- Museum number
Supper at Emmaus; Christ seated at a table with two men, a busy kitchen scene around them including cooks at a stove, a figure plucking birds below, figures around a fire behind and at right a man with a dog is standing before a display of plates and ewers
Pen and brown ink, with brown wash, over black chalk
- Production date
Height: 227 millimetres
Width: 366 millimetres
- Curator's comments
- The subject seems sufficiently clear as to dispel the element of doubt raised by Bastogi. The same author suggested stylistic affinities with two groups of preparatory drawings, both from the years around 1590: for the engravings of the festivities of the grand-ducal marriage in 1589, and the fresco of the Council of the Gods in the Villa di Corliano (1592). A fairly precise chronology can therefore be suggested.
Lit.: A.E. Popham, 'Catalogue of Drawings in the Collection formed by Sir Thomas Phillipps, Bart., F.R.S., now in the possession of his Grandson, T. Fitzroy Phillipps Fenwick of Thirlestaine House, Cheltenham', I, London, 1935, p. 33, no. 1; A. Forlani, 'Andrea Boscoli', "Proporzioni", IV, 1963, p. 154, no. 189; N. Turner, in exhib. cat., BM, 'Florentine drawings of the sixteenth century', 1986, no. 185; J. Brooks, 'The Drawings of Andrea Boscoli' (unpublished D.Phil thesis, Worcester College, Oxford), 1999, p. 345; N. Bastogi, 'Andrea Boscoli', Florence, 2008, p. 339, no. 375.
Turner, Florentine Drawings of the Sixteenth Century, London, 1986
A fine example of the highly decorative style of drawing practised by Boscoli. The subject of Christ's supper with his disciples at Emmaus has been used as a pretext for the representation of the interior of a busy 'osteria' such as would have been familiar in the artist's own day. The kitchen scene on the left and the server with the large platter in the centre of the composition receive more emphasis than Christ's revelation of himself to his followers, shown on the right. Such a manipulation of subject matter is frequently encountered in Mannerist compositions, where the artist deliberately relegates the main event to a secondary place.
Literature: Popham, Fenwick, p. 33 (Boscoli), no. 1; Forlani p. 154, no. 189.
- Not on display
- Exhibition history
1977 May-Jun, Hermitage, 'Italian Renaissance', no. 11
1977 Jul-Aug, Pushkin, Moscow, 'Italian Renaissance', no. 11
1980, Palazzo Strozzi, '16thC Florentine Drawings', no. 109
1986, BM, '16thC Florentine Drawings', no. 185
- Previous owner
Previous owner/ex-collection: Jan van Rymsdyk (L.2167)
Previous owner/ex-collection: Conrad Martin Metz (T. Philipe, 4.v.1801/34 as Boscoli 'The interior of a house of entertainment, with a great many figures, by Andrea Boscoli - three figures are sitting at a table, meant, perhaps, for the disciples at Emmaus - masterly light pen and Indian ink')
Previous owner/ex-collection: William Young Ottley (his mount)
Previous owner/ex-collection: Sir Thomas Lawrence (L.2445)
Previous owner/ex-collection: Samuel Woodburn (Christie, 4.vi.1860/ part of lot 2 'The discovery of the true cross, BRONZINO; others, by BOSCOLI, BRANDI, CROSATO, &c.', 10 in the lot, bt Phillipps £1-3-0)
Previous owner/ex-collection: Sir Thomas Phillipps
Previous owner/ex-collection: Thomas Fitzroy Fenwick
- Acquisition date
- Prints and Drawings
- Registration number