|
|
CIRCIGNANI Niccolo (allotted to)
Italian school
Pomarance 1519 - After 1591
|
|
|
1
|
CHRIST CARRYING THE CROSS AND HOLY VERONIQUE
|
399 x 299
|
|
Plucks and brown washing, épidermures and lacks with paper
Provenance :
- stamp on back (not indexed by Lugt).
|
|
|
PALMA Jacopo known as Il Giovane (allotted to)
Venice 1544 - id. 1628
|
|
|
2
|
STUDY OF HEADS
|
|
|
Plume.
|
|
|
Italian School - XVIth Century
|
|
|
3
|
PAPAL SCENE
|
115 x 95
|
|
Plume and washing gray, lacks with paper
annotated on the assembly: "Don Giulio Clovio"
Provenance :
- collection dry stamp on the right bottom (not indexed by Lugt)
- stamp on back of the collection of Dr. Barry Delany (Lugt 350)
|
|
|
MAZZOLA Girolamo Francesco Maria known as Il Parmigianino (Parmesan)
Parma 1503 - Casal Maggiore 1540
|
|
|
4
|
MYTHOLOGICAL SUBJECT
|
159 x 115
|
|
Plucks and brown washing, repair higher right angle.
Beautiful assembly and tallies of time second half of the XIXth century.
Provenance :
- old collection Sir Thomas Lawrence (1769-1830) (lugt 2445)
- Seal of the collection "ED" (lugt 841). Fritz Lugt without being able to give us with certainty the identity of this collector indicates to us that this seal was raised "on beautiful old drawings".
Our drawing is new and was not indexed in the work of Mr. A.E. Popham, Catalogue of the Drawings of Parmigianino, 3 vol., New Haven and London, 1971.
See :
- Parmesan, by Cecil Gould, 1995, éd. Abbeville (see similar drawings on the level of the style).
Parmesan fut l'élève de ses oncles Michele et Pier Ilario Mazzola, très jeune il manifesta une extraordinaire précocité, sa première oeuvre date de 1519. Il fut influencé par Corrège mais aussi par Anselme et Pordenone. Parmesan exécuta de nombreux portraits ainsi que des fresques, il travailla à Rome où il prit connaissance des peintures de Raphaël et Michel-Ange, à Bologne où il participa et peint le portrait de Charles Quint lors des fêtes du couronnement. Après le départ de Parme du Corrège, il revint dans sa ville natale à l'apogée de son génie. Il fut un merveilleux décorateur et un coloriste raffiné. Il mourrut prématurément dans une profonde misère en 1540. Son influence fut énorme, à laquelle contribua le grand succès de ses admirables dessins (le Musée du Louvre en possède une superbe série, on peut en voir également de beaux exemples à Parme, dans la collection Devonshire à Chatsworth, au British Museum, aux Offices, à L'Albertina, au Musée de Budapest ... )
|
|
|
ECOLE ITALIENNE - XVIIe siècle
|
|
|
5
|
UN FRANCISCAIN INSPIRE PAR LA VIERGE
|
392 x 258
|
|
Plume, lavis brun et gris, manques au papier.
Provenance :
- ancienne collection G. Chiantorres (lugt 540).
- ancienne collection Louis Maudet.
- ancienne collection Nikos Dhikéos (Lyon).
|
|
|
DELLA BELLA Stefano
Florence 1610 - id. 1664
|
|
|
6
|
CAVALIERS
|
197 x 310
|
|
Feathers, lacks and taches.
Cadre out of carved wood of time XIXth century.
Our drawing is in connection with the drawing of Stefano Della Bella preserved at the Museum of the Louvre gone back to 1633: "L'entrée of the Ambassador from Poland in Rome". It was carried out by it an engraving by Della Bella.
See :
- Stefano Della Bella; Caen, Museum of the Art schools, 1998.
- Drawings of Stefano Della Bella, Italian Drawings of the Museum of the Louvre, by Francoise Viatte, 1974, éd. of the national Museums.
Stefano Della Bella was the pupil of Remigio Cantagallina. He was influenced by Jacques Callot; the Cardinal of Richelieu employed it, Della Bella left a significant whole of engravings.
Probably carried out on the spot. Della Bella describes us the triumphal input of the Ambassador of Poland, George Ossolinsky, envoy of King Ladislas near the Pope Urbain VIII. The procession moves towards the papal city, according to a sinuous course made up of a long file of riders, horses retained by Turks, the page of weapons...
|
|
|
ITALIAN SCHOOL - XVIIth century
|
|
|
7
|
STUDY Of an ANGEL
|
114 x 127
|
|
Pencil blood, higher corners cut, spots and skins with paper.
|
|
|
ITALIAN SCHOOL - ROME - XVIIth century
|
|
|
8
|
SCENE OF the LIFE OF CHRIST
On back: SITTED MAN
|
267 x 185
|
|
Pencil blood, small tear with paper in bottom on the right.
Provenance :
- old collection Gustave Soulier (1872-1937) (lugt 1215a).
|
|
|
SCHOOL OF NORTH - XVIIth century
|
|
|
9
|
LANDSCAPE, EDGE OF RIVER
|
180 x 252
|
|
Gouache, annotated with the back: "Peyer Fe".
|
|
|
SCHOOL OF NORTH - XVIIth century
|
|
|
10
|
LANDSCAPE, MAN ON HIS HORSE
|
180 x 252
|
|
Gouache.
|
