- 128
Federico Zuccaro
Estimate
6,000 - 8,000 USD
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Description
- Federico Zuccaro
- Two men, one playing a lute and one reading and a boy seated in a landscape
- Pen and brown ink, within partial black chalk framing lines;inscribed in brown ink, upper centre: questo dal N... and in another later hand in brown ink: homme en apparendant and; bears old attribution verso (largely obscured): del zu...
- 188 by 289 mm; 7½ by 11 3/8 in
Provenance
With William H. Schab, New York,
where purchased in December 1966
where purchased in December 1966
Exhibited
Long Island University, Hillwood Art Gallery, Drawing the Fine Line: Discovering European Drawings, 1986, pp. 14-15;
Milwaukee Art Museum and New York, National Academy of Design, Renaissance into Baroque: Italian Master Drawings by the Zuccari, 1550-1600, 1989-90, cat. no. 74, reproduced
Milwaukee Art Museum and New York, National Academy of Design, Renaissance into Baroque: Italian Master Drawings by the Zuccari, 1550-1600, 1989-90, cat. no. 74, reproduced
Condition
Window mounted to a modern mount. There is an old studio stain to the centre of the sheet and evidence of some minor surface dirt. The iron gall ink has fractionally sunk in places, resulting in some small holes and hairline cracks in places, such as around the hands of the man reading and the right hand of the young boy. There is a small nick to the lower half of the left edge. The pen and ink medium remains strong throughout and the image good. Sold in a giltwood frame.
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.
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
The attribution to Federico was first proposed by Konrad Oberhuber. In the 1986 exhibition catalogue, Gail Davidson suggested that the drawing must date to the mid to late 1570s, when Federico was in Florence. At this time, he made many drawings from life, giving a fascinating insight into his own daily life, and the people he knew and met during his outings in the surroundings of Florence, especially during the years 1576-77, when he regularly visited the Badia of Vallombrosa, and executed there a distinctive and important series of portraits in red and black chalk. This spontaneous scene is instead drawn solely in pen and ink, in a controlled but fluid style that can be compared to other drawings by the artist. James Mundy points out the similarities with a drawing at Chatsworth, Allegory of the Arts, which is similarly executed with parallel, if slightly dryer, strokes in pen and ink.1
1. Chatsworth, inv. no. 205; see M. Jaffé, The Devonshire Collection of Italian Drawings, Roman and Neapolitan Schools, London 1994, p. 239, no. 385, reproduced
1. Chatsworth, inv. no. 205; see M. Jaffé, The Devonshire Collection of Italian Drawings, Roman and Neapolitan Schools, London 1994, p. 239, no. 385, reproduced