Lot 21
  • 21

Giorgio Ghisi

Estimate
3,000 - 4,000 GBP
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Description

  • Giorgio Ghisi
  • Allegory of Life (Bartsch 67; Lewis and Lewis 28)
  • engraving
  • sheet: 381 by 542mm 15 by 21 1/2 in
Engraving, 1561, a later impression of the second state (of six), Lewis' third state (of six) 

Condition

Trimmed to the borderline, slightly unevenly to the subject at the upper left and right sheet corners, in good condition apart from a very short tear at the right sheet edge, a short vertical repaired tear in the second cartouche at the lower sheet edge (approx. 20mm.) some tape staining at the upper sheet corners visible recto, a few further, minor brown stains towards the upper right sheet corner and one on the boat, a couple of tiny losses at the upper right sheet corner.
"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 Allegory of Life (also known as The Philosopher or The Dream of Raphael) is one of Ghisi's most complex and fascinating works. Although the iconographic significance of this engraving has been discussed by many scholars, no final satisfactory conclusion of its content has been offered. Lewis and Lewis summarise the numerous commentaries and conclude that 'it comprises a figure from Raphael and a figure probably from Leoni, put together by an unknown artist, perhaps Ghisi himself, into a busy, cluttered composition (...) which has resulted in an engraving with extraordinary strength and presence, one that has fascinated viewers for over four hundred years'. Michal and R.E. Lewis, The Engravings of Giorgio Ghisi, (New York, 1985), p. 119.