ (en haut à droit)
craie noire et rouge
33,6 x 23,2 cm. (13 1⁄4 x 9 1⁄8 in).
Provenance
Cathedral Library, Seville (selon le catalogue de la vente 1840).
Alleyne Fitzherbert, Baron St. Helens (1753-1839), Londres; Christie’s, Londres, 26 mai 1840, lot 131 (4 gns.to William Buchanan).
Charles Sackville Bale (1791-1880), Londres (L. 640); Christie’s Londres, 9 juin 1881, lot 2374 (10 gns. to Filpot).
Vente Christie’s, Londres, 6 juillet 1977, lot 102.
Vente Christie’s, Londres, 5 juillet 1988, lot 112.

Literature
F. Russell, ‘Two Murillo Drawings and the St. Helens Collection’, Burlington Magazine, CXIX, 1977, p. 603, fig. 98.
G. McKim Smith, ‘Review of: Murillo and his drawings by Jonathan Brown’, The Art Bulletin, LX, n°3, september 1978, p. 560.
J. Brown, ‘Murillo: New Drawings, Old Problems’, Master Drawings, XXI, n°2, Winter 1983, pp. 160-162, pl. 24.
J. Brown, Murillo. Virtuoso Draftsman, New Haven and London, 2012, n°A2, ill.
G. Finaldi, ed., Murillo and Justino de Neve. The Art of Friendship, cat. expo., Madrid, Museo Nacional del Prado, Seville, Hospital de los Venerables, and London, Dulwich Picture Gallery, 2012-2013, p. 119, under n°s. 8-9.
Special notice

This lot is offered without reserve.
ƒ: In addition to the regular Buyer’s premium, a commission of 5.5% inclusive of VAT of the hammer price will be charged to the buyer. It will be refunded to the Buyer upon proof of export of the lot outside the European Union within the legal time limit. (Please refer to section VAT refunds)
Post lot text
BARTOLOMÉ MURILLO, THE YOUNG CHRIST AS THE GOOD SHEPHERD, BLACK AND RED CHALK

This unusually large drawing for Murillo in red and black chalk is related to the artist’s painting in the collection of Charles Lane, England (fig.; see Finaldi, op. cit., no. 8, ill.). Murillo executed the painting, together with its pendant The young Baptist with a lamb, now in the National Gallery in London (inv. NG176; see Finaldi, op. cit., no. 9, ill.), for one of his closest patrons, Don Justino de Neve. In 1665 De Neve lent both paintings to embellish an outdoor temporary altar erected for the inauguration of the church of Santa Maria La Blanca in Seville. The drawing was once in the library of Seville Cathedral, where Alleyne Fitzherbert, Baron St. Helens (1753-1839), acquired it presumably around 1790-1794, when he was ambassador in Spain (J. Brown, ‘More drawings by Murillo from the collection of Baron St. Helens’, Master Drawings, XXXVI, no. 1, Spring 1998, pp. 25-29). While he was ambassador in Spain, he seems to have acquired almost sixty drawings by Murillo, including the present one, which were offered at Christie’s after his death. In the sale’s catalogue, the drawing is described as ‘the study for Sir Simon Clarke’s picture’. The drawing was purchased by the prominent dealer William Buchanan, who was familiar with the Clarke painting, having written about it with great admiration in his Memoirs of painting, with chronological history of the importation of pictures by the old masters into England since the French Revolution (London, 1824, II, pp. 50-51).

The handwritten number ‘38’ at top right establishes that the drawing was part of a series of other works by Murillo with similar numbers (Brown, op. cit., 2012, p. 68). The highly finished use of in black and red chalk connects this drawing to other sheets in the same style that have been recognized as works by Murillo since the 1970s (see McKim Smith, op. cit., p. 559). In comparing the present drawing with a copy after it in the Hamburger Kunsthalle (inv. 38580; see Brown, op. cit., 2012, no. R-1), Jonathan Brown described what distinguishes Murillo’s manner from that of the copyist: ‘in passage after passage, the active, alert hand of the master provides the small touches which bring the drawing to life, while the faithful but feckless copyist plods along his dreary, mimetic way’ (Brown, op. cit., 1983, pp. 160-161).

Fig. Bartolomé Esteban Murillo, The young Christ as the Good Shepherd. Charles Lane Collection, England.

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Pierre Etienne International Director, Deputy Chairman, Old Master Paintings

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Lot Essay

Ce dessin de Murillo à la sanguine et pierre noire, d'une taille exceptionnelle pour l’artiste, se rattache au tableau de la collection Charles Lane, en Angleterre (voir Finaldi, op. cit., no. 8, ill.). Murillo a peint l’œuvre et son pendant, Saint Jean-Baptiste enfant avec un agneau, maintenant conservé à la National Gallery de Londres (inv. NG176; voir Finaldi, op. cit., n°9, ill.), pour un de ses plus fidèles mécènes, Don Justino de Neve. En 1665, De Neve a prêté les deux tableaux à l’église Santa Maria La Blanca à Séville pour orner l’éphémère autel extérieure érigé pour l’inauguration de l’église. Le dessin a fait partie de la collection de la bibliothèque de la cathédrale de Séville, à qui Alleyne Fitzherbert, baron St Helens (1753-1839) l’a acheté autour de 1790-1794 pendant ses fonctions d’ambassadeur en Espagne (J. Brown, ‘More drawings by Murillo from the collection of Baron St. Helens’, Master Drawings, XXXVI, no. 1, printemps 1998, pp. 25-29). Durant son séjour en Espagne, il semble que l’ambassadeur a acquis une soixantaine de dessins de Murillo, y compris celui présenté ici, qui sont passés en vente chez Christie’s après son décès. Le dessin, décrit dans le catalogue comme ‘the study for Sir Simon Clarke’s picture’ [l‘étude pour le tableau de Sir Simon Clarke], a été acheté par le célèbre marchand d’art, William Buchanan, qui connaissait bien le tableau de Clarke et qui l’a décrit avec plein d’admiration dans son ouvrage Memoirs of painting, with chronological history of the importation of pictures by the old masters into England since the French Revolution (London, 1824, II, pp. 50-51).

Le chiffre manuscrit ‘38’ en haut à droite indique que le dessin a fait partie d’une autre série d’œuvres de Murillo qui portent des chiffres similaires (Brown, op. cit., 2012, p. 68). En outre, la technique de la pierre noire et de la sanguine, d'une grande finesse, relie le dessin également aux autres du même style, considérés comme des œuvres autographes de Murillo depuis les années 1970 (voir McKim Smith, op. cit., p. 559). En rapprochant le dessin présenté ici avec une copie conservée au Hamburger Kunsthalle (inv. 38580 ; voir Brown, op. cit., 2012, no. R-1), Jonathan Brown s’est prononcé sur la différence entre la technique de Murillo et celle d’un copiste : 'dans chaque passage, la touche du maître et son esprit animent le dessin et lui donne de la vivacité, tandis que le copiste, fidèle mais inhabile, ne fait qu’imiter' (Brown, op. cit., 1983, pp. 160-161).
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