- 231
Pomponio Amalteo
Estimate
7,000 - 9,000 GBP
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Description
- Pomponio Amalteo
- Recto: The Last SupperVerso: Study of two angels playing musical instruments
- Pen and brown ink and wash heightened with white on faded blue paper, squared in pen and brown ink for transfer (recto);
pen and brown ink (verso);
bears numbering, recto, in pen and brown ink, along the lower margin within each square, 1-14
Provenance
Sir John Charles Robinson (L.1433);
Sale, London, Christie's, 27 June 1967, lot 129 (as Tintoretto), purchased by Ralph Holland
Sale, London, Christie's, 27 June 1967, lot 129 (as Tintoretto), purchased by Ralph Holland
Exhibited
Newcastle, 1974, no. 7, reproduced pl. VII (as Venetian School c.1530-1570);
London, 1975, no. 7 (as Venetian School c. 1530-1570);
Venice, Fondazione Giorgio Cini, Disegni Veneti di Collezioni Inglesi, 1980, no. 30, recto and verso both reproduced;
Newcastle, 1982, no. 7, reproduced, pl. I B
London, 1975, no. 7 (as Venetian School c. 1530-1570);
Venice, Fondazione Giorgio Cini, Disegni Veneti di Collezioni Inglesi, 1980, no. 30, recto and verso both reproduced;
Newcastle, 1982, no. 7, reproduced, pl. I B
Literature
C. Cohen, The Drawings of Giovanni Antonio da Pordenone, Florence 1980, p. 36, fig. 144;
Idem, Amalteo, exhib. cat., Pordenone, Museo Civico, 1980, p. 80, fig. 9
Idem, Amalteo, exhib. cat., Pordenone, Museo Civico, 1980, p. 80, fig. 9
Condition
Laid down. There is a small flap on the verso where is it possible to view the two angels on the verso. The white heightening on the recto has slightly oxidised in some areas. There is a slight nick in the upper left corner. The blue paper has faded in colour. Pen and ink remains strong and the overall image in good condition
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
Catalogue Note
This preparatory drawing for a Last Supper was given its current attribution to Amalteo by Professor Charles E. Cohen. In his monograph on Pordenone's drawings, op. cit., he discusses the ambiguity surrounding the distinction between drawings by Amalteo and those by his master, Pordenone. The proximity of their working relationship meant that Amalteo was left to complete certain projects that Pordenone had started, therefore making attributions all the more difficult. An example of Amalteo's inheriting a Pordenone commission is in the frescoed choir of the parish church of Lestans, and Cohen suggests that the present modello is probably a study for Amalteo's Last Supper in this parish (fig. 1).1 Despite the difficulty of separating some of their works, Cohen has no hesitation in giving this drawing to Amalteo.
Ralph Holland's notes indicate that one of the angels on the verso, playing the viola da gamba, is present in an altarpiece by Amalteo in the Cathedral at Motto di Livenza.2
1. G. Truant, Pomponio Amalteo e le sue opere, Pordenone 1980, pp. 112 and 114
2. Ibid., p. 150, reproduced p. 151