Studies for The Flight into Egypt
Maker
Joseph Heintz, the elder (artist)
1564-1609
Formerly attributed to
(artist)
1592-1636
Formerly attributed to
(artist)
1533-1612
1564-1609
Formerly attributed to
(artist)
1592-1636
Formerly attributed to
(artist)
1533-1612
Title
Studies for The Flight into Egypt
Date of Production
c. 1595
Medium
black, red and white chalk on laid paper, laid down on a historic support
Dimensions
Height: 26.8 cm
Width: 21.1 cm
Width: 21.1 cm
Accession Number
D.1952.RW.2374
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 fluently drawn study is a vibrant example of the draughtsmanship of Swiss-born Joseph Heintz. One of the leading artists at the Court of Emperor Rudolph II in Prague, he also spent many years in Italy, principally in Rome and Venice. Depicting the Holy Family fleeing from persecution, this drawing is clearly inspired by Tintoretto’s compositions, some of which Heintz copied in Venice. The mix of red and black chalk, used here to great colouristic effect, is also characteristic of Italian art around 1600.
Provenance
unidentified collector (not in Lugt - collector's mark has initials B.A.R.); Archibald George Blomefield Russell, London and Swanage (1879-1955), L.2770a; his sale, Sotheby's (London), 11 July 1928; purchased there by Sir Robert Witt, London (1872-1952), L.2228b; Witt Bequest 1952
See Comments.
See Comments.
Exhibition History
Mantegna to Matisse - Master Drawings from The Courtauld Gallery, The Frick Collection, New York, 02/10/2012-27/01/2013
Mantegna to Matisse - Master Drawings from The Courtauld Gallery, The Courtauld Gallery, London, 14/06/2012-09/09/2012
Special Display - German drawings, The Courtauld Gallery, London, 21/06/2007-23/09/2007 ...More
Graceful and True - Drawing in Florence around 1600, Ashmolean Museum, Oxford, 14/10/2003-18/01/2004; Colnaghi, London, 26/01/2004-02/03/2004; Djanogly Art Gallery, Nottingham, 12/03/2004-09/05/2004
Old Masters from the Witt Collection, Victoria and Albert Museum, London, 01/01/1943-01/05/1943 ...Less
Mantegna to Matisse - Master Drawings from The Courtauld Gallery, The Courtauld Gallery, London, 14/06/2012-09/09/2012
Special Display - German drawings, The Courtauld Gallery, London, 21/06/2007-23/09/2007 ...More
Graceful and True - Drawing in Florence around 1600, Ashmolean Museum, Oxford, 14/10/2003-18/01/2004; Colnaghi, London, 26/01/2004-02/03/2004; Djanogly Art Gallery, Nottingham, 12/03/2004-09/05/2004
Old Masters from the Witt Collection, Victoria and Albert Museum, London, 01/01/1943-01/05/1943 ...Less
Literature
Mantegna to Matisse - Master Drawings from The Courtauld Gallery, Frick Collection, New York and Courtauld Gallery, London London 2012-2013
pp. 111-113
Graceful and True - Drawing in Florence around 1600, Ashmolean Museum, Oxford; P & D Colnaghi, London; Djanogly Art Gallery, Nottingham, 2003-2004, 2003-04
cat. no. 59
as Giovanni da San Giovanni
Fischer, Chris, Review of 'Inventaire general des dessins italiens, IV, Dessins toscans XVIe-XVIIe siecles, Tome II, 1620-1800' by Catherine Monbeig Goguel in 'Bulletin de l'AHAI'; 15-16
p. 218
fig. 3 on p. 218
pp. 111-113
Graceful and True - Drawing in Florence around 1600, Ashmolean Museum, Oxford; P & D Colnaghi, London; Djanogly Art Gallery, Nottingham, 2003-2004, 2003-04
cat. no. 59
as Giovanni da San Giovanni
Fischer, Chris, Review of 'Inventaire general des dessins italiens, IV, Dessins toscans XVIe-XVIIe siecles, Tome II, 1620-1800' by Catherine Monbeig Goguel in 'Bulletin de l'AHAI'; 15-16
p. 218
fig. 3 on p. 218
Inscriptions
Watermark: unable to check the drawing due to the thick support.
Support (historic), Verso (only visible in raking light): lower centre: a name in a cartouche, unable to read.
Inscription: Recto: lower right corner, brown ink: “Barocci”. Support (historic), Recto: lower right edge, graphite, faded and unclear but looks like “Baroccio”. Support (historic), Verso: upper left corner, graphite: “228/5”; upper centre, graphite, faded: “Baroccio”.
Collector's mark: Recto: lower right corner, stamped in black ink: Archibald George Blomefield Russell (L.2770a); lower right corner, stamped in black ink: unidentified collector’s mark (not in Lugt): “B A R:”. Support (historic), Recto: lower left corner, stamped in black ink: Sir Robert Witt (L.2228b).
Label: Detached from old mount, now kept separately from file: graphite: unreadable collector's name, with artist's name and dates, collector, exhibition, title.
Inscription: Recto: lower right corner, brown ink: “Barocci”. Support (historic), Recto: lower right edge, graphite, faded and unclear but looks like “Baroccio”. Support (historic), Verso: upper left corner, graphite: “228/5”; upper centre, graphite, faded: “Baroccio”.
Collector's mark: Recto: lower right corner, stamped in black ink: Archibald George Blomefield Russell (L.2770a); lower right corner, stamped in black ink: unidentified collector’s mark (not in Lugt): “B A R:”. Support (historic), Recto: lower left corner, stamped in black ink: Sir Robert Witt (L.2228b).
Label: Detached from old mount, now kept separately from file: graphite: unreadable collector's name, with artist's name and dates, collector, exhibition, title.
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