Drawing, A sacrifice, by a close follower of Primaticcio, school of Fontainebleau, mid 16th century

Four draped women sacrificing to a triple-headed terminal figure (Terminus) placed before a brazier.

Unidentified collector's mark "W. Han.." (possibly W. Hanka (1791-1861); see Lugt 1240); purchased from R. Jackson (dealer) as part of a lot of 34 drawings, 22 July 1880.

This drawing was formerly acquired as by Francesco Primaticcio (1504/05-1570), and was subsequently attributed by A. E. Popham to his assistant in Fontainebleau Léonard Thiry (act. 1536-1550).

It shows a mythological scene of sacrifice, typical of the imagery developed by the School of Fontainebleau, France, during the 16th century by a group of Italian mannerist artists including Rosso Fiorentino, Niccolo dell’Abate and Francesco Primaticcio. Although very close in style to Primaticcio’s drawings after the Antique, the drawing was probably not made by the master but is probably the work of a close follower.

D. Cordellier associates this drawing with a group of drawings showing motifs from the Antique, respectively ascribed to Fantuzzi, Davent, Rosso and Primaticcio (Cordellier, 2004). None of these drawings can be firmly attributed though.

According to Zerner, a very close engraving of similar dimensions (and in the same direction) is the work of Léon Davent c. 1546, after an original work by Primaticcio (Bartsh, 33, p. 205 and Zerner, LD 61). The original work however has never been found. Davent’s work is difficult to identify as only one of his engravings, The Apostles Contemplating Christ and the Virgin (1546; Zerner, L.D. 55) after Giulio Romano, bears a full name, ‘Lion Daven’. All the others have merely the monogram ‘L.D.’, under which his work is usually catalogued.

Davent reproduced principally the works of Francesco Primaticcio, and is considered by some as the finest engraver of the school of Fontainebleau. Very little is known about his life and career, and he is sometimes confused with the Flemish engraver Léonard Thiry also active in Fontainebleau at the same time. Davent made engravings from 1540, turning to etching c. 1543–4. Herbet attributed 221 plates to him, Zerner only 98.

This drawing shows a scene of sacrifice with women draped all’antica offering to a statue of Terminus before a brazier. Subject matters drawing from Antiquity and the classical world became the hallmark of the imagery developed at Fontainebleau, France, during the 16th century, by a group of Italian mannerist artists who deeply influenced French art. The art developed at Fontainebleau includes all sorts of media such as fresco paintings, sculpture and more traditional easel paintings. The development of printmaking also contributed to disseminate this style that was then applied to a wide range of works, from architecture to jewellery.

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