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拍品专文
This drawing can be compared compositionally and stylistically to a group of pictures and drawings executed in Antwerp in the first part of the 16th Century. The composition itself is very close to that of two pictures of the same subject painted by the Master of the van Groote Adoration, a follower of Jan de Beer and the Pseudo-Bles. The two pictures are in the Gemäldegalerie der Akademie der Bildenden Künste, Vienna (fig. 1) and an unknown location (fig. 2), M.J. Friedländer, op. cit., 1974, pp. 24-5, figs. 32-3.
Many of the figures and details in the drawing can be found in the pictures: the two women on the right and the other lamenting in the background are very simliar to these in fig. 2, as is the figure leaning over Christ wearing a turban and grinning. The figure holding Christ and the position of the Virgin with her hands crossed are similar in the Vienna picture.
The nucleus of the corpus of the Master of the van Groote Adoration was an altarpiece of Adoration formerly in the collection of Freiherr van Groote in Kitzburg, M.J. Friedländer, op. cit., 1974, pls. 36-7. Around that Adoration Max Friedländer grouped paintings in Frankfurt, Philadelphia, Antwerp, New York, The Courtauld Institute, London and several private collections. Three further pictures of The Lamentation are recorded in Brussels, in an unknown location and at Hampton Court, M.J. Friedländer, op. cit., 1974, nos. 34-5 and 41.
Friedländer dated the Philadelphia picture around 1510, the terminus post quem being the date 1519 on a copy after that picture. This date could be brought back a little according to the style of the dress. Friedländer described the style of the master as '[favouring] dense hedges of figures in the foreground, a bit in the manner of Engelbrechtsen. The figures themselves are of medium stature, the types on the stiff side, the drapery hard and brittle....The mouth is often an open hole and teeth are infrequently visible. Fingers are stiffly extended from wide palms, the pointed fingertips usually pressed together. The figures seem to move like puppets. The drawing is frugal and unassuming, avoiding contraposto and foreshortening. Flutter and turbulence are rare, and when they do put in an appearance, they are purely superficial, added in the service of fashion....Whenever the master seeks to express liveliness and joyous participation, as in the shutter of the van Groote triptych he falls back on a stiff-lipped smile or grin. The faces of men, whether their mouths are shown in full or half profile, remind us of nut-crackers', op. cit., 1974, p. 25.
The handling of this drawing can also be compared to that of a feebler drawing in Berlin attributed by Friedländer to the Pseudo-Bles, an artist very close to the Master of the van Groote Adoration, M.J. Friedländer, op. cit., 1974, pl. 207, fig. B.
We are grateful to Dr. Egbert Haverkamp-Begemann for his help in cataloguing this lot.
Many of the figures and details in the drawing can be found in the pictures: the two women on the right and the other lamenting in the background are very simliar to these in fig. 2, as is the figure leaning over Christ wearing a turban and grinning. The figure holding Christ and the position of the Virgin with her hands crossed are similar in the Vienna picture.
The nucleus of the corpus of the Master of the van Groote Adoration was an altarpiece of Adoration formerly in the collection of Freiherr van Groote in Kitzburg, M.J. Friedländer, op. cit., 1974, pls. 36-7. Around that Adoration Max Friedländer grouped paintings in Frankfurt, Philadelphia, Antwerp, New York, The Courtauld Institute, London and several private collections. Three further pictures of The Lamentation are recorded in Brussels, in an unknown location and at Hampton Court, M.J. Friedländer, op. cit., 1974, nos. 34-5 and 41.
Friedländer dated the Philadelphia picture around 1510, the terminus post quem being the date 1519 on a copy after that picture. This date could be brought back a little according to the style of the dress. Friedländer described the style of the master as '[favouring] dense hedges of figures in the foreground, a bit in the manner of Engelbrechtsen. The figures themselves are of medium stature, the types on the stiff side, the drapery hard and brittle....The mouth is often an open hole and teeth are infrequently visible. Fingers are stiffly extended from wide palms, the pointed fingertips usually pressed together. The figures seem to move like puppets. The drawing is frugal and unassuming, avoiding contraposto and foreshortening. Flutter and turbulence are rare, and when they do put in an appearance, they are purely superficial, added in the service of fashion....Whenever the master seeks to express liveliness and joyous participation, as in the shutter of the van Groote triptych he falls back on a stiff-lipped smile or grin. The faces of men, whether their mouths are shown in full or half profile, remind us of nut-crackers', op. cit., 1974, p. 25.
The handling of this drawing can also be compared to that of a feebler drawing in Berlin attributed by Friedländer to the Pseudo-Bles, an artist very close to the Master of the van Groote Adoration, M.J. Friedländer, op. cit., 1974, pl. 207, fig. B.
We are grateful to Dr. Egbert Haverkamp-Begemann for his help in cataloguing this lot.