Professor Koenraad Jonckheere of the University of Ghent would like to include this drawing in a forthcoming exhibition on Coxie in the Museum M, Leuven, Belgium, in 2013.
Please note that another drawing by Hollar relating to Dugdale's History of St. Paul's is in the Ashmolean Museum, Oxford (see David Blayney Brown, Ashmolean Museum Oxford, Catalogue of the Collection of Drawings...vol. IV, Oxford 1982, pp. 84-5, no. 138, reproduced pl. VI). It is a general view of the Cathedral from the North-East, very close in composition to the corresponding engraved view (Pennington no. 1019); although the Oxford drawing is indented for transfer, it is in the same direction as the print, and the viewpoint is also slightly different, so the exact relationship between print and drawing remains unclear.
We are grateful to Tobias Nickel for informing us that this drawing relates to Menabuoi's fresco at centre-right of the central wall of the Baptistery of Padua Cathedral and illustrates the scene with 'The lamb on Mount Sinai with his 144,000 followers' (Revelation 14:1). Although the lamb as it appears in the fresco is no longer visible in the drawing, a faint shadow may be detected above the altar, suggesting that Campagnola did originally include it, before changing his mind and erasing the figure.
We are grateful to Jennifer Montagu for clarifying that the subject of this drawing should be described as The Repentance of St Peter.
This lot should have a double dagger symbol in the catalogue. The item will be sold under Temporary Admission and import VAT will be charged at 5% on the hammer price, although in appropriate circumstances the VAT may be cancelled or refunded. Please refer to the catalogue for further VAT information.
Please note that this drawing has additional provenance: Francesco Dubini, his inventory numbering on the old mount: 188/235
Please note that this drawing is sold mounted but not framed. The frame has been kindly loaned by Gino Franchi, Conservation Mount-Maker and Picture Framer. The 17th Century Venetian panel frame may be purchased for £1180 plus VAT.
The following lot should have a dagger symbol in the catalogue. VAT will be charged at 17.5% on the hammer price, although in appropriate circumstances the VAT may be cancelled or refunded. Please refer to the catalogue for further VAT information.
Please note that in addition to the information in the published catalogue there is also a related article in the British Art Journal (see A. Meyer, 'Regency Rowlandson: Thomas Rowlandson's studies after (long after) the Antique', British Art Journal, March 2009)
Furthermore, the following further information relates to this album.
Drawings by Rowlandson from the antique are in the collections of the British Museum, the Victoria & Albert Museum, the Paul Mellon Collection (35) and the Huntington Library. Comparison of the present volume with those in the Victoria & Albert Museum collection, or illustrated in the publications of the Mellon Centre and the Huntington Library share something of the same variety of drawing to be found in this album. The drawings executed in freer and more lively style are clearly recognisable as by Rowlandson on stylistic grounds and some may well be independent works by him not based on any particular source such as Piroli or Hope. Rowlandson's studies after the antique demonstrate his responsiveness to neo-classicism which was gaining popularity as a style during the latter part of his career. While he did not use such material in his own work to any great extent, classical subjects do appear in the first scene of The English Dance of Death in which idealised young men are shown copying antique busts of the great and recording their lives. Little is known about Rowlandson's journeys to Italy, even the dates. The present volume adds to the evidence in the album and scrapbooks at the Victoria & Albert Museum both in respect of the inscriptions in which he gives the locations of some of the subjects as well as the watermark dates in the paper. Furthermore, it is interesting to note that Rowlandson owned classical vases.
This Lot has been withdrawn from the sale.
Please note the additional information which relates to this lot. William Callow visited Geneva twice, in 1838, on his first Swiss tour, and again in 1840, on his way to Italy (see HM Cundall, William Callow, London 1908, p. 75). Views of the city are correspondingly rare among his exhibited works but an almost identical watercolour view of Old Houses on the Rhone at Geneva was sold at Christie's in London on the 20th November 1984 lot 142.