Circle of Pieter Coecke van Aelst (Aalst 1502-1550 Brussels)
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Circle of Pieter Coecke van Aelst (Aalst 1502-1550 Brussels)

Landscape with Jupiter and Io

細節
Circle of Pieter Coecke van Aelst (Aalst 1502-1550 Brussels)
Landscape with Jupiter and Io
with inscription 'Julio Romano' (recto) and 'Jules Romain/ Coll. Andréossy' (verso)
black chalk, pen and brown ink, brown wash heightened with white on pink-brown prepared paper
8 ¼ x 10 ¾ in. (20.8 x 27.3 cm)
來源
Antoine-François, comte Andréossy (1761-1828), Paris; Laneuville et al., Paris, 13-16 April 1864, lot 645 or 646 (as Giulio Romano).
Charles Cousin (1822-1894), Paris (L. 512).
Carl Robert Rudolf (1884-1975), London; Sotheby’s Mak van Waay, Amsterdam, 6 June 1977, lot 30 (as Netherlandish School).
with Richard Day, London.
出版
N. Strasser, Dessins des écoles du nord du XVe au XVIIIe siècle. Collection Jean Bonna, Geneva, 2013, no. 9, ill.
注意事項
These lots have been imported from outside the EU for sale using a Temporary Import regime. Import VAT is payable (at 5%) on the Hammer price. VAT is also payable (at 20%) on the buyer’s Premium on a VAT inclusive basis. When a buyer of such a lot has registered an EU address but wishes to export the lot or complete the import into another EU country, he must advise Christie's immediately after the auction.

拍品專文

Although most of the drawings by Pieter Coecke van Aelst (many of them designs for tapestries) are executed in a more firmly delineated, less pictorial manner, some of his looser sketches or background scenes are quite comparable to the present work, among them a sheet at the Frits Lugt Collection, Paris, and one in a private collection (S. Alsteens, ‘The drawings of Pieter Coecke van Aelst’, Master Drawings, LII, no. 3, Fall 2014, nos. A3, A24, A27, figs. 65, 7, 12, 12a). There are too many differences in style to allow an attribution of the Bonna drawing to him, but it seems quite certain that the author should be looked for in the circle of artists who were inspired by him and his direct exposure to Italian art. The drawing can be dated to the 1530s or 1540s, when Netherlandish artists first started depicting classic texts, in this case Ovid’s Metamorphoses. Particularly appealing and innovative in the North is also the combination of the swirly penmanship and the painterly use of bodycolour.

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