- Museum number
Aspertini album (so-called London II):
Folio 35 recto (drawing numbered 69): Landscape with a river and bridge, architectural elements in the foreground
Folio 35 verso (drawing numbered 70): Women with falcons and a dog, a riverscape behind
Recto: black chalk, charcoal (?), with brown wash, heightened with white (some discolouration)
Verso: black chalk with brown wash, heightened with white (some discolouration)
- Production date
Height: 219 millimetres
Width: 159 millimetres
- Curator's comments
- For comment on the album to which this sheet belongs, see 1862,0712.394
f. 35 recto (no. 69)
The upper half of the page is devoted to a landscape with a river, bridge and town. Below, rough sketches of several capitals and a man seated at a reading desk under an aedicula (from Bober 1957, p. 87).
Lit.: P.P. Bober, 'Drawings after the Antique by Amico Aspertini. Sketchbooks in the British Museum', London 1957
f 35 verso (no. 70)
The seated woman on the right, with a turban type of head dress, is also found on the background of Aspertini's fresco representing the 'Martyrdom of Saints Valeriano and Tiburzio', in the oratory of Saint Cecilia in Bologna (Faietti-Scaglietti 1995, cat. dip. 19 and exh. cat. 'Amico Aspertini, artista bizzarro tra Dürer e Raffaello', Bologna 2008/09, cat. 75). The two figures in the drawing can be referred back to a "Workshop of Pisanello" sheet in the Albertina, representing two seated women with falcons and a knight at the lower right (found on the recto of f. 1862,0712.425; see Cordellier in "Pisanello", Paris 1996, cat. 94, but for a better illustration see L. Syson-D. Gordon, "Pisanello", London 2001, fig. 2.39, p. 79) and also to another drawing in the Louvre representing a seated woman with falcon and a dog (see Cordellier cit., cat. 93). The autography of both drawings is still uncertain (Michelino da Besozzo among their attributions) and the finished work they may refer to is unknown. It may well be that Aspertini's source was even earlier than Pisanello, possibly a Lombard artist or a northern tapestry with a hunting scene (for further observations see Cordellier cit., and Syson cit. ). It is interesting to note the connection of both the present drawing and 1862,0712.25 with Aspertini's much earlier frescoes in Bologna.
Further example of Aspertini's interest in late gothic Northern art could be seen in a drawing in Milan representing a procession during a party, which was seemingly part of a lost travel sketchbook (see Faietti-Scaglietti cit., cat. dis. 38, pp. 253-4). Bober (1957, p. 88) observes that the garment and headdress of the figure on the right margin (partially cut) indicate a classic prototype, but too sketchy for identification.
Lit.: P.P. Bober, 'Drawings after the Antique by Amico Aspertini. Sketchbooks in the British Museum', London 1957; M. Faietti-D. Scaglietti, 'Amico Aspertini', Modena 1995, p. 37 , fig. 21 and pp. 135 under cat. dip. 19; exhibition catalogue 'Pisanello', Paris 1996, under cat. 94, p. 176
- Not on display
- Acquisition date
- Prints and Drawings
- Registration number