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Lot Essay
The figures on the recto and verso are copies after details of Cephalus and Aurora by Poussin, now at Hovingham Hall. The painting, close in style to the Marino drawings done in Paris, seems to date from the first years of Poussin's stay in Rome circa 1622-3, R. Verdi, Nicolas Poussin, exhib. cat., Royal Academy of Arts, London, 1995, pp. 150-1, no. 1, illustrated.
The painting is sometimes identified, though its dimensions differ, with one of the same subject recorded in the collection of a nephew of Cassiano dal Pozzo. The Hovingham painting was first mentioned by Bellori in Le Vite de' pittori in 1672 where he gives a precise description of it. Another drawing related to the painting, considered by Konrad Oberhuber a preparatory study, is in the British Museum, K. Oberhuber, Poussin, The Early Years in Rome, Oxford, 1988, D31, illustrated.
Vincenzo Dandini worked in Florence with Pietro da Cortona between 1637 and 1646 and, when the latter moved to Rome, Dandini followed him there. Through Pietro da Cortona's links with the Barberini family, and more particularly Cassiano dal Pozzo, Dandini would have become aware of Poussin's work.
The painting is sometimes identified, though its dimensions differ, with one of the same subject recorded in the collection of a nephew of Cassiano dal Pozzo. The Hovingham painting was first mentioned by Bellori in Le Vite de' pittori in 1672 where he gives a precise description of it. Another drawing related to the painting, considered by Konrad Oberhuber a preparatory study, is in the British Museum, K. Oberhuber, Poussin, The Early Years in Rome, Oxford, 1988, D31, illustrated.
Vincenzo Dandini worked in Florence with Pietro da Cortona between 1637 and 1646 and, when the latter moved to Rome, Dandini followed him there. Through Pietro da Cortona's links with the Barberini family, and more particularly Cassiano dal Pozzo, Dandini would have become aware of Poussin's work.