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Sine Cerere et Baccho Friget Venus (Zonder Bacchus en Ceres zou Venus bevriezen)

Sine Cerere et Baccho Friget Venus (Zonder Bacchus en Ceres zou Venus bevriezen)

Anoniem (in circa 1590-1625)

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Titel Sine Cerere et Baccho Friget Venus (Zonder Bacchus en Ceres zou Venus bevriezen)
Materiaal en techniek Pen in bruine inkt, bruin gewassen, doorgegriffeld, kaderlijn met de pen in bruine inkt, op een rond stuk papier, waarvan de verso geprepareerd met rood krijt
Objectsoort
Tekening > Tweedimensionaal object > Kunstvoorwerp
Locatie Dit object is in het depot
Afmetingen Diameter 152 mm
Makers Tekenaar: Anoniem
Vroegere toeschrijving: Karel van Mander
Vroegere toeschrijving: Hans Rottenhammer (I)
Vroegere toeschrijving: Joachim Wtewael
Inventarisnummer MB 1729 (PK)
Credits Uit de nalatenschap van F.J.O. Boijmans, 1847
Collectie Tekeningen & Prenten
Verwervingsdatum 1847
Vervaardigingsdatum in circa 1590-1625
Signatuur geen
Watermerk geen (vH, 6P, fijn)
Conditie foxing
Inscripties 'C.V.M’ (in rood krijt, op het verwijderde doubleerpapier)
Verzamelaar F.J.O. Boijmans
Merkteken Museum Boymans (L.1857)
Herkomst F.J.O. Boijmans (1767-1847), Utrecht; gelegateerd aan de stad Rotterdam in 1847
Tentoonstellingen geen
Onderzoek Toon onderzoek Nederlandse tekeningen uit de vijftiende en zestiende eeuw
Literatuur Cat. 1852, nr. 811 (Rottenhammer); Cat. 1869, nr. 689 (Rottenhammer); Cat. 1901, p. 56, nr. 716 (Rottenhammer); Collection Catalogue 2012 (online)
Materiaal
Object
Techniek
Doorgriffelen > Doorgegriffeld > Tekentechniek > Techniek > Materiaal en techniek
Bruin gewassen > Wassen > Gewassen > Tekentechniek > Techniek > Materiaal en techniek
Geografische herkomst Noordelijke Nederlanden > Nederlanden > West-Europa > Europa

Entry bestandscatalogus Vroeg Nederlandse tekeningen uit de 15e en 16e eeuw

Auteur: Albert J. Elen

Deze beschrijving is momenteel alleen beschikbaar in het Engels.

Against a vast landscape with a river receding in the distance, and filled with various architectural structures and bridges, a group of four naked figures is depicted in front of a rock in the foreground. Venus, in the centre, is leaning against it, communicating with Cupid to her right. In front of them Ceres is seated in a seemingly uncomfortable, twisted pose. She holding a sheaf of corn, turning away from the beholder and looking at Venus. On the left is a young Bacchus, looking at the tazza in his upheld right hand. He is seated on a vat, which is leaking wine. Fruit is lying around in the foreground.

The main figures and their juxtaposition resemble the print Sine Cerere et Baccho Friget Venus (Without Ceres and Bacchus, Venus Would Freeze), engraved by Jacob Matham after a design by Hendrick Goltzius1 and published by the latter in 1588 (ill. 1). However, the drawing is not preparatory to the print, nor an exact copy of it. It is loosely based on the print but there the figures are more prominent, set against a tree, without further background. Evidently, the draughtsman only drew primary inspiration from the print but further developed his composition in his own way, using his imagination and drawing skills. The handling is reminiscent of Joachim Wttewael, to whom the drawing was once attributed by Lindemann (1929). It has also been tentatively attributed to Karel van Mander by Frits Lugt, probably based on a red chalk monogram on the backing paper (now removed).2

The red chalk preparation on the reverse and the indented outlines, used for transfer of the composition, indicate that it served as a design for another, yet unknown print or for a stained glass roundel, or perhaps for the decoration of a silver or gold cup, a tazza like the one Bacchus is holding up.3

fig. 1 Jacob Matham after Hendrick Goltzius, Sine Cerere et Baccho friget Venus [Without Bacchus and Ceres Venus would frieze], 1588. Museum Boijmans Van Beuningen, inv. no. BdH 9945

Noten

1 Drawing in mirror image in Oxford, Ashmolean Museum.

2 Annotated on the old inventory card, with a question mark, without date.

3 In fact, the inventory card mentions a silver tazza with the same design, which was with art dealer A.C. Beeling in The Hague in early 1981, unfortunately without further information or a reproduction. If it is the tazza included in the art dealer’s catalogue Beeling. Nederlands Zilver 1600-1683, vol. III, 1986, pp. 76-77, ill., the resemblance is limited to the figure of the seated Bacchus and the drawing was certainly not used for it, but rather Matham’s engraving.

Toon onderzoek Nederlandse tekeningen uit de vijftiende en zestiende eeuw
Toon catalogustekst Verberg catalogustekst

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