Lot 116
  • 116

Vincenzo Tamagni, called Vincenzo da San Gemignano

Estimate
7,000 - 9,000 USD
bidding is closed

Description

  • Vincenzo Tamagni, called Vincenzo da San Gemignano
  • A young boy kneeling in front of two bishops, several noblemen and clerics, a building under construction behind
  • Pen and brown ink and wash over traces of black chalk
  • 198 by 304 mm; 7 13/16  by 12 in

Provenance

Flury-Hérard (L.1015, his inventory number on the backing sheet: 136)

Condition

Laid down. Some mold of a grey color at the top of the sheet and less at the bottom, where it seems more visible towards the right corner. There are small losses around the right margin and in the top section of the sheet, where there are also abrasions. Some grey stains towards the left corner. The pen and ink still strong.
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

Vincenzo Tamagni began his career as an assistant of Sodoma with whom he worked in the monastery of Monte Oliveto Maggiore, near Siena, before moving to Rome in around 1512, when he entered Raphael's workshop.  His graphic oeuvre consists mainly of pen and ink composition drawings characterized by repeated long horizontal hatching, with a clear definition of the chiaroscuro, as we can also see in the present sheet, where the areas of contrasting light and shadow are also emphasized by the abundant application of brown wash, which unifies the composition. For an account of the artist's known drawings, see: L. Wolk-Simon, in Sixteenth-Century Italian drawings in New York Collections, exhib. cat., New York, The Metropolitan Museum, 1994, p. 109, note 4.