Jacopo Robusti, dit Le Tintoret

Sir Joshua Reynolds (L.2364)

The following condition report has been provided by Caroline Corrigan, 17-25 rue Charles Graindorge, 93170 Bagnolet, Tel: 33 (0)1 43 63 25 44, Email : caroline.corrigan@wanadoo.fr, an independent restorer who is not an employee of Sotheby's. The right-hand side of the paper is somewhat discoloured, certain areas are retouched with wash (above the thigh of the lower figure). A small tear on the thigh of the upper figure and a small reinforced hole on the lower figure's thigh. A tiny pin-prick hole on the wrist of the upper figure, and a small tear on the face.
"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."

Ces deux études sur la même feuille sont préparatoires à la figure d'un archer qui apparaît sur le tableau du Tintoret, L'Enlèvement d'Hélène, réalisé vers 1580-85 et conservé au Musée du Prado, à Madrid (fig.1).¹ La figure du bas est la plus proche de la version définitive. L'archer se prépare à tirer depuis le navire troyen sur lequel est emmenée la belle Hélène. Pallucchini et Rossi proposaient une étude d'archer à la Galerie des Offices de Florence comme modèle pour réaliser le tableau, mais les figures des études que nous présentons sont en réalité beaucoup plus comparables, tant dans l'attitude que dans les détails, notamment le turban et les bras nus de la figure du bas.²

L'Enlèvement d'Hélène, oeuvre tardive, s'inscrit dans un grand groupe de scènes de batailles très complexes, dont plusieurs présentent des figures d'archers. A ce titre, il faut également citer la série de six tableaux datant de 1578-80, conservés à l'Ancienne Pinacothèque de Munich, célébrant les victoires des Gonzague.³

1. Voir R. Pallucchini et P. Rossi, Tintoretto, Le opere sacre e profane, Milan 1982, vol. I, pp. 219-20, cat. no. 414, planche XXVIII, vol. II, fig. 527.  
2. Ibid.; Voir D. F. von Hadeln, Zeichnungen des Giacomo Tintoretto, Berlin 1922, cat. no. 68.
3. Voir Pallucchini and Rossi, Ibid., vol. I, pp. 213-5, cat. nos. 392-399, vol. II, figs. 504-511.


STUDIES OF ARCHERS

Black chalk;
squared for transfer

These two studies on the same sheet are both preparatory to a figure of an archer in Tintoretto's painting of circa 1580-85, The Abduction of Helen, in the Prado, Madrid (fig. 1).¹  The lower of the two studies is closest to the final painted figure, who is poised to fire from the deck of the Trojan ship on which Helen is being carried off.  Pallucchini and Rossi tentatively cite a squared study of an archer in the Uffizi as the model for the painting, but the figures in the present drawing are in fact closer in both position and detail (for example, the turban worn by the lower figure and his bare arms).² 

The painting, a late work, is one of a number of highly complex battle scenes that Tintoretto executed, many of which include archers.  See also, for example, the series of six paintings dating from 1578-80 in the Alte Pinakothek, Munich, depicting the victories of the Gonzagas.³    

1. See R. Pallucchini and P. Rossi, Tintoretto: Le opere sacre e profane, Milan 1982, vol. I, pp. 219-20, cat. no. 414, plate XXVIII, vol. II, fig. 527.  
2. Ibid.; see D. F. von Hadeln, Zeichnungen des Giacomo Tintoretto, Berlin 1922, cat. no. 68.
3. See Pallucchini and Rossi, op.cit., vol. I, pp. 213-5, cat. nos. 392-399, vol. II, figs. 504-511.

Fig. 1: Le Tintoret, L'Enlèvement d'Hélène, Madrid, Musée du Prado
© Museo Nacional del Prado