Old Master Drawings

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Lot 106
  • 106

Johann Paul Schor, called Giovanni Paolo Tedesco

Estimate
2,500 - 3,500 GBP
bidding is closed

Description

  • Johann Paul Schor, called Giovanni Paolo Tedesco
  • a sheet of studies with designs for fountains

  • Pen and brown ink and grey wash; a slight sketch in black chalk of another fountain on the verso;
    dated and inscribed in brown ink: adv 2 febbraio 1673/...di purg...; further inscribed in black chalk: disegno del' Acqua; a scale numbered 1-5

Provenance

Bears unidentified collector's mark, verso (L.2882)

Condition

Framed. The sheet is a little foxed, and has some surface dirt, although for a working drawing this is to be expected. Overall, the condition is fine and the ink still strong.
"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

Schor arrived in Rome in 1640, and became a member of the Academy of Saint Luke in 1654.  He was often employed as a draughtsman by Bernini, whose influence is seen in the present drawing, and is best known for his elaborate decorative projects, such as the designs for the state coaches of Queen Cristina of Sweden.

We are most grateful to Jennifer Montagu for proposing the attribution.  Dr Montagu has published three comparable drawings by Schor which show the same freedom of line and fluidly drawn figures that we see in the present sheet.1  Also comparable is the calligraphy of the autograph inscriptions on two of the designs.

1.  J. Montagu, Roman Baroque Sculpture: the Industry of Art, New Haven 1989, pp. 191-3, figs. 265, 267-8