Details
FRIEDRICH BRENTEL (LAUINGEN 1580-1651 STRASBOURG)
Vénus et Adonis dans un paysage
signé ‘F. Brentel.’ (en bas à gauche)
gouache, rehaussé d'or, sur vélin, marouflé sur panneau
7,2 x 10,5 cm (2 3/4 x 4 1/8 in.)
Provenance
Vente Bonhams, Londres, 9 juillet 2003, lot 9.
Post lot text
FRIEDRICH BRENTEL, VENUS AND ADONIS IN A LANDSCAPE, BODYCOLOUR ON PAPER LAID DOWN ON PANEL, SIGNED
Brentel, who was highly esteemed in his time for his miniatures, often based himself on famous works by contemporaries and older artists. The composition of the present work is based on the composition of one of the variants of Titian’s Venus and Adonis (here the so-called ‘Farnese type’). Painted versions by Titian and his workshop can be found today at the Metropolitan Museum of Art (inv. 49.7.16) and the National Gallery of Art, Washington (inv. 1942.9.84; see H.E. Wethey, The Paintings of Titian. Complete Edition, III, London 1975, nos. 43, 44, figs. 97, 98), but Brentel may have worked after Raphael Sadeler’s engraving after the latter picture (ibid., p. 194, under no. 44, fig. 98). The landscape in the right half of the composition, however, is Brentel’s own invention.
Details
FRIEDRICH BRENTEL (LAUINGEN 1580-1651 STRASBOURG)
Vénus et Adonis dans un paysage
signé ‘F. Brentel.’ (en bas à gauche)
gouache, rehaussé d'or, sur vélin, marouflé sur panneau
7,2 x 10,5 cm (2 3/4 x 4 1/8 in.)
Provenance
Vente Bonhams, Londres, 9 juillet 2003, lot 9.
Post lot text
FRIEDRICH BRENTEL, VENUS AND ADONIS IN A LANDSCAPE, BODYCOLOUR ON PAPER LAID DOWN ON PANEL, SIGNED
Brentel, who was highly esteemed in his time for his miniatures, often based himself on famous works by contemporaries and older artists. The composition of the present work is based on the composition of one of the variants of Titian’s Venus and Adonis (here the so-called ‘Farnese type’). Painted versions by Titian and his workshop can be found today at the Metropolitan Museum of Art (inv. 49.7.16) and the National Gallery of Art, Washington (inv. 1942.9.84; see H.E. Wethey, The Paintings of Titian. Complete Edition, III, London 1975, nos. 43, 44, figs. 97, 98), but Brentel may have worked after Raphael Sadeler’s engraving after the latter picture (ibid., p. 194, under no. 44, fig. 98). The landscape in the right half of the composition, however, is Brentel’s own invention.
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