Lot 243
  • 243

Biagio Pupini

Estimate
8,000 - 12,000 GBP
bidding is closed

Description

  • Biagio Pupini
  • The Coronation of the Virgin with St. John the Baptist and attending Angels, god the father above
  • Pen and brown ink, heightened with white
     

Provenance

Padre Resta;
John, Lord Somers (L.2981), bears his number: K 213
Jonathan Richardson Senior (L.2184) with his attribution on the mount: Biaggio Bolognese and shelf marks on the backing (L.2983) and inscription in pen and brown ink: MoBiaggio Puppini Bolognese, Discepolo del Francia, pratteco con I'Imola, / Gerolimino da Carpi. Fù Goffetto. / P. Resta;
Sir John Charles Robinson (L.1433);
Dr. and Mrs. Hugh Squire,
their sale, London, Sotheby's, 4 July 1975, lot 54, purchased by Ralph Holland

Exhibited

Newcastle, 1982, no. 4

Condition

Laid down on an old mount. Top left corner missing, and the tip of lower left missing with tiny losses around. A small pin point hole on the left towards the bottom corner. White heightening slightly oxidized. The ink has sunk a bit and there is surface dirt visible to the right of the sheet.
"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 unusual iconography for the Coronation of the Virgin can be explained by the strong impact that Pupini's undocumented, but presumed, Roman trip made before 1524 must have had both on his style and on his knowledge of ancient Rome.  Like other Bolognese artists, he was attracted by the pull of ancient and modern Rome.  There is the clear influence of Raphael on his paintings, but his graphic technique reflects Polidoro da Caravaggio's subtle use of abundant white heightening, inspired by ancient frescoes, as can be seen in drawings like the present one.