365
365

PROPERTY FROM THE COLLECTION FORMED BY F.C. BUTÔT

Cornelis Saftleven
STUDY OF A RECLINING YOUTH
前往
365

PROPERTY FROM THE COLLECTION FORMED BY F.C. BUTÔT

Cornelis Saftleven
STUDY OF A RECLINING YOUTH
前往

拍品詳情

Old Master & British Works on Paper

|
倫敦

Cornelis Saftleven
GORINCHEM 1607 - 1681 ROTTERDAM
STUDY OF A RECLINING YOUTH
Black chalk;
signed with monogram and dated, centre left: CSL / 1633
251 by 176 mm
參閱狀況報告 參閱狀況報告

來源

J. Werneck, Frankfurt-am-Main (L.2561),
his sale 1885 (according to note on old mount, now removed);
Scheltema, by 1886;
William Pitcairn Knowles, Rotterdam and Wiesbaden (L.2643);
Hamel;
Rudolf Philip Goldschmidt, Berlin (L.2926),
his sale, Frankfurt-am-Main, Prestel, 4-5 October 1917, lot 516;
Dr. Cornelis Hofstede de Groot, The Hague (L.561),
his sale Leipzig, C.G. Boerner, 4 November 1931, lot 217;
Armand Gobiet, Seeham;
from whom acquired by F.C. Butôt (1906-92), Sankt Gilgen, Austria,
his posthumous sale, Amsterdam, Sotheby’s, 16 November 1993, lot 54.

展覽

The Hague, Gemeente Museum, Verzameling Dr. C. Hofstede de Groot II, 1930, cat. 99;
Munich, Sotheby's, A selection of paintings and drawings from the Collection of F.C. Butôt, June 1989

出版

W. Schulz, Cornelis Saftleven, 1607-1681, Berlin/New York 1978, no. 137, fig. 62, reproduced;
L.J. Bol, G.S. Keyes and F.C. Butôt, Netherlandish Paintings and Drawings from the Collection of F.C. Butôt by little-known and rare masters of the seventeenth century, 1981, cat. 42;
I. Fechter, review of exhibition, Munich, 1989, Weltkunst 59, no.12 (15 June 1989), p. 1768

相關資料

This reclining figure has been identified both as a monk and as a shepherd. Schulz (op. cit.) has suggested that this may be a study for a painting of the Mocking of Job, although no such connection has yet been established; the drawing does not relate to the painting of the subject at the Museum Mayer van den Bergh, Antwerp.1 This drawing is, however, linked with the Mayer van den Bergh painting in that both works provide evidence of the passing influence of Rubens on the young Saftleven. The dynamic draughtsmanship, the sweeping and elegant pose of the figure, and the extremely dark, almost greasy, black chalk are all features directly or indirectly derived from the work of the great Flemish master, then at the absolute peak of his powers and influence.

Throughout his career, Saftleven produced black chalk figure studies of this type, but only in the first half of the 1630s do these appear in any way influenced by the art of Italy or Flanders.2 Thereafter, Saftleven's figure studies became rather more down to earth, and quintessentially Dutch, both in their subject-matter and in their technique.

1. see B.J.A. Renckens, "Enkele notities bij vroege werken van Cornelis Saftleven", Bulletin Museum Boymans-van Beuningen, XIII, 1962, p. 67
2. see also, for example, the study of a kneeling monk, likewise dated 1633, sold New York, Sotheby's, 13 January 1989, lot 151 and A wild-haired, robed woman rushing to the right, seen from behind, dated 1631, sold Amsterdam, Sotheby's, 2 November 2004, lot 51

Old Master & British Works on Paper

|
倫敦