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LOTS 30-52: PROPERTY FROM A EUROPEAN PRIVATE COLLECTION

Domenico Rietti, called lo Zaga
PERSEUS LIBERATING ANDROMEDA 
Estimate
8,00012,000
LOT SOLD. 11,250 GBP
JUMP TO LOT
34

LOTS 30-52: PROPERTY FROM A EUROPEAN PRIVATE COLLECTION

Domenico Rietti, called lo Zaga
PERSEUS LIBERATING ANDROMEDA 
Estimate
8,00012,000
LOT SOLD. 11,250 GBP
JUMP TO LOT

Details & Cataloguing

Old Master & British Works on Paper

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Domenico Rietti, called lo Zaga
CIRCA 1505 - 1584 ROME
PERSEUS LIBERATING ANDROMEDA 
Pen and brown ink and wash, heightened with white over traces of black chalk, on blue paper;
bears numbering in pen and brown ink: No 146
228 by 383 mm
Read Condition Report Read Condition Report

Provenance

Everhard Jabach (1610-1695), Paris;
with Hans Calmann, London;
Lorenzo Bertini Collection, Prato;
sale, Milan, Finarte, 4 December 1986, lot 116

Exhibited

Rome, Museo Nazionale di Castel Sant'Angelo, Gli Affreschi di Paolo III a Castel Sant'Angelo, progetto ed esecuzione 1543-1548, 1981-1982, vol. II, p. 83, no. 50, reproduced fig. 50;
Caen, Musée des Beaux-Arts de Caen, L'Oeil et la Passion, Dessins italiens de la Renaissance dans le collections privées françaises, 2011, p. 64, no. 8, p. 65 reproduced (entry by Elena Parma)

Literature

K. Oberhuber, 'Reviews, Observations on Perino del Vaga as a Draughtsman', Master Drawings, vol. IV, no. 2 (1966), p. 179, under note 9;
B. Davidson, 'Perino del Vaga e La Sua Cerchia: 'Addenda e Corrigenda', Master Drawings, vol. VII, no. 4 (1969), p. 409, under note 18 (as copy or workshop);
E. Parma Armani, Perino del Vaga, L'anello mancante, Genoa 1986, p. 296;
M. Di Giampaolo, in Dal Disegno all'Opera compiuta, exhib. cat., Torgiano, Museo del Vino, Fondazione Longarotti, 1987, p. 28, under no. 5;
C. Monbeig Goguel, 'Taste and Trade: The Retouched Drawings in the Everard Jabach Collection at the Louvre', The Burlington Magazine, CXXX, 1988, p. 823, note 7;
B. Perronet, Dessins italiens du musée Condé à Chantilly, II. Raphael et son cercle, 
1997, under no. 42 (as after Perino del Vaga); 
S. Folds McCullagh and L. Giles, Italian Drawings before 1600 in the Art Institute of Chicago, Chicago 1997, p. 361, under no. 574 

Catalogue Note

As Konrad Oberhuber was the first to recognise, this drawing is related to one of the scenes in an elaborate decorative frieze in the Sala di Perseo, in Castel Sant’Angelo (fig. 1), one of the frescoes by Perino del Vaga and assistants in the ‘appartamento farnesiano’, which form part of the renovations ordered by Pope Paul III, Farnese (1534-1549).1 Perino worked on the decorations in Castel Sant’Angelo from the spring of 1545 until his death, two and a half years later.

In the catalogue of the 1981-82 exhibition devoted to the Castel Sant’Angelo frescoes (see Exhibited), Filippa M. Aliberti Gaudioso proposed that this drawing, though possibly based on a lost drawing by Perino, could plausibly be attributed to Domenico Rietti, called Lo Zaga, one of Perino’s principal assistants at the end of his career, rightly pointing out the stylistic as well as the compositional similarities between this study and the related fresco of Perseus liberating Andromeda, for which she also proposed the name of Lo Zaga. Like the fresco, the figures in this drawing are elongated, with small heads, but though the two compositions correspond quite closely, the format of the drawing is less attenuated than its frescoed counterpart, and the three groups of figures are closer to each other.  Furthermore, the artist gives much more attention in the drawing to the figures than to the other compositional elements, and the background is only very quickly sketched, giving a strong overall impression of a working preparatory study for the fresco.  The work in the Sala di Perseo started in the spring of 1545, and was completed the following summerjust before the decorations in the Sala Paolina.  

In the 17th century, as Catherine Monbeig Goguel has recognised (loc. cit.), the drawing was most probably in the illustrious Paris collection of the German-born banker Everhard Jabach, and indeed it must have been in his second collection, since it appears to correspond with a sheet listed in the inventory compiled in 1696, following Jabach’s death: 'Perino del Vaga. Un paisage de marine où Persée vient de délivrer Andromède à la plume lavé et haussé sur papier bleu. Long de 16 1/3, et haut 8 2/3 pouces.' 
Not surprisingly, the Louvre has a retouched copy of this same composition which originates from Jabach's first collection, acquired by Colbert for Louis XIV, in 1671.2

Other drawings that are in some ways related to this include two pen and wash sketches, in a private collection, which Mario Di Giampaolo published as preliminary ideas, later abandoned, for the frieze decoration in the Sala di Perseo, also attributing them to Lo Zaga (see Literature).  The similarities, when compared both to the present sheet and to the final frescoes are, though largely generic, and the rectangular scenes are much less complex.  A very damaged drawing of the same composition, catalogued by Suzanne Folds McCullagh and Laura Giles as ‘After Perino del Vaga’, is in the Art Institute of Chicago (see Literature).3

1. Oberhuber did not want to judge the authorship of the drawing without seeing it in original; Bernice Davidson, however, cautiously opined (loc. cit.) that it ‘seems to me to be a contemporary copy, though possibly a shop work’.
2. Paris, Louvre, inv. no. 4312
3. Chicago, The Art Institute of Chicago, inv. no. 1922.5447

Old Master & British Works on Paper

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