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Lot Essay
Le présent lot ainsi que le suivant, proviennent de l’Album Giroux et portent un numéro distinctif dans le coin supérieur droit faisant référence aux dessins de cet album. Dans le catalogue raisonné de Bloemaert, Jaap Bolten suggère qu’il s’agit d’un numéro indiquant l’ordre dans lequel les dessins devaient être publiés. (J. Bolten, Abraham Bloemaert. C. 1565-1651. The Drawings, Leiden, 2007, I, p. 361). Bolten laisse également sous-entendre qu'Abraham a peut-être donné les dessins à son deuxième fils, Cornelis, pour que ceux-ci soient gravés. Cependant ce projet ne fut jamais réalisé. C’est Frederik, le plus jeune fils d’Abraham, qui publia le Konstrijk Tekenboek vers 1650, à partir de dessins du Cambridge Album. C’est en 1904 que l’album de Giroux, qui appartenait auparavant au peintre et photographe André Giroux, sera proposé à la vente. Bien que les études de la présente feuille ne semblent pas être directement à rapprocher d’une peinture de Bloemaert, on retrouve ces figures coiffées en bas à droite dans plusieurs oeuvres de l’artiste (voir, M. Roethlisberger, Abraham Bloemaert and his Sons. Paintings and Prints, Doornspijk, 1993, I, nos 423 et 511, II, figs. 593 et 694).
Nous remercions le Professeur Jaap Bolten d’avoir confirmé l’attribution à Abraham Bloemaert et pour son aide apportée à la rédaction de cette notice.
Both the present drawing and the one in the following lot, come from the so-called Giroux Album and carry the distinctive numbering in the upper right corners associated with drawings from it. In his catalogue raisonné of Bloemaert’s drawings, Jaap Bolten has suggested that the numbering indicates the sequence in which the drawings should be published as prints (J. Bolten, Abraham Bloemaert, c. 1565-1651. The Drawings, Leiden, 2007, I, p. 361). Bolten has tentatively suggested that Abraham might have given the drawings to his second son, Cornelis, to be engraved, but this project never came to fruition. Instead, it was Frederik, Abraham’s youngest son, who published the Konstrijk Tekenboek around 1650, based on drawings from the Cambridge Album. In 1904, the Giroux Album came up at auction in Paris having previously belonged to the painter and photographer André Giroux.
While the studies in the present sheet do not seem to be directly connected with any of Bloemaert’s paintings, heads with similarly dressed hair as seen in the lower right can be found in a number of the artist’s works (see M. Roethlisberger, Abraham Bloemaert and his Sons. Paintings and Prints, Doornspijk, 1993, I, nos. 423 and 511, II, figs. 593 and 694).
We are grateful to Professor Bolten for his assistance in cataloguing this drawing and for accepting the attribution to Abraham Bloemaert.
Nous remercions le Professeur Jaap Bolten d’avoir confirmé l’attribution à Abraham Bloemaert et pour son aide apportée à la rédaction de cette notice.
Both the present drawing and the one in the following lot, come from the so-called Giroux Album and carry the distinctive numbering in the upper right corners associated with drawings from it. In his catalogue raisonné of Bloemaert’s drawings, Jaap Bolten has suggested that the numbering indicates the sequence in which the drawings should be published as prints (J. Bolten, Abraham Bloemaert, c. 1565-1651. The Drawings, Leiden, 2007, I, p. 361). Bolten has tentatively suggested that Abraham might have given the drawings to his second son, Cornelis, to be engraved, but this project never came to fruition. Instead, it was Frederik, Abraham’s youngest son, who published the Konstrijk Tekenboek around 1650, based on drawings from the Cambridge Album. In 1904, the Giroux Album came up at auction in Paris having previously belonged to the painter and photographer André Giroux.
While the studies in the present sheet do not seem to be directly connected with any of Bloemaert’s paintings, heads with similarly dressed hair as seen in the lower right can be found in a number of the artist’s works (see M. Roethlisberger, Abraham Bloemaert and his Sons. Paintings and Prints, Doornspijk, 1993, I, nos. 423 and 511, II, figs. 593 and 694).
We are grateful to Professor Bolten for his assistance in cataloguing this drawing and for accepting the attribution to Abraham Bloemaert.