HANS BOL (MALINES 1534-1593 AMSTERDAM) - photo 1
HANS BOL (MALINES 1534-1593 AMSTERDAM) - photo 2
HANS BOL (MALINES 1534-1593 AMSTERDAM) - photo 3

HANS BOL (MALINES 1534-1593 AMSTERDAM)

Lot 18
26.03.2025 15:00UTC +02:00
Classic
Sold
€ 25 200
AuctioneerCHRISTIE'S
Event locationFrance, Paris
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Archive
ID 1390046
Lot 18 | HANS BOL (MALINES 1534-1593 AMSTERDAM)
Estimate value
€ 25 000 – 35 000
HANS BOL (MALINES 1534-1593 AMSTERDAM)
The Crucifixion
signé, daté ‘H BOL/ 1573’ (en bas au centre) et avec inscriptions ‘HANS BOL / 1573’ (en bas à gauche) et ‘Hans Bohl / Hans Bol 1585 / 1936’ (verso)
pierre noire, plume et encre brune, lavis gris, rehaussé de blanc
27,6 x 19,8 cm (10 7/8 x 7 ¾ in.)




Provenance

Avec Alister Mathews, Poole, 1964 (catalogue 65, no. 148), d'où acquis par,
Dr J.A. van Dongen, Amsterdam.
Paul Russell, Amsterdam.
Avec Bob Haboldt & Co., New York et Paris, 1989.
Jacobus Adrianus Klaver (1928-1997), Amsterdam (L.5353); vente Sotheby's, Amsterdam, 10 mai 1994, lot 29.
Vente anonyme; Sotheby's, Amsterdam, 2 Novembre 2004, lot 10.
Avec Crispian Riley-Smith, Norfolk, d'où acquis par le propriétaire actuel.



Literature

T. Gerszi, Netherlandish Drawings in the Budapest Museum: Sixteenth Century Drawings, Amsterdam, New York, 1971, I, sous le n° 17.
D. J. Johnson, Old Master Drawings from the Museum of Art, Rhode Island, 1983, p.212, sous le n° 74, note 6.
K. G. Boon, The Netherlandish and German Drawings of the XVth and XVIth Centuries of the Frits Lugt Collection, Paris, 1992, I, p.41, sous le n° 22, p.42 notes 13 et 15, II, fig.39b.
Bob. P. Haboldt & Co, Old Master Paintings and Drawings, the first five years, New York, 1989, n° 15.



Exhibited

Amsterdam, Museum Willet-Holthuysen, Schilderijn, tekeningen en beeldhouwwerken 16e-20e eeuw uit de verzameling van Dr J.A. van Dongen, 1968, n° 29.
Amsterdam, Rijksmuseum, Tekeningen van Oude Meesters, De Verzameling Jacobus A. Klaver, 1993, n° 3, ill.



Further details

Hans Bol is best known for his graphic works, which rival each other in detail and make him a major miniaturist of the Flemish 16th century. The quality of his work was beyond doubt for his contemporaries, who saw in him a successor to Pieter Brueghel the Elder. Painted in grisaille with white highlights, Bol puts all his skill to work here in a crucifixion inspired more specifically by the Gospel of John (19:31-34): on the right of the image, a soldier on a ladder is about to break the legs of a thief, in accordance with the wishes of the Jews, who wanted to hasten their death in order not to mar the Sabbath, which took place the following day. The group of moving soldiers, as well as the architecture and fantasy mountains in the background, demonstrate the artist's virtuosity and recall his speciality as a landscape painter. This sheet is the central panel of a drawn triptych: the left-hand panel depicting the Adoration of the Shepherds is kept at the Fondation Custodia, Paris (inv. 3746; fig. 1), while the right-hand panel illustrating a Resurrection is at the Rhode Island School of Design (Providence, United States; inv. 52.304; fig. 2). The size of the sheets, the technique used and the iconographic choices make this ensemble perfectly coherent. Two other Crucifixions by Hans Bol, using the same composition but painted in gouache and without side panels, are referenced: the first is dated 1583 and is in the Szpmvszeti Museum in Budapest (inv. K.57.20), the second, dated 1587, is in the Rhode Island School of Design in Providence (inv. 62.119; Tekeningen van Oude Meesters, De Verzameling Jacobus A. Klaver, exhibition catalogue, Amsterdam, 1993, p.14). Although the present drawing shows traces of incisions, suggesting a reproduction process, no engraving has yet been identified.
A successful composition, this drawing could also have served as a preparatory study for a painted altarpiece. Indeed, a larger triptych dated 1593 shows significant similarities with the three grisaille drawings mentioned above (private collection; H. G. Franz, ‘Beiträge zum Werk des Hans Bol’, in Jahrbuch des kunsthistorisches Institut der Universität Graz, no. 14, 1979, pp.205-206, figs. 10-12, pl. LXVIII and LXIX).
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