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拍品专文
The recto represents two studies of knife handles, similar to those engraved by Cherubino Alberti with an attribution to Francesco Salviati (Bartsch, XVII, 111). One of these prints reproduces the same motive of a snake intertwined with a man, but seen from behind.
Other examples of Salviati's designs for silversmiths are at Christ Church, J. Byam Shaw, Drawings by Old Masters at Christ Church, Oxford, Oxford, 1989, no. 143, pl. 92, and at the Ashmolean Museum, K.T. Parker, Catalogue of the Collection of Drawings in the Ashmolean Museum, Italian Schools, Oxford, 1976, no. 683, pl. CLII. The handle on the left was engraved in reverse by Cornelis Bos in 1638 under the title Son of Laocoon, from which the figure is probably inspired.
Rubens executed copies after the drawing while it was in his collection: that after the left handle is at Christ Church, Oxford (J. Byam Shaw, op. cit., no. 1376, pl. 813, and that after the right handle is in Budapest (Inv. 1658). Rubens changed the subject of the left handle into Eve with the snake, probably finding Salviati's choice of subject too suggestive. Michael Jaff (in 'Cornelis Bos en Peter Paul Rubens', Bulletin Museum Boymans, Rotterdam, 1956, VII, I, pp. 6-10) along with Konrad Oberhuber suggested that the Christ Church copies were entirely by the hand of Rubens, while James Byam Shaw, on the base that the change of sex of the Son of Laocoon is still visible, argued that the drawings were executed over a sketch by Cornelis Bos.
The present drawing was formerly part of a much larger sheet, cut several times, as indicated in the fragmentary sketch on the verso. The original appearance of the sheet is recorded in a drawing in the British Museum: the drawing was composed of five handles, two mascaroons and two friezes, J. Byam Shaw, op. cit., I, fig. 103. Another copy in the Boymans-van Beuningen Museum, Rotterdam, probably executed by Cornelis Bos when the drawing was in Rubens' collection, shows the drawing already reduced to showing four handles, J. Byam Shaw, op. cit., fig. 102. The drawing was probably cut again between the time it left Rubens' collection, which was inherited by his son, and its entering Rver's collection in the late 17th Century. Rubens executed a further copy of the handle on the right of the Rotterdam drawing, also at Christ Church, Oxford, J. Byam Shaw, op. cit., no. 1376, pl. 814.
The sketch of Samson breaking the lion's jaw on the verso of the sheet was executed by Rubens while the drawing was in his collection: it appears not to have been noticed in the literature. The way the sketch is placed on the sheet shows that at the time of Rubens, the drawing was approximately twice as long and slightly higher. The sketch of Samson is probably related to the picture documented in the Alczar in 1636 and executed, according to Professor Jaff, about 1615-6 (M. Jaff, Rubens, Milan, 1989, no. 334, not illustrated) and according to Julius Held about 1618-20. The composition is also recorded in copies of the oil sketch at Stockholm, Munich and Besanon, J. Held, The Oil Sketches of Peter Paul Rubens, Princeton, 1980, no. 311, figs. 458-9. The composition of these pictures is in reverse to the present drawing. Studio drawings of the same subject are in the Rubens Cantoor in Copenhagen (Antwerp, Rubenshuis, Rubens Cantoor, 1993, nos. 81-4). A double sided drawing of Samson and the Philistines in Amsterdam is similar in handling to the present drawing.
Dr. Hans-Ulrich Beck kindly provided the description of the present drawing in Rver's catalogue 'Annibal Fontana 2 staande beeltjes, malkander ohmelzende en een ander met een slang getekent voor hegten tot messen van Annibal Fontana, met de pen gewassen en gehhogt op geel pap...f 1.10'. The catalogue of drawings was prepared by Valerius Rver (1686-1739) himself from 1711. Rver's collection was acquired from his widow in 1761 by the dealer Hendrick de Leth, who sold the 42 albums of drawings to Goll van Franckenstein. According to Dr. Beck, the present drawing did not appear in Goll's sales of 1819 and 1833.
Other examples of Salviati's designs for silversmiths are at Christ Church, J. Byam Shaw, Drawings by Old Masters at Christ Church, Oxford, Oxford, 1989, no. 143, pl. 92, and at the Ashmolean Museum, K.T. Parker, Catalogue of the Collection of Drawings in the Ashmolean Museum, Italian Schools, Oxford, 1976, no. 683, pl. CLII. The handle on the left was engraved in reverse by Cornelis Bos in 1638 under the title Son of Laocoon, from which the figure is probably inspired.
Rubens executed copies after the drawing while it was in his collection: that after the left handle is at Christ Church, Oxford (J. Byam Shaw, op. cit., no. 1376, pl. 813, and that after the right handle is in Budapest (Inv. 1658). Rubens changed the subject of the left handle into Eve with the snake, probably finding Salviati's choice of subject too suggestive. Michael Jaff (in 'Cornelis Bos en Peter Paul Rubens', Bulletin Museum Boymans, Rotterdam, 1956, VII, I, pp. 6-10) along with Konrad Oberhuber suggested that the Christ Church copies were entirely by the hand of Rubens, while James Byam Shaw, on the base that the change of sex of the Son of Laocoon is still visible, argued that the drawings were executed over a sketch by Cornelis Bos.
The present drawing was formerly part of a much larger sheet, cut several times, as indicated in the fragmentary sketch on the verso. The original appearance of the sheet is recorded in a drawing in the British Museum: the drawing was composed of five handles, two mascaroons and two friezes, J. Byam Shaw, op. cit., I, fig. 103. Another copy in the Boymans-van Beuningen Museum, Rotterdam, probably executed by Cornelis Bos when the drawing was in Rubens' collection, shows the drawing already reduced to showing four handles, J. Byam Shaw, op. cit., fig. 102. The drawing was probably cut again between the time it left Rubens' collection, which was inherited by his son, and its entering Rver's collection in the late 17th Century. Rubens executed a further copy of the handle on the right of the Rotterdam drawing, also at Christ Church, Oxford, J. Byam Shaw, op. cit., no. 1376, pl. 814.
The sketch of Samson breaking the lion's jaw on the verso of the sheet was executed by Rubens while the drawing was in his collection: it appears not to have been noticed in the literature. The way the sketch is placed on the sheet shows that at the time of Rubens, the drawing was approximately twice as long and slightly higher. The sketch of Samson is probably related to the picture documented in the Alczar in 1636 and executed, according to Professor Jaff, about 1615-6 (M. Jaff, Rubens, Milan, 1989, no. 334, not illustrated) and according to Julius Held about 1618-20. The composition is also recorded in copies of the oil sketch at Stockholm, Munich and Besanon, J. Held, The Oil Sketches of Peter Paul Rubens, Princeton, 1980, no. 311, figs. 458-9. The composition of these pictures is in reverse to the present drawing. Studio drawings of the same subject are in the Rubens Cantoor in Copenhagen (Antwerp, Rubenshuis, Rubens Cantoor, 1993, nos. 81-4). A double sided drawing of Samson and the Philistines in Amsterdam is similar in handling to the present drawing.
Dr. Hans-Ulrich Beck kindly provided the description of the present drawing in Rver's catalogue 'Annibal Fontana 2 staande beeltjes, malkander ohmelzende en een ander met een slang getekent voor hegten tot messen van Annibal Fontana, met de pen gewassen en gehhogt op geel pap...f 1.10'. The catalogue of drawings was prepared by Valerius Rver (1686-1739) himself from 1711. Rver's collection was acquired from his widow in 1761 by the dealer Hendrick de Leth, who sold the 42 albums of drawings to Goll van Franckenstein. According to Dr. Beck, the present drawing did not appear in Goll's sales of 1819 and 1833.