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Roelant Savery (1576 - 1639)

Lot 126: *Roelandt Jacobsz. Savery (1576-1639) Recto: a seated peasant and a standing peasant woman with a

Sotheby's

January 23, 2001
New York, NY, US

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*Roelandt Jacobsz. Savery (1576-1639) Recto: a seated peasant and a standing peasant woman with a basket on her back; verso: peasant in profile and a woman seen from the rear Signed, lower right: R.Savery (gone over in black ink to read Bruegel), inscribed lower left: nart het le, and extensively inscribed with color annotations, in brown ink: grisse mus/omberre/ rock/ witte kousen (by the seated figure), and swartte mus/ wit/ swartte mantel/ swartte rock (by the standing woman). Pen and brown ink over graphite (recto); graphite (verso). 100 by 141mm. Provenance: The Princes of Liechtenstein; Curtis O.Baer (with his collector's mark, verso: B, not in Lugt). Exhibited: Montreal, The Montreal Museum of Fine Arts, Five Centuries of Drawings, 1953, cat.7; Cambridg

*Roelandt Jacobsz. Savery (1576-1639)
Recto: a seated peasant and a standing peasant woman with a basket on her back;
verso: peasant in profile and a woman seen from the rear
Signed, lower right: R.Savery (gone over in black ink to read Bruegel), inscribed lower left: nart het le, and extensively inscribed with color annotations, in brown ink: grisse mus/omberre/ rock/ witte kousen (by the seated figure), and swartte mus/ wit/ swartte mantel/ swartte rock (by the standing woman).
Pen and brown ink over graphite (recto); graphite (verso).
100 by 141mm.
Provenance: The Princes of Liechtenstein; Curtis O.Baer (with his collector's mark, verso: B, not in Lugt). Exhibited: Montreal, The Montreal Museum of Fine Arts, Five Centuries of Drawings, 1953, cat.7; Cambridge, Mass., Fogg Art Museum, Drawings from the Curtis O. Baer Collection, 1958, cats.17-18; Washington, National Gallery of Art, et al., Master Drawings from Titian to Picasso, The Curtis O. Baer Collection, 1985-1987, cat.29. Literature: Otto Kurz, 'Drei Zeichnungen P.Bruegels des Alteren,' Die graphische Kunste, N.F. i, 1935, p.5, fig.2; Charles de Tolnay, Die Zeichnungen Pieter Bruegels, Zurich 1952, recto cat.82, pl.liv-top, verso, addendum, no.2; J.G. van Gelder, 'Pieter Bruegel: 'Na(e)rt het leven' of naar 'het leven,' Bulletin des Musees Royaux des Beaux-Arts de Belgique, ix, no.1-2, 1960, p.33; L.Munz, The Drawings of Bruegel, London 1961, cats.77-8; Drawings from a Loan Exhibition from the National Museum, Stockholm, exh.cat., New York, the Pierpont Morgan Library, et al., 1969, p.30; F.van Leeuwen, 'Iets over het handschrift van de 'naar het leven' tekenaar,' Oud Holland, 85, 1970, p.26; Joaneath Spicer, 'The 'Naer het leven' Drawings: by Pieter Bruegel or Roelandt Savery,' Master Drawings, viii, no.1, 1970, p.23; Pieter Bruegel d.A. als Zeichner, exh.cat., Berlin, Kupferstichkabinett, 1975, p.157; Joaneath Spicer-Durham, The Drawings of Roelandt Savery, diss., Yale University, 1979, pp.220, 627, 629-30, cats. C196 F191, C198 F193. This drawing belongs to a group of some eighty remarkably innovative sheets of figure studies datable to the years 1603-9, when Savery was working at the court of the Holy Roman Emperor Rudolf ii in Prague. These works are known as the naer het leven drawings (from the Dutch phrase meaning 'from the life'), as many of the drawings, including the present example, were inscribed by the artist with these words (though in a variety of forms). Throughout the earlier literature, they were accepted as works by Pieter Bruegel, but were convincingly reattributed to Savery by Spicer and van Leeuwen in the late 1960s (see literature). The naer het leven drawings record a wide variety of figures and costumes which Savery encountered while wandering the streets of Prague, and probably also while travelling elsewhere in central Europe. Many of the drawings are annotated with short descriptions of colors and items of clothing. According to Spicer's chronology of these drawings (op.cit., 1979, pp.217-222), this is one of the later sheets, datable circa 1607; by this time, the volumes of the figures and drapery are more substantial. The seated peasant in the present drawing reappears in another drawing from the series, in Stockholm (Spicer-Durham, cat. C197 F192), and again, in reverse, in Savery's 1607 painting, Rocky Landscape with Travellers and Bagpiper, in Geneva (see Roelandt Savery, 1576-1631, exh.cat., Ghent, Musee des Beaux-Arts, 1954, pl.6). *Roelandt Jacobsz. Savery (1576-1639)
Recto: a seated peasant and a standing peasant woman with a basket on her back;
verso: peasant in profile and a woman seen from the rear
Signed, lower right: R.Savery (gone over in black ink to read Bruegel), inscribed lower left: nart het le, and extensively inscribed with color annotations, in brown ink: grisse mus/omberre/ rock/ witte kousen (by the seated figure), and swartte mus/ wit/ swartte mantel/ swartte rock (by the standing woman).
Pen and brown ink over graphite (recto); graphite (verso).
100 by 141mm.
Provenance: The Princes of Liechtenstein; Curtis O.Baer (with his collector's mark, verso: B, not in Lugt). Exhibited: Montreal, The Montreal Museum of Fine Arts, Five Centuries of Drawings, 1953, cat.7; Cambridge, Mass., Fogg Art Museum, Drawings from the Curtis O. Baer Collection, 1958, cats.17-18; Washington, National Gallery of Art, et al., Master Drawings from Titian to Picasso, The Curtis O. Baer Collection, 1985-1987, cat.29. Literature: Otto Kurz, 'Drei Zeichnungen P.Bruegels des Alteren,' Die graphische Kunste, N.F. i, 1935, p.5, fig.2; Charles de Tolnay, Die Zeichnungen Pieter Bruegels, Zurich 1952, recto cat.82, pl.liv-top, verso, addendum, no.2; J.G. van Gelder, 'Pieter Bruegel: 'Na(e)rt het leven' of naar 'het leven,' Bulletin des Musees Royaux des Beaux-Arts de Belgique, ix, no.1-2, 1960, p.33; L.Munz, The Drawings of Bruegel, London 1961, cats.77-8; Drawings from a Loan Exhibition from the National Museum, Stockholm, exh.cat., New York, the Pierpont Morgan Library, et al., 1969, p.30; F.van Leeuwen, 'Iets over het handschrift van de 'naar het leven' tekenaar,' Oud Holland, 85, 1970, p.26; Joaneath Spicer, 'The 'Naer het leven' Drawings: by Pieter Bruegel or Roelandt Savery,' Master Drawings, viii, no.1, 1970, p.23; Pieter Bruegel d.A. als Zeichner, exh.cat., Berlin, Kupferstichkabinett, 1975, p.157; Joaneath Spicer-Durham, The Drawings of Roelandt Savery, diss., Yale University, 1979, pp.220, 627, 629-30, cats. C196 F191, C198 F193. This drawing belongs to a group of some eighty remarkably innovative sheets of figure studies datable to the years 1603-9, when Savery was working at the court of the Holy Roman Emperor Rudolf ii in Prague. These works are known as the naer het leven drawings (from the Dutch phrase meaning 'from the life'), as many of the drawings, including the present example, were inscribed by the artist with these words (though in a variety of forms). Throughout the earlier literature, they were accepted as works by Pieter Bruegel, but were convincingly reattributed to Savery by Spicer and van Leeuwen in the late 1960s (see literature). The naer het leven drawings record a wide variety of figures and costumes which Savery encountered while wandering the streets of Prague, and probably also while travelling elsewhere in central Europe. Many of the drawings are annotated with short descriptions of colors and items of clothing. According to Spicer's chronology of these drawings (op.cit., 1979, pp.217-222), this is one of the later sheets, datable circa 1607; by this time, the volumes of the figures and drapery are more substantial. The seated peasant in the present drawing reappears in another drawing from the series, in Stockholm (Spicer-Durham, cat. C197 F192), and again, in reverse, in Savery's 1607 painting, Rocky Landscape with Travellers and Bagpiper, in Geneva (see Roelandt Savery, 1576-1631, exh.cat., Ghent, Musee des Beaux-Arts, 1954, pl.6).

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