Radocsay Dénes - Gerevich Lászlóné szerk.: A Szépművészeti Múzeum közleményei 25. (Budapest,1964)

JAFFÉ, MICHAEL: Some Pen Drawings of Landscape with Figures by Annibale Carracci

considerable time as the work of Grimaldi (Fig. 66),

16 presumably on the strength of his partially fraudulent inscription on his etching. Clearly however the style is not his; and its author, whether or not he had knowledge of Grimaldi's print, was working either from Annibale's original drawing, or from yet another copy of that. The dating of this not very sensitive piece can only be conjectured. It is not likely to have been much earlier than 1700. Whilst considering the Budapest drawings by Annibale of landscape with figures, it is as well to restore to him also three drawings of this sort which are in the Ashmolean Museum, at Oxford. One of these, a « Pastoral landscape with three men and a dog resting by a bridge » (Fig. 67)

17 is inscribed by a seventeenth century hand «Ann. Caracci » and can hardly be separated in character and style from another landscape drawing which has been in the same museum since 1949.

18 Both drawings were etched for Jabach by MichelAnge Corneille as the work of Annibale. Sir Karl Parker accepts the attribution for the second drawing, whilst following the late Dr. Heinrich Bodmer in transferring the first to Annibale's cousin, Lodovico. We have no landscape drawing certainly by Lodovico on which to base such an attribution. His paintings show that he regarded landscape as background to evoke or to extend a mood; not at all in the sense of Annibale, whose vision created ideal landscapes of order and repose. Both these Ashmolean drawings are surely by Annibale, and datable about 1600. Dr. Parker was misled again by Bodmer in disregarding another traditional attribution to Annibale, in favour of an implausible one to Lodovico, in the case of the « Landscape with an Angel appearing to St. Jerome» (Fig. 68).

19 This too came to the Ashmolean with a Lawrence, Woodburn, Ellesmere provenance, having previously belonged to Lankrink. Finally of a « Pastoral Landscape » bought by him at the Oppenheimer Sale in 1936 as the work of Annibale, Dr. Parker, relying wholly on his own skilled judgement, writes « perhaps, but not certainly, by Lodovico » (Fig. 69).

20 This last drawing may be compared to the late Mr. A.P. Oppé's « Landscape with Bathers».

21 Both surely were drawn by Annibale, probably in the second half of the eighties. This therefore is the earliest of his drawings with which the present article is concerned, as the Ashmolean drawing formerly in Jab ach'

s collection is the latest, later by several years than the three drawings at Budapest. Since writing the foregoing my attention has been called to no less than three drawings, more or less close copies of the Budapest «Rest on the Flight into Egypt» and collective witness of the importance of this design. Dr. Fenyő himself told me of one weak copy in the Louvre (no. 7428) whose inscriptions in eighteenth century 16 Picrpont Morgan Library IV. 169; pen and wash with brown ink on white paper, 348 X 502 mm. There is an old attribution to Grimaldi written on the mount. I am grateful to Miss Felice Stampfle for allowing me to publish this drawing, of whose existence I became aware through pencilled notes left by Mr. A.E. Popham, both on the back of the impression of Grimaldi's etching at the British Museum, and by the side of At10-47 & 48. Mr. Popham evidently accepted the Pierpont Morgan drawing as a finished study by Grimaldi for his print. 17 Parker, K.T. : Catalogue of the Collection of Drawings in the Ashmolean Museum; II, Italian Drawings. Oxford, 1950. no. 190; pan and brown ink on white paper, 201x269 mm. Collection: E. Jabach; Lawrence (L. 2445); Woodburn; Ellesmere. 18 Parker, K.T. : op. cit. no. 165, pl. XLIII; and M a h o n, D. : op. cit. no. 244. pi. 115. 19 Parker, K.T. : op. cit. no. 193; pen and brown ink on white paper, 195x263 mm. Collections: Lankrink (L. 2090); Lawrence; Woodburn; Ellesmere. 20 Parker, K.T. : cp. cit. no. 192 ; pen and brown ink on white paper, 186 x 267 mm. Collection: Oppenheimer. 21 M a h o n, D. : op. cit. no. 236, pl. 111.