- 73
Lorenzo Baldissera Tiepolo
Estimate
14,000 - 18,000 GBP
Log in to view results
bidding is closed
Description
- Lorenzo Baldissera Tiepolo
- A Capriccio
- Pen and brown ink and wash over black chalk
Provenance
Sir Gilbert Lewis,
thence by inheritance to,
Sir Henry Duff-Gordon,
Gift of Lady Duff-Gordon, 1936
thence by inheritance to,
Sir Henry Duff-Gordon,
Gift of Lady Duff-Gordon, 1936
Exhibited
London, Royal Academy, The Paul Oppé Collection, 1958, no. 350 (as Giovanni Battista Tiepolo);
Ottawa, National Gallery of Canada, Exhibition of Works from the Paul Oppé Collection, 1961, no. 143 (as Giovanni Battista Tiepolo)
Ottawa, National Gallery of Canada, Exhibition of Works from the Paul Oppé Collection, 1961, no. 143 (as Giovanni Battista Tiepolo)
Literature
A.P. Oppé, 'A Fresh Group of Tiepolo Drawings,' Old Master Drawings, 1930, pp. 29-32 (as Giovanni Battista Tiepolo);
J. Byam Shaw, The Drawings of Giovanni Domenico Tiepolo, London 1962, p. 80, under no. 44 (as Giovanni Domenico Tiepolo)
J. Byam Shaw, The Drawings of Giovanni Domenico Tiepolo, London 1962, p. 80, under no. 44 (as Giovanni Domenico Tiepolo)
Condition
Hinge mounted by it's four edges to an old sheet. There is some slight staining to each corner as a result of the adhesive gum used verso. The sheet is slightly buckled in places, however it is in otherwise excellent condition. The medium remains fresh and vibrant throughout.
"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
Though the series of drawings, of which the present work is part, has been attributed both to Giambattista and to his son Giandomenico (see Literature), it is in fact far closer in handling to a drawing formerly in the collection of Robert Lehman, and now in the Metropolitan Museum of Art, New York, given to Giandomenico's younger brother, Lorenzo Tiepolo.1 Indeed the connection between the Lehman and Oppé drawings is not only limited to their strong stylistic grounds, as both works also share an identical provenance up until 1936, having both been in the collections of Sir Gilbert Lewis and Sir Henry Duff-Gordon. Whilst the Lehman drawing was included in the Duff-Gordon sale (see also lot 71) the Oppé drawing was gifted in the same year to Paul Oppé by Lady Duff-Gordon.
In his entry for the Lehman drawing2 James Byam Shaw notes the influence of Giambattista, in particular his Scherzi etchings, on Lorenzo, and these influences can also be clearly felt in the present sheet, with details such as the ragged trees and the two dogs on the left of the composition, fine examples of this.
1. See J. Byam Shaw and G. Knox, Italian Eighteenth-Century Drawings in the Robert Lehman Collection, New York 1987, p. 215, no. 177, reproduced
2. Ibid.