View full screen - View 1 of Lot 8. The Head of St. James the Less with the indication of the right shoulder and the open hand of St. Andrew (after Leonardo da Vinci).
8

Attributed to Giovanni Antonio Boltraffio

The Head of St. James the Less with the indication of the right shoulder and the open hand of St. Andrew (after Leonardo da Vinci)

Property from a Distinguished New York Collection

Attributed to Giovanni Antonio Boltraffio

Attributed to Giovanni Antonio Boltraffio

The Head of St. James the Less with the indication of the right shoulder and the open hand of St. Andrew (after Leonardo da Vinci)

The Head of St. James the Less with the indication of the right shoulder and the open hand of St. Andrew (after Leonardo da Vinci)

Authenticity guarantee

What is guaranteed?

Property from a Distinguished New York Collection

Attributed to Giovanni Antonio Boltraffio

Milan 1467/8 - 1516

The Head of St. James the Less with the indication of the right shoulder and the open hand of St. Andrew (after Leonardo da Vinci)


Black chalk, coloured chalks and pastel on paper prepared light grey.

644 by 477 mm

Support

Both these drawings are laid down on several layers of papers of differing periods, the fine top sheet, the primary support dates from the 16th Century. The edges have brown paper strips covering the surface of the primary sheet, these date from the 18th Century and are considerably browned. As the primary sheet is worked all over in pastel, it is not possible to determine its tone. Some of the edges show extensive losses to the surface caused by insect damage, (silver-fish and woodworm) which also have eaten through the paper in places resulting in some losses to the sheet along with related tears. The surface dirt at the edges is historic. There are some longer tears within both compositions in places, and nail holes from a time in their history when they were attached to stretchers are visible in places at their edges, some are filled in. At present both works are attached at their edges to conservation quality mounts

 

Medium

The mixed period pastel and chalk medium is in a strong condition being mostly ‘earth’ pigments, the central part of both compositions are free from scuffs and scratches, with only a few scattered areas, most noticeable on the nose of St. James.  

 

These powerful images are still impressive, their condition is consistent with their age.

 

Note: This work was viewed outside studio conditions.

 


"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."

Sir Thomas Baring, 2nd Baronet (1772-1848);
Sir Thomas Lawrence (1769-1830),
his sale, London, Christie's, 17-19 June 1830, lot 434 (purchased by Samuel Woodburn for 92 guineas; the Heads were offered individually lots 426 to 435 'Cartoons of the Heads in the Celebrated Last Supper'),
With Samuel Woodburn (1783-1853), London, Woodburn Gallery, Fifth Exhibition, A Catalogue of 100 Original Drawings by J. Romano, F. Primaticcio, L. da Vinci, and P. del Vaga, collected by Sir Thomas Lawrence, late president of the Royal Academy, 1836, part of no. 75 (as Leonardo da Vinci),
purchased by the Prince of Orange, later King William II of Holland,
his sale, The Hague, De Vries, Roos, Brondgeest, 12-20 August 1850, lot 13 (as Leonardo da Vinci, sold together with seven other heads from the series for 8,000 florins to 'Weimar');
Charles Alexander, Grand Duke of Saxe-Weimar (1818-1901), and by descent,
his sale and others, London, Sotheby's, 28 June 1962, lot 77 (as Andrea Solario), 
purchased by David Griffiths,
his sale and others, London, Sotheby's, 28 March 1968, lot 8 (as Andrea Solario) purchased by Dr. Bernard Breslauer,
sold by his estate, New York, Christie's, 25 January 2005, lot 24 (as Attributed to Giovanni Antonio Boltraffio)
J. Sighart, The Lord's Supper, Christ and His Twelve Disciples. From the Original Crayon-Drawings of Leonardo da Vinci in the Possession of Her Royal Highness the Grand Duchess of Saxe-Weimar by John Niessen, London 1868, both reproduced (as Leonardo da Vinci);
J. Sighart, Das Abendmahl des Herrn. Christus und die zwölf Apostel. Nach den im Besitze Ihrer Königlichen Hoheit der Frau Grossherzogin von Sachsen Weimar befindlichen Original-Pastellbildern von Leonardo gezeichet von Johannes Niessen, Munich 1874, both reproduced (as Leonardo da Vinci);
G. Frizzoni, 'I disegni delle teste degli apostoli nel Cenacolo di Leonardo da Vinci', Archivio storico dell'arte 7, no. I, 1894, pp. 41-49 (as Andrea Solario?);
G. Dehio, 'Zu den Kopien nach Lionardos Abendmahl', Jahrbuch der Königlich preussischen Kunstsammlungen, 17, 1896, pp. 181-85 (as after Leonardo da Vinci);
E. Müntz, Leonardo da Vinci: Artist, Thinker and Man of Science, New York and London 1898, vol. I, p. 191, no. 1 (as after Leonardo da Vinci);
B. Berenson, The Drawings of the Florentine Painters (New York, 1903), vol. I, p. 156 (as Andrea Solario);
O. Hoerth, Das Abendmahl des Leonardo da Vinci: Ein Beitrag zur Frage seiner künstlerischen Rekonstruktion, Leipzig 1907, pp. 198-222 (as after Leonardo da Vinci);
K. Badt, Andrea Solario: Sein Leben und seine Werke, Leipzig 1914, p. 188 (as after Andrea Solario);
F. Malaguzzi Valeri, La corte di Lodovico il Moro, II: Bramante e Leonardo da Vinci, Milan 1915, pp. 534-36, 544, reproduced figs. 587 (Saint James the Less) (as. Andrea Solario);
F. Lugt, Les Marques de Collections de Dessins & d'Estampes, Amsterdam 1921, p. 456;
C. Horst, 'L'Ultima Cena di Leonardo nel riflesso delle copie e delle imitazioni', Raccolta Vinciana, no. 14, 1930-34, pp. 172-76 (as after Leonardo da Vinci);
W. von Seidlitz, Leonardo da Vinci, Vienna 1935, p. 169 (as after Leonardo da Vinci);
B. Berenson, The Drawings of the Florentine Painters, Amplified Edition (Chicago, 1938), vol. I, p. 174, no. 1 (as Andrea Solario);
K. Clark, Leonardo da Vinci: An Account of His Development as an Artist, Cambridge 1939, p. 94 (as after Leonardo da Vinci);
E. Möller, Das Abendmahl des Lionardo da Vinci, Baden-Baden 1952, pp. 103-8, reproduced figs. 61 (Saint James the Less) (as after Giovanni Antonio Boltraffio);
B. Berenson, I disegni dei pittori fiorentini, Milan 1961, vol. 1, p. 254, note I (as Andrea Solario);
D.A. Brown, Leonardo's "Last Supper": Precedents and Reflections, exhib. cat., Washington, National Gallery of Art, 1983, under no.6 (as After Leonardo, close to Giovanni Antonio Boltraffio);
D.A. Brown, Andrea Solario, Milan 1987, p. 270, no. 98 (as after Leonardo da Vinci);
C. Geddo, 'Disegni leonardeschi dal Cenacolo: un nuovo nome per le teste di Starsburgo.', in F. Frosini ed. "Tutte leopere non son per istancarmi": Raccolta di scritti per i settant'anni di Carlo Pedretti, Rome 1998, p. 159-88;
P.C. Marani, 'Presentazione del restauro del 'Cenacolo' di Leonardo da Vinci', Raccolta vinciana, Milan 1999b, no. 28, p. 93-121;
P.C. Marani & A. Rovetta, Il Genio e le Passioni: Leonardo e il Cenacolo: Precedenti, innovazioni, riflessi di un capolavoro, exhib. cat., Milan, Palazzo Reale, 2001, p. 196-198, under no. 60-64 (Anonimi, da Leonardo, secoli XVI XVIII?);
A. Ballarin, 'I Disegni di Weimar', Leonardo a Milano, Padua 2010, vol. II, Appendix III, p. 899, reproduced pl. cccxviii (as Copia tarda da Leonardo);
P. Bower, ''The paper used for the Head of Saint Matthew''. A cartoon for the ''Last Supper'', after Leonardo da Vinci from the collection of Adriano Ribolzi'', Leonardo a Milano, Padua 2010, vol. II, Appendix II, pp. 883-884;
L. Wolk-Simon, The  'Cartones of leonardo da Vinci', The Burlington Magazine, vol. 153, March, 2011, pp. 148-155, reproduced p. 150, reproduced fig. 2 (as after Leonardo da Vinci c. 1500?);
C. Bambach, Leonardo da Vinci. Rediscovered, New Haven 2019, vol. III, pp. 533-536, vol. VI, p. 407, notes 183, 184
London, Woodburn Gallery, Fifth Exhibition, A Catalogue of 100 Original Drawings by J. Romano, F. Primaticcio, L. da Vinci, and P. del Vaga, collected by Sir Thomas Lawrence, late president of the Royal Academy, 1836, part of no. 75;
New York, Metropolitan Museum of Art, Sixteenth Century Italian drawings in New York Collections, 1994, pp. 51-53, no. 46a, o. 187 reproduced (as Giovanni Antonio Boltraffio);
New York, Metropolitan Museum of Art, Painters of Reality. The legacy of Leonardo and Caravaggio in Lombardy, 2004, p. 72, reproduced p. 97, I (as After Leonardo da Vinci)

See note to the previous lot.