Lot 122
  • 122

Biagio Pupini

Estimate
20,000 - 30,000 USD
bidding is closed

Description

  • Biagio Pupini
  • Design for an altarpiece: the resurrected Christ above the Madonna and the Apostles
  • Pen and brown ink and point of the brush and gray wash, heightened with white, on gray-green paper;bears Sagredo's inventory number in pen and brown ink on the backing sheet: S. F. n:o 28
  • 347 by 240 mm; 13 5/8  by 9½ in

Provenance

Doge Nicolò Sagredo, Venice, by circa 1654;
his brother, Stefano Sagredo, Venice;
his nephew, Zaccaria Sagredo, Venice;
his wife, Cecilia Sagredo, until sold, circa 1743

Condition

Laid down twice on the old Sagredo backing sheet. Generally in good condition, and media strong, slightly oxidized at the top. Some creases at the bottom of the sheet. A light vertical brown stain towards the left margin in the middle. Some other very minor greyish stains towards the top margin not very visible.
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

Very characteristic of the graphic style of the artist Biagio Pupini, whose activity is mainly documented in Bologna, this drawing is executed with the point of the brush and reinforced by a wiry pen work, nervous and animated, complemented by an abundant use of white heightening, which seems to derive from his knowledge of works on paper by Polidoro da Caravaggio (c.1500- c.1536), whose style he could have studied during a presumed Roman sojourn. This fairly finished sheet, must have been executed in preparation for a painted work, and not just as an independent exercise.  Pupini's drawings have often been wrongly attributed to Polidoro da Caravaggio, whose graphic style he greatly admired, making numerous copies especially after the monochrome façade paintings, done by Polidoro to adorn many of the palaces of Rome.