Lot 58
  • 58

Franz Anton Maulbertsch

Estimate
3,000 - 4,000 GBP
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Description

  • Franz Anton Maulbertsch
  • Design for a ceiling with the Assumption of the Virgin
  • Pen and brown ink and grey wash, heightened with white on paper washed ochre;
    bears inscription, lower right: himelfart

Provenance

Sale, London, Christie's, 19 April 1994, lot 185;
sale, London, Sotheby's, 10 July 2002, lot 202;
Private Collection

Condition

Window mounted on a modern paper support. There are some very minor stains and areas of surface dirt to the sheet and evidence that the sheet has been partially made up in the lower left quarter. Otherwise in fine condition with the medium predominantly 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."

Catalogue Note

The subject of the Assumption of the Virgin was one that Maulbertsch is known to have treated on numerous occasions throughout his career, as he worked his way around Central Europe, where he spent spells of time in Germany, Austria, Moravia and Hungary.

In 1781 Maulbertsch was commissioned by Károly von Esterházy, Bishop of Eger, to fresco the ceiling of the parish church of Pápa in Hungary, with an Assumption of the Virgin, which was completed by the artist in 1783. Whilst there are a number of differences between the composition of the final fresco and the present work, the positioning and gestures of many of the key figures are undeniably similar, raising the possibility that the present drawing was a preliminary study for the Pápa project.

1. See K. Garas, Franz Anton Maulbertsch 1724-1796, Vienna 1960, p. 224, no. 313, pl. CXCV, fig. 259