- 221
Girolamo Francesco Maria Mazzola, called Parmigianino
Description
- Girolamo Francesco Maria Mazzola, called Parmigianino
- Head of an elderly woman wearing a wimple
Pen and brown ink and black chalk
Provenance
Possibly Jean-Baptiste Séroux d'Agincourt, Rome;
possibly puchased in 1790 by Willem Anne Lestervenon;
Jean-Baptiste-Florentin-Gabriel de Meryan, Marquis de Lagoy (L.1710, almost effaced);
Charles Ferdinand Louis, Marquis de Valori-Rustichelli (L.2500) fragment of his mark lower left;
A. Finot (L.3627);
with P. and D. Colnaghi & Co., New York and London, An Exhibition of Master Drawings, 1992, no. 4, reproduced;
with P. and D. Colnaghi & Co., New York and London, An Exhibition of Master Drawings, 1999, no. 3, reproduced
Literature
D. Ekserdjian, 'Unpublished drawings by Parmigianino', Apollo, August 1999, p. 39, no. 74; reproduced p. 40, fig. 94;
S. Béguin, M. Di Giampaolo, M. Vaccaro, Parmigianino, The Drawings, Turin/London 2000, no. 35;
A. Gnann, Parmigianino, Die Zeichnungen, Petersberg 2007, vol. I, p. 423, no. 468, reproduced vol. II, p. 373
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.
Catalogue Note
The image of the present drawing was known to Popham from a seventeenth-century copy which he identified in the Royal Collection at Windsor Castle.1 In his entry on the Windsor drawing, Popham referred to yet another copy in the Biblioteca Reale, Turin.2 As David Ekserdjian pointed out (see Literature), on the basis of the style of the two copies known to him, Popham dated this work to Parmigianino's second Parmese period, 1530/31-1540. Achim Gnann has instead proposed an earlier dating to Parmigianino's Roman period, 1524-1526.
For information on the collector Finot see: L. Lhinares, 'Ce cher docteur Finot', Les marques de collections. I., Actes des cinquièmes Rencontres internationales du Salon du dessin, Paris 24-25 mars 2010, ed. P. Fuhring and C. Hattori, Paris 2010, pp. 135-143.
1. A. E. Popham, Catalogue of the Drawings of Parmigianino, New Haven and London, 1971, vol. I, p. 241, no. O.C.43, reproduced vol. III, pl. 421
2. A. Bertini, I disegni italiani della Biblioteca Reale di Torino, Rome 1958, pp. 43-44, no. 310, reproduced fig. 310 (as after Parmigianino)