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GIACINTO BRANDI | An Allegory of Mathematics
Estimate
20,000 - 30,000 GBP
bidding is closed
Description
- Giacinto Brandi
- An Allegory of Mathematics
- oil on canvas, in a painted oval
- 51 x 37 in.; 130 x 94 cm.
Provenance
Palazzo Parravicini (now Palazzo Trivulzio), Milan, 1721–22;
Giovanni Antonio Parravicini (1910-1991);
With Wiggins, London, by whom acquired in 1980.
Giovanni Antonio Parravicini (1910-1991);
With Wiggins, London, by whom acquired in 1980.
Exhibited
Cremona, Centro Culturale Sant'Agostino, La ragione e il metodo: immagini della scienza nell'arte italiana dal XVI al XX secolo, 27 March - 27 June 1999.
Literature
G. Sestieri, Repertorio della Pittura romana della fine del Seicento e del Settecento, Turin 1994, vol. I, p. 36, reproduced vol. II, fig. 36;
M. Carminati in M. Bona Castellotti (ed.), La ragione e il metodo: immagini della scienza nell'arte italiana dal XVI al XX secolo, exh. cat., Milan 1999, pp. 116–17;
G. Serafinelli, Giacinto Brandi, catalogo ragionato delle opere, Turin 2015, p. 142, cat. no. A133, reproduced.
M. Carminati in M. Bona Castellotti (ed.), La ragione e il metodo: immagini della scienza nell'arte italiana dal XVI al XX secolo, exh. cat., Milan 1999, pp. 116–17;
G. Serafinelli, Giacinto Brandi, catalogo ragionato delle opere, Turin 2015, p. 142, cat. no. A133, reproduced.
Condition
The canvas has a firm relining, the paint surface is clean, and the varnish is clear. Restoration is visible to a network of repaired tears below the figure's nose, in her chin, and extending down into her shoulder - the longest of which measures 10 cm. There is evidence of a slight degree of wear, and the canvas weave has become slightly visible. Inspection under ultraviolet light confirms the aforementioned restoration, and reveals further retouchings: to two restored damages in her cloak lower right, and one at the bottom of the tablet (the largest approx. 2 x 3 cm.); to two further repaired tears in the sky, one upper right, and one just to the right of the table (the largest T-shaped and approx. 10 x 5 cm.); pin-prick spots scattered in her flesh tones and the shadow just to the right of her face, as well as in her clothes, notably her pink sleeve; and in the lower left corner. The painting is in overall fair condition, and appears bright and is ready to hang.
"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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE 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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
Catalogue Note
This Allegory formed part of a series formerly in Palazzo Parravicini in Milan. The other known pictures from the series are an Allegory of Philosophy, in the Zeri collection and an Allegory of Poetry, the whereabouts of which are unknown.1 Serafinelli dates the work to the 1680s. 1 Serafinelli 2015, p. 142, under cat. no. A133.