Lot 106
  • 106

Marcantonio Raimondi

Estimate
15,000 - 20,000 USD
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Description

  • Marcantonio Raimondi
  • Recto: A male nude seen from behind with a small bearVerso: Various studies: putto, a fantastical creature, study of a old man, a head in profile and study of legs
  • Pen and brown ink (recto and verso);inscribed in pen and brown ink, upper centre:  Amanti
  • 202 by 150 mm; 8 by 6 in

Provenance

Possibly Giuseppe Vallardi, his numbering in black chalk, versoP./ 229;
Captain Carlo Prayer (L.2044), his mount;
sale, New York, Christie's, 22 January 2004, lot 4

Condition

Sheet has a number of old repairs, these sections are clearly visible recto and verso. Light scattered foxing in some areas of the sheet, more abundant on the verso. A few larger brown stains, recto - one located near the inscription and a few near his feet in the lower section of the sheet. Pen and ink remains strong and vibrant despite condition issues.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Catalogue Note

Typical of Raimondi's style in the use of close crosshatching executed in pen and ink, this drawing probably dates from early in the artist’s career, during his apprenticeship with Francesco Francia in Bologna.   For comparable drawings by Raimondi see K. Oberhuber, ‘Marcantonio Raimondi; gli inizi a Bologna ed il primo periodo romano,’ in Bologna e L'umanesimo 1490-1510, Bologna 1988, pp 51-88.  The majority of the drawings published in this article come from the collection of Captain Carlo Prayer, active in Milan in the second part of the 19th Century.