Lot 8
  • 8

Bernardino Campi

Estimate
18,000 - 22,000 GBP
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Description

  • Bernardino Campi
  • the nativity
  • Pen and brown ink and wash over traces of black chalk, heightened with white, squared in red chalk, with several pentimenti on separate pieces of paper pasted to the main sheet; arched top;
    bears old attribution in grey ink, verso: Bernardin da ...and at the bottom: Del BagnaCavallivechio 75.;  
    bears inscription in brown ink, verso: S?eroni 

Provenance

N. Lanier (L.2886);
P. & D. Colnaghi & Co., London

Exhibited

Cremona, Palazzo Comunale, I Campi, 1985, p. 295,  no. 2.10.3, reproduced  

Condition

A working drawing generally in good condition. Four cut out and pasted pentimenti in the section of the figures and putti at the top of the composition. A paper fold in the middle reinforced from the back with japan paper. Surface dirt, but overall pen and wash quite fresh.
"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

This very interesting drawing by Bernardino is preparatory for the central section of the signed and dated triptych that he painted in 1568 for the church of San Michele in Cremona (fig.1).  As pointed out in the exhibition catalogue of 1985, the format of the drawing is, however, more elongated than that of the painting.  From the several cut out pentimenti in the drawing we can see that Bernardino was trying to reduce both the height and the width of the composition while still leaving in evidence the architectural setting, which is reduced in the final painted version.