Francesco Brizio
Wooded River Landscape with Three Men Drinking
Estimate
10,000 - 15,000 USD
Lot Details
Description
Francesco Brizio
(Bologna 1575 – 1623)
Wooded River Landscape with Three Men Drinking
Pen and brown ink;
laid down on the original Mariette mount bearing his attribution, in cartouche: Lud. Carracci
bears inscription in pencil on the mount, verso: Somewhere I have read that this drawing represents the three brothers Carracci
212 by 295 mm; 8⅜ by 11⅝ in.
Pierre Crozat (1665-1740), his inscribed number, recto: 41,
his sale, Paris, 10 April - 13 May 1741 (part of lot 510 or lot 512, "'Paisages de Louis, Annibal, & Augustin Carrache'. Douze [Drawings] idem: autres Paisages" or
"Paysages de Louis, Annibal,& Augustin Carrache'. Neuf [Drawings] idem: autres Paisages"), bought by Mariette,
Pierre Jean Mariette (1694-1774), Paris, (L.2097), with part of his mount (L.1852),
his sale, Paris, Basan, Catalogue Raisonné des différens objets de curiosités dans les Sciences et Arts, qui composoient le Cabinet de feu Mr Mariette.., 11 January 1776, possibly part of lot 335: "Louis Carrache Bolog. Sept moyens Paysages, dont six en travers & e en hauteur, melés de fig. à la plume", bought by François,
François Renaud (1750?-1825?);
sale, London, Philipe, 22 April 1801, lot 62, "A ditto [landscape] by Lodovico Carracci - free pen -three figures sitting on the foreground drinking, from the same cabinet [Mariette];
Charles Gilbert Paignon-Dijonval (1708-1792), Paris;
William Bates (1824-1884), Birmingham (L.2604);
Max Rosenheim (1849-1911), according to the Oppenheimer catalogue;
Henry Oppenheimer, (1859-1932),
his estate sale, London, Christie's, 10-14 July 1936, part of lot 62;
sale, London, Sotheby's, 6 July 1987, lot. 26 (as Lodovico Carracci);
sale, London, Sotheby's, 2 July 1990, lot 125 (as Lodovico Carracci);
sale, London, Christie's, 6 July 1993, lot 52
with Nissman, Abromson, Ltd., Brookline, MA, 2002,
where acquired by Diane A. Nixon
New York, The Morgan Library & Museum, Pierre-Jean Mariette and the Art of Collecting Drawings, 2016, no. 31 (entry by Anne Varick Lauder)
A.S. Harris, The Katalan Collection of Italian Drawings, Poughkeepsie, New York 1995, under no. 34, note 3;
P. Rosenberg, C.B. Bailey, S. Welsh Reed, La vente Mariette, Le catalogue illustré par Gabriel de Saint-Aubin, Milan 2011, p. 54;
P. Rosenberg, Les Dessins de la collection Mariette. Ecole italienne et espagnole, Paris 2019, vol. I, p. 365, no. I 548, reproduced
Unusually for the period, Brizio only became an artist at the age of twenty, having apparently dedicated his youth to the profession of his father, Gian Ludovico Brizio, who was a cobbler. He received his earliest artistic training under Bartolomeo Passarotti (1529-1592) but it was under Ludovico Carracci (1555-1619) that Brizio really began to excel, leading Malvasia to describe him as “uno de’ grandi allievi” (one of the great pupils) who came out of the Accademia degli Incamminati that had been founded by the Carracci in Bologna. It was during this period that Brizio developed his skills as an engraver and draftsman, often borrowing Carracci designs or drawings for his compositions.
The present work, which is laid down on Pierre-Jean Mariette’s distinctive blue mount, was one of the collector's numerous sixteenth-century Bolognese drawings (see also lot 29). Appropriately, given the enormous influence that Ludovico had on Brizio, Mariette mistakenly attributed the Nixon drawing to Ludovico Carracci, as is evident from his inscription in the cartouche of the mount.
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