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Provenant de la collection Himmelheber
VIRGIL SOLIS (NUREMBERG 1514-1562)
Deux lansquenets jouant de la musique sous un arbre
细节
VIRGIL SOLIS (NUREMBERG 1514-1562)
Deux lansquenets jouant de la musique sous un arbre
monogrammé ‘VS’ (en bas au centre), daté ‘ad 11 decemmer’ (en haut au centre) et numéroté ‘N°5’ (en haut à droite), filigrane fragmentaire ‘Towngate’
plume et encre brune, filigrane fragmentaire ‘Towngate’
19,5 x 16,1 cm (7 5⁄8 x 6 3⁄8 in.)
Deux lansquenets jouant de la musique sous un arbre
monogrammé ‘VS’ (en bas au centre), daté ‘ad 11 decemmer’ (en haut au centre) et numéroté ‘N°5’ (en haut à droite), filigrane fragmentaire ‘Towngate’
plume et encre brune, filigrane fragmentaire ‘Towngate’
19,5 x 16,1 cm (7 5⁄8 x 6 3⁄8 in.)
来源
Bernhard Himmelheber (1898-1966) (L. 4035), Karlshure, puis par descendance,
Georg Himmelheber (1929-2024), Munich, puis par descendance.
Georg Himmelheber (1929-2024), Munich, puis par descendance.
更多详情
VIRGIL SOLIS, TWO SWISS LANDSKNECHT PLAYING MUSIC BY A TREE, PEN AND BROWN INK
Considered one of the most prolific engravers of his time, Virgil Solis was an important figure in the Nuremberg Renaissance of the mid-16th century. Having emigrated in his youth to Nuremberg, the capital of engraving par excellence and Dürer's native city, Solis developed a workshop producing prints in a wide variety of genres, making his monogram ‘VS’ a sought-after mark (O'Dell-Franke, Kupferstiche und Radierungen aus der Werkstatt Virgil Solis, Wiesbaden, 1977, pp. 14-15). This drawing can be compared to two engravings depicting a drummer (Fig.1; London, British Museum, inv. 1850,0612.489; and Braunschweig, Herzog Anton Ulrich Museum, inv. VSolis AB3.124): the presence of a tree in the background, the position of the musician's hands, and the grooves on the barrel of the instrument are all convincing details.
Coming from Germany and the Alpine foothills to fight as mercenaries during the Italian Wars since the end of the 15th century, the ‘Landsknechte’ left a lasting impression. The representation of these soldiers, renowned for their licentious behavior, became a significant genre in its own right during the first half of the 16th century. Systematically depicted full-length, individually or in small groups and following a well-established typology, these images were prized items for collectors of drawings and prints.
In this duo of fife and drum, the artist transforms the exuberance of his subjects' clothing into a veritable Mannerist playground in the service of a Germanic mythology of ‘Landsknechte’.
Virgil Solis' drawings are rare, but this sheet can be stylistically compared to a Study of a Greyhound, dated 1549, using the same brown ink with its characteristic tight hatching and the ever-present vegetated ground that anchors the overall composition. (New York, Metropolitan Museum of Art, inv. 2001.497; S. Alsteens, F. Spira, Dürer and Beyond: Central European Drawings in the Metropolitan Museum of Art, 1400-1700, exh. cat., The Metropolitan Museum of Art, New York, 2012, no. 37).
Considered one of the most prolific engravers of his time, Virgil Solis was an important figure in the Nuremberg Renaissance of the mid-16th century. Having emigrated in his youth to Nuremberg, the capital of engraving par excellence and Dürer's native city, Solis developed a workshop producing prints in a wide variety of genres, making his monogram ‘VS’ a sought-after mark (O'Dell-Franke, Kupferstiche und Radierungen aus der Werkstatt Virgil Solis, Wiesbaden, 1977, pp. 14-15). This drawing can be compared to two engravings depicting a drummer (Fig.1; London, British Museum, inv. 1850,0612.489; and Braunschweig, Herzog Anton Ulrich Museum, inv. VSolis AB3.124): the presence of a tree in the background, the position of the musician's hands, and the grooves on the barrel of the instrument are all convincing details.
Coming from Germany and the Alpine foothills to fight as mercenaries during the Italian Wars since the end of the 15th century, the ‘Landsknechte’ left a lasting impression. The representation of these soldiers, renowned for their licentious behavior, became a significant genre in its own right during the first half of the 16th century. Systematically depicted full-length, individually or in small groups and following a well-established typology, these images were prized items for collectors of drawings and prints.
In this duo of fife and drum, the artist transforms the exuberance of his subjects' clothing into a veritable Mannerist playground in the service of a Germanic mythology of ‘Landsknechte’.
Virgil Solis' drawings are rare, but this sheet can be stylistically compared to a Study of a Greyhound, dated 1549, using the same brown ink with its characteristic tight hatching and the ever-present vegetated ground that anchors the overall composition. (New York, Metropolitan Museum of Art, inv. 2001.497; S. Alsteens, F. Spira, Dürer and Beyond: Central European Drawings in the Metropolitan Museum of Art, 1400-1700, exh. cat., The Metropolitan Museum of Art, New York, 2012, no. 37).
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Hélène Rihal
Head of Department
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