ATTRIBUÉ À TOUSSAINT DUBREUIL (PARIS 1561-1602) - photo 1

ATTRIBUÉ À TOUSSAINT DUBREUIL (PARIS 1561-1602)

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€ 7 560
Auction dateClassic
20.03.2024 15:00UTC +02:00
Auctioneer
CHRISTIE'S
Event location
France, Paris
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ID 1172969
Lot 41 | ATTRIBUÉ À TOUSSAINT DUBREUIL (PARIS 1561-1602)
ATTRIBUÉ À TOUSSAINT DUBREUIL (PARIS 1561-1602)

La Forge de Vulcain

plume et encre brune, noirci au verso pour transfert, traces d'incisions

19 x 33 cm (13 1⁄8 x 7 ½ in.)





Provenance

Wolfhart F. Bürgi (1901-1989), Bern (L. 3400).

Vente Lucerne, Galerie Fischer, 24-25 juin 1988, lot 3147.

Collection privée du sud de la France.

Vente Artcurial, Paris, 31 mars 2016, lot 25 (comme école de Fontainebleau, vers 1600).



Inscribed

par Gabriel Lejeune, Le Feu, burin et eau-forte, BnF, Cabinet des Estampes, cote: AA3 (fig. 1 ; M. Préaud, Inventaire du fonds français. Graveurs du XVIIe siècle. Leclercq-Lenfant, Paris, 1989, X., p. 56, n° 6, ill.).

par Pierre Fatoure, Vulcain, allégorie du Feu, burin, dans Pièces drolatiques et bouffonnes, BnF, Cabinet des Estampes, cote : réserve TE-1-boite fol, P15236.



Further details

ATTRIBUTED TO TOUSSAINT DUBREUIL, VULCAN’S FORGE, PEN AND BROWN INK, BLACKENED ON THE VERSO, PARTLY INCISED FOR TRANSFER

Filling most of the composition, Vulcan functions here like a repoussoir with pincers in his hands, while the Cyclops work in the background. The corresponding engraving is entitled ‘IGNIS’ (fire), and probably belonged to a series of the Four Elements, of which only Fire and Earth are known today. The engraving of the Earth, by Gabriel Lejeune and Pierre Vallet after Toussaint Dubreuil, is entitled ‘TERRA’ and depicts Cybele leaning on a lion (Préaud, op. cit., no. 5, ill.).
The present drawing, in the same sense as the engraving by Lejeune and Pierre Fatoure (fig. 1), is of the same size. Its verso blackened with chalk and its some incised outlines visible with transmitted light, visible the outlines incised, with minute stylus marks visible in transparency along the contours, it is most likely the preparatory drawing used for the engraving.
As for its attribution, the use of cross-hatching emphasising the muscles of the figure is typical of the pen and ink drawings by Dubreuil.
This graphic manner bears witness to an ‘obsession with muscles, which is also to an extreme extent a study in movement: as in the work of contemporary artists such as Cornelis van Haarlem or Hendrick Goltzius, the anatomy, paradoxically developed in dizzying foreshortening, is, at the same time display of skill and a surprise’ (D. Cordellier, Toussaint Dubreuil, Paris, 2010, p. 8). This way of drawing nude figures has also been compared to that of Bartolomeo Passarotti (1529-1592) ‘whose first works in this manner just precede Dubreuil’s activity’ (D. Cordellier, ‘Toussaint Dubreuil, “singulier en son art”’, Bulletin de la Société de l’histoire de l’art français, 1985, p. 21). Other drawings of the male nude in pen and ink by Dubreuil include his Hercules delivering Prometheus, The Martyrdom of Saint Christopher and Family of shepherds with a goat and a dog in the Musée du Louvre (inv. 26273, 26272, 26271; see Cordellier, op. cit., 2010, nos. 13, 14, 16, ill.).
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