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Jerusalem, with Christ as the Good Shepherd
Maker
(artist)
1534-1593
1534-1593
Title
Jerusalem, with Christ as the Good Shepherd
Date of Production
1575
Medium
traces of black chalk, pen and brown ink, blue wash, on laid paper, with light brown ink framing lines, incised for transfer, the verso prepared with red chalk
Dimensions
Height: 20.6 cm
Width: 30.4 cm
Width: 30.4 cm
Accession Number
D.1952.RW.1628
Mode of Acquisition
Robert Clermont Witt, bequest, 1952
Credit
The Courtauld, London (Samuel Courtauld Trust)
Copyright
Work in the public domain
Location
Not currently on display
Keywords
Label Text
This bird’s eye view of the New Jerusalem, depicted here with four square walls and three gates, envisages the celestial city as it is described in the Book of Revelations. Though the drawing first appears to adhere to a single vanishing point perspective, closer inspection reveals that the City derives from several orthogonals that emanate from multiple points originating around the head of God.
This elaborate bird’s-eye view represents the imagined New Jerusalem, as described in the Biblical Book of Revelations. The layout of the celestial city is envisaged according to its literal description, but is here accompanied by Christ as the Good Shepherd and with God and the Holy Spirit in the sky.
Bol’s composition was engraved as part of a set of three prints published in Antwerp by the female publisher Volcxken Diericx (around 1525-1600).
This elaborate bird’s-eye view represents the imagined New Jerusalem, as described in the Biblical Book of Revelations. The layout of the celestial city is envisaged according to its literal description, but is here accompanied by Christ as the Good Shepherd and with God and the Holy Spirit in the sky.
Bol’s composition was engraved as part of a set of three prints published in Antwerp by the female publisher Volcxken Diericx (around 1525-1600).
Provenance
William A. Baillie-Grohman, London and Tyrol (1851-1921), L.370; his estate sale, Sotheby’s (London), 14 May 1923, lot 154 (with D.1952.RW.1630 and one other); purchased there by Sir Robert Witt, London (1872-1952), L.2228b (£3.5); Witt Bequest 1952
Exhibition History
Drawings Gallery Display - Traces: Renaissance Drawings for Flemish Prints, The Courtauld Gallery, London, 18/06/2022-25/09/2022
Special Display - The Grid, The Courtauld Gallery, London, 26/01/2012-28/05/2012
Special Display - Building and Destruction - Architectural Imagery from the Courtauld's Drawings Collection, The Courtauld Gallery, London, 01/10/2009-17/01/2010 ...More
Captured on Paper, Animals in the Prints and Drawings Collection, The Courtauld Gallery, London, 20/06/2002-11/08/2002
Landscapes in the Making: Dutch & Flemish 16-17th Century Drawings from the Courtauld Gallery, Tobu Museum of Arts, Tokyo, 03/11/2000-24/12/2000; Shizuoka Prefectural Museum of Art, Shizuoka, 02/02/2001-11/03/2001; Koriyama City Museum of Art, Koriyama, 17/03/2001-15/04/2001
Master Drawings from the Courtauld Collections, Courtauld Institute Galleries, London, 16/10/1991-19/01/1992
The Northern Landscape: Flemish, Dutch and British Drawings from the Courtauld Collections, The Courtauld Gallery, London, 03/09/1986-30/11/1986; The Drawing Center, New York, 08/04/1986-26/07/1986
Mantegna to Cezanne - Master Drawings from the Courtauld, British Museum, London, 24/02/1983-19/06/1983
Flemish drawings from the Witt Collection, The Courtauld Gallery, London, October 1977-January 1978
Master Drawings from the Witt and Courtauld Collections, Whitworth Art Gallery, Manchester, 17/11/1962-22/12/1962
Exhibition of Belgian and Flemish Art 1300-1900, Royal Academy of Arts, London, 1927 ...Less
Special Display - The Grid, The Courtauld Gallery, London, 26/01/2012-28/05/2012
Special Display - Building and Destruction - Architectural Imagery from the Courtauld's Drawings Collection, The Courtauld Gallery, London, 01/10/2009-17/01/2010 ...More
Captured on Paper, Animals in the Prints and Drawings Collection, The Courtauld Gallery, London, 20/06/2002-11/08/2002
Landscapes in the Making: Dutch & Flemish 16-17th Century Drawings from the Courtauld Gallery, Tobu Museum of Arts, Tokyo, 03/11/2000-24/12/2000; Shizuoka Prefectural Museum of Art, Shizuoka, 02/02/2001-11/03/2001; Koriyama City Museum of Art, Koriyama, 17/03/2001-15/04/2001
Master Drawings from the Courtauld Collections, Courtauld Institute Galleries, London, 16/10/1991-19/01/1992
The Northern Landscape: Flemish, Dutch and British Drawings from the Courtauld Collections, The Courtauld Gallery, London, 03/09/1986-30/11/1986; The Drawing Center, New York, 08/04/1986-26/07/1986
Mantegna to Cezanne - Master Drawings from the Courtauld, British Museum, London, 24/02/1983-19/06/1983
Flemish drawings from the Witt Collection, The Courtauld Gallery, London, October 1977-January 1978
Master Drawings from the Witt and Courtauld Collections, Whitworth Art Gallery, Manchester, 17/11/1962-22/12/1962
Exhibition of Belgian and Flemish Art 1300-1900, Royal Academy of Arts, London, 1927 ...Less
Literature
Mielke and Stefaan Hautekeete, Ursula, Hans Bol, New Hollstein Dutch and Flemish Engravings 1400-1700, 2 vols., Ouderkerk aan de Ijssel, 2015
under no. 161
Benjamin, Andrew, ‘Drawing Jerusalem: Notes on Hans Bol’s Jerusalem, with Christ and the Good Shepherd (1575)’, in Giorgio Ponzo, Terra Stopping and George Themistokleous (eds.), This Thing Called Theory, London and New York, 2017, pp. 99-113
pp. 103-10
de Ramaix, Isabelle, Johan Sadeler I, The Illustrated Bartsch 70 Part 2 (Supplement), London, 2001
p. 28 under no. 7001.239 ...More
Antei, Giorgio, Contra Natura: el arte y la crisis de la nauraliza, Museo de Arte Moderno de Bogotá 2000
fig. 135
Madeleine Huillet d’Istria, 'Dessin, couleur, touche picturale chez Hans Bol', Jaarboek, Koninklijk Museum voor Schone Kunsten, Antwerpen, 1993, pp. 79-93
p. 88
Master Drawings from the Courtauld Collections, Courtauld Institute Galleries, London, 1991
cat. no. 11
pp. 30, 173
Ill. on p. 31
The Northern Landscape: Flemish, Dutch and British Drawings from the Courtauld Collections, Courtauld Gallery, London, 1986
cat. no. 2
Ill. on p. 29
Mantegna to Cezanne: Master Drawings from the Courtauld, British Museum, London, 1983
cat. no. 15
Ill. on p. 28
Hollstein, F.W.H., Dutch and Flemish etchings, engravings and woodcuts ca. 1450-1700, Amsterdam 1949-2004
XXI (1980, Aegidius Sadeler to Raphael Sadeler II), p. 127 under no. 275
Flemish drawings from the Witt Collection, The Courtauld Gallery, London, October 1977- January 1978
cat. no. 17
Vom Späten Mittelalter bis zu Jacques Louis David. Neuerworbene und neubestimmte Zeichnungen im Berliner Kupferstichkabinett, Staatliche Museen Preussischer Kulturbesitz, Kupferstichkabinett, Berlin, 1973
p. 49 under no. 67
entry author: Mielke
Franz, H.G., 'Hans Bol als Landschaftszeichner' in 'Jahrbuch des Kunsthistorischen Instituts der Univeristat Graz, 1965
no. 97
pl. LXXXIII
Anthony Blunt and Philip Troutman, Master Drawings from the Witt and Courtauld Collections, 1962
cat. no. 36
Blunt, Anthony, Hand-list of the drawings in the Witt Collection, London, 1956
p. 123
Baillie-Grohman, W.A., Sport in Art: An Iconography of Sport During Four Hundred Years, From the Beginning of the Fifteenth to the End of the Eighteenth Centuries, London, 1913
p. 360 ...Less
under no. 161
Benjamin, Andrew, ‘Drawing Jerusalem: Notes on Hans Bol’s Jerusalem, with Christ and the Good Shepherd (1575)’, in Giorgio Ponzo, Terra Stopping and George Themistokleous (eds.), This Thing Called Theory, London and New York, 2017, pp. 99-113
pp. 103-10
de Ramaix, Isabelle, Johan Sadeler I, The Illustrated Bartsch 70 Part 2 (Supplement), London, 2001
p. 28 under no. 7001.239 ...More
Antei, Giorgio, Contra Natura: el arte y la crisis de la nauraliza, Museo de Arte Moderno de Bogotá 2000
fig. 135
Madeleine Huillet d’Istria, 'Dessin, couleur, touche picturale chez Hans Bol', Jaarboek, Koninklijk Museum voor Schone Kunsten, Antwerpen, 1993, pp. 79-93
p. 88
Master Drawings from the Courtauld Collections, Courtauld Institute Galleries, London, 1991
cat. no. 11
pp. 30, 173
Ill. on p. 31
The Northern Landscape: Flemish, Dutch and British Drawings from the Courtauld Collections, Courtauld Gallery, London, 1986
cat. no. 2
Ill. on p. 29
Mantegna to Cezanne: Master Drawings from the Courtauld, British Museum, London, 1983
cat. no. 15
Ill. on p. 28
Hollstein, F.W.H., Dutch and Flemish etchings, engravings and woodcuts ca. 1450-1700, Amsterdam 1949-2004
XXI (1980, Aegidius Sadeler to Raphael Sadeler II), p. 127 under no. 275
Flemish drawings from the Witt Collection, The Courtauld Gallery, London, October 1977- January 1978
cat. no. 17
Vom Späten Mittelalter bis zu Jacques Louis David. Neuerworbene und neubestimmte Zeichnungen im Berliner Kupferstichkabinett, Staatliche Museen Preussischer Kulturbesitz, Kupferstichkabinett, Berlin, 1973
p. 49 under no. 67
entry author: Mielke
Franz, H.G., 'Hans Bol als Landschaftszeichner' in 'Jahrbuch des Kunsthistorischen Instituts der Univeristat Graz, 1965
no. 97
pl. LXXXIII
Anthony Blunt and Philip Troutman, Master Drawings from the Witt and Courtauld Collections, 1962
cat. no. 36
Blunt, Anthony, Hand-list of the drawings in the Witt Collection, London, 1956
p. 123
Baillie-Grohman, W.A., Sport in Art: An Iconography of Sport During Four Hundred Years, From the Beginning of the Fifteenth to the End of the Eighteenth Centuries, London, 1913
p. 360 ...Less
Inscriptions
Watermark: lower centre: B trefoil B surmounted by a crown (variant of Piccard 30662 - Brussels, 1574)
Inscription: Recto: within drawing, on walls of city at lower left, brown ink, signed and dated by the artist: “HANS BOLS / 1575”. Mount (removed, in curatorial file), Recto: centre, graphite: “151”. Mount (removed, in curatorial file), Verso: centre, graphite: “A57”.
Collector's mark: Mount (removed, in curatorial file), verso, lower right corner, stamped in black ink: William A. Baillie-Grohman (L.370); verso, lower left corner, stamped in black ink: Sir Robert Witt (L.2228b).
Inscription: Recto: within drawing, on walls of city at lower left, brown ink, signed and dated by the artist: “HANS BOLS / 1575”. Mount (removed, in curatorial file), Recto: centre, graphite: “151”. Mount (removed, in curatorial file), Verso: centre, graphite: “A57”.
Collector's mark: Mount (removed, in curatorial file), verso, lower right corner, stamped in black ink: William A. Baillie-Grohman (L.370); verso, lower left corner, stamped in black ink: Sir Robert Witt (L.2228b).
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