- 211
Tommaso Minardi
Estimate
8,000 - 12,000 USD
bidding is closed
Description
- Tommaso Minardi
- An album with 60 leaves, of which 38 pages contain drawings, in a contemporary Italian parchment binding, with a pen and ink inscription on the upper cover: Questo libro è disegnato da Minardi.The first page and the inside lower cover are inscribed in black chalk with the following text: Ricordati, che la risoluzione fatta,/di stabilità con riflessione la piu sana/e con ragioni le più forti di fatto;/ed altro, una cieca passione può/esser causa che l'abbandoni/Ricordati Ricordati bene ma bene/ma bene/Ricordati bene bene bene bene/Ricordati/Ricordati/Ricordati/Ricordati; on the back of the plate also in black chalk: Ricordati/la risoluzione fu fatta/con sanissima e fortissimo ragione/eche se in qualche incostanza ti parerà dal non mantenersi,/tieni per infantile, che sei cieco/Ricordati/Ricordati bene ma bene ma bene
- The majority executed in black chalk, a few in pen and brown ink and wash, over black chalk, one, a loose page in black chalk heightened with white chalk on paper washed gray
- Each page approximately 354 by 242 mm; 13 7/8 by 9½ in
Condition
A stationary binding. The binding is slightly soiled and the spine is cheeped at head and foot. Lower joint starting to split. Generally drawings are in good condition and media strong, some slight soiling around the edges. There are about four pages, where a large orange oil stain has stained the upper part of the pages recto and verso. There are three loose pages.
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
Most of the drawings in this fascinating album are black chalk studies of heavily draped male figures, executed ‘dal modello’, together with a few compositional studies, some inspired by Raphael, and a handful of landscape drawings. The album has been filled from both ends, having perhaps been abandoned for a while, and a lot of pages in the middle of the book are left blank. It must date from Minardi’s early years in Rome and these drawings are still the expression of the experimentations of a young artist. Minardi arrived in Rome in 1803, where he met Felice Giani who introduced him to the studio of Camuccini. The influence of Camuccini is clearly detectable here, especially in the very neoclassical and stylized landscape drawings. Some of the figure studies and compositional drawings also show Minardi’s fascination with the work of Raphael, a lasting influence for the whole of his artistic career. Minardi was a very influential figure in the academic world of 19th-century Italian art; he appreciated good draftmanship and from 1822 was appointed to the chair of drawing at the Accademia di San Luca, a position he held until 1868. Minardi instructed generations of painters in Purism and more than any other artist promulgated the taste for neo-Raphaelesque altarpieces.