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AFTER ANTONIO ALLEGRI, CALLED CORREGGIO | St. Thomas and an attendant Putto, after Correggio
Estimate
3,000 - 4,000 USD
bidding is closed
Description
- St. Thomas and an attendant Putto, after Correggio
- Black chalk
- 410 by 264 mm; 16 1/8 by 10 3/8 in
Provenance
Jean-Baptiste-Joseph Wicar (1762-1834);
Sir Thomas Lawrence (1769-1830), London,
from whose estate acquired by Samuel Woodburn (Fourth Woodburn/Lawrence exhibition, 1835, no. 77);
from whom acquired in February 1838 by Prince William of Orange, later King William II of the Netherlands (1792-1849),
sale of his estate, The Hague, de Vries/Roos/Brondgeest, 12-20 August 1850, probably lot 205 (Correggio, Étude de diverses figures à la pierre d'Italie; bought back for the family by Roos),
by inheritance to the present owner
Sir Thomas Lawrence (1769-1830), London,
from whose estate acquired by Samuel Woodburn (Fourth Woodburn/Lawrence exhibition, 1835, no. 77);
from whom acquired in February 1838 by Prince William of Orange, later King William II of the Netherlands (1792-1849),
sale of his estate, The Hague, de Vries/Roos/Brondgeest, 12-20 August 1850, probably lot 205 (Correggio, Étude de diverses figures à la pierre d'Italie; bought back for the family by Roos),
by inheritance to the present owner
Exhibited
London, S. & A. Woodburn, The Lawrence Gallery. Fourth exhibition. A Catalogue of One Hundred Original Drawings by Il Parmigianino and Ant. A. Da Correggio, Collected by Sir Thomas Lawrence, 1835, no. 77 (as Correggio: STUDY OF AN EVANGELIST AND AN ANGEL - for the Cupola at Parma; black chalk; very capital. Size, 16 inches by 10 1/4 inches. From the Collection of M. Vicar')
Literature
A.E. Popham, Correggio's Drawings, London 1957, no. A37 (under Catalogue of Drawings Wrongly Attributed)
Condition
Laid down. Scattered foxing and light brown staining throughout the sheet. Small tear in the lower left corner of the sheet. Surface dirt. Chalk still relatively strong. Sold mounted but unframed.
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 composition is taken from Correggio's fresco, The Assumption of the Virgin, in the cupola of the Duomo in Parma. The two figures are copies after the pendentive frescoed with the subject of St. Thomas.1 Popham describes the present study as an 'obvious copy, perhaps sixteenth century, from part of the pendentive in the cathedral.' 1. Correggio, exhib. cat., Parma, Galleria Nazionale, 2008-2009, pp. 214-215