RENÉ BOYVIN (CIRCA 1525-CIRCA 1625) AFTER ROSSO FIORENTINO (1494-1540) OR LUCA PENNI (CIRCA 1500 / 04-1577)
PROPERTY FROM A PRIVATE EUROPEAN COLLECTION
RENÉ BOYVIN (CIRCA 1525-CIRCA 1625) AFTER ROSSO FIORENTINO (1494-1540) OR LUCA PENNI (CIRCA 1500 / 04-1577)

Susannah and the Elders

細節
RENÉ BOYVIN (CIRCA 1525-CIRCA 1625) AFTER ROSSO FIORENTINO (1494-1540) OR LUCA PENNI (CIRCA 1500 / 04-1577)
Susannah and the Elders
engraving
mid-16th century
on laid paper, watermark Small Shield
a fine, dark impression of this very rare print
first state (of two)
printing richly and clearly, with intense contrasts and depth
with small to narrow margins above and below, trimmed to or just outside the borderline elsewhere
a few vertical and horizontal folds, and some small repairs
generally in good condition
Sheet 321 x 226 mm.
來源
Ducs d'Arenberg, Brussels and Nordkirchen, Westphalia (Lugt 567); probably their sale, Christie's, London, 14 July 1902 (and following days), lot 84 (with two others). (£2.18; to Sabin).
出版
Robert-Dumesnil 3
B. Davis, Mannerist Prints - International Style in the Sixteenth Century, Los Angeles, 1988, no. 68, pp. 174-75.

榮譽呈獻

Stefano Franceschi
Stefano Franceschi Specialist

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拍品專文

The story of Susannah is found in Chapter 13 of the apocryphal Book of Daniel. To Renaissance artists it lent itself well for the exploration of female nudity within a biblical context. A married Hebrew woman in Babylon, Susannah was lusted over by two old men, who hid in the garden while she was bathing at a fountain. The men revealed themselves and said that she must either submit to them or they would spread a rumour that she was sleeping with a younger man. Susannah rejected their advances and the defamation and finally succeeded in demonstrating her purity and innocence.
This very rare print by the French engraver René Boyvin, with the beautiful naked body of Susannah and the lecherous expressions of the two old men, has an overtly erotic intensity. Especially her sculptural pose suggests a debt to Luca Penni (see also the following lot), although the existing literature suggested Rosso Fiorentino or Giulio Romano as the inventor of the composition.

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