- 143
Jean Auguste Dominique Ingres
Estimate
5,000 - 7,000 GBP
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Description
- Jean Auguste Dominique Ingres
- The young Raphael taking leave of the Duchess of Urbino
- Pen and brown ink within black chalk framing lines;
signed in black chalk, lower left: Ing -
according to an old label attached to the backing the drawing is inscribed, verso: Ingres a l'honneur de prier son Excellence Monsieur le directeur de la Galarie Imp et Royle de lui acce... la permission de dessiner d'apres un portrait de fi.. et de faire autres croquis d'apres d'autres Portraits qu... sont dans les ....corridor ... Pitti - - 12.5 by 19.4cm
Provenance
The artist's studio stamp (L.1477);
with Galerie Petit, Paris, 1867;
Private Collection;
sale, New York, Christie's, 25 May 1984, lot 284
with Galerie Petit, Paris, 1867;
Private Collection;
sale, New York, Christie's, 25 May 1984, lot 284
Literature
H. Delaborde, Ingres, sa vie, ses travaux, sa doctrine: d'apres les notes manuscrites et les lettres du maître, Paris 1870, pp. 327-328, under no. 18, no. 2
Linie, Licht und Schatten, Meisterzeichnungen und Skulpturen der Sammlung Jan und Marie-Anne Krugier-Poniatowski, exhib. cat., Berlin 1999, p. 407, reproduced;
The Timeless Eye. Master Drawings from the Jan and Marie-Anne Krugier-Poniatowski Collection, exhib. cat., Venice 1999, p. 406, reproduced
Linie, Licht und Schatten, Meisterzeichnungen und Skulpturen der Sammlung Jan und Marie-Anne Krugier-Poniatowski, exhib. cat., Berlin 1999, p. 407, reproduced;
The Timeless Eye. Master Drawings from the Jan and Marie-Anne Krugier-Poniatowski Collection, exhib. cat., Venice 1999, p. 406, reproduced
Condition
Hinge mounted. The sheet has discolored somewhat which is evident from the narrow band of unaffected paper around the four edges. The ink has begun to sink in to the paper in areas and there are areas of light surface dirt throughout. Sold in a modern giltwood frame.
"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
In September 1806 Ingres moved from Paris to Rome where he was to reside for the majority of the next fourteen years. It was to be during this period in Roma Aeterna that he, unsurprisingly, became particularly influenced by the genius of Raphael, leading to paintings such as the three versions of Raphael and the Fornarina, executed between 1813-1814 1 as well as a group of eight 'Sujets de la vie Raphael' which were recorded in the artist’s own notes. 2
The present work, which belongs to this aforementioned group, was described by Ingres as: Le jeune Raphael prend congé de la duchesse d’Urbin, sa protectrice, qui lui remet une lettre de recommandation. Il est accompagné de son père, le duc présent et lisant une lettre qui vient de lui remettre un page, ou bien s'armant pour une escarmouche.
Ironically, given Ingres near obsession with the life and work of Raphael, it was not in fact the Duchess of Urbino but rather her sister-in-law, Giovanna de Montefeltro, who acted as the young Raphael’s protectress, providing him with a letter of introduction to Piero Soderini, Gonfaloniere of Florence, as portrayed in the present work. This slight historical oversight on Ingres’ part does not, however, in any way detract from this drawing, which possesses all of the fluency, spontaneity and strength of composition that one would hope for in a work of this type.
The present work, which belongs to this aforementioned group, was described by Ingres as: Le jeune Raphael prend congé de la duchesse d’Urbin, sa protectrice, qui lui remet une lettre de recommandation. Il est accompagné de son père, le duc présent et lisant une lettre qui vient de lui remettre un page, ou bien s'armant pour une escarmouche.
Ironically, given Ingres near obsession with the life and work of Raphael, it was not in fact the Duchess of Urbino but rather her sister-in-law, Giovanna de Montefeltro, who acted as the young Raphael’s protectress, providing him with a letter of introduction to Piero Soderini, Gonfaloniere of Florence, as portrayed in the present work. This slight historical oversight on Ingres’ part does not, however, in any way detract from this drawing, which possesses all of the fluency, spontaneity and strength of composition that one would hope for in a work of this type.
1. G. Vigne, Dessins d'Ingres, Catalogue raisonné des dessins du musée de Montauban, Paris 1995, pp. 168-169
2. Delaborde, op. cit.