Pietro Berrettini, called Pietro da Cortona
The Trinity
Estimate
200,000 - 300,000 USD
Lot Details
Description
Pietro Berrettini, called Pietro da Cortona
(Cortona 1597 - 1669 Rome)
The Trinity
Black chalk and pen and brown ink and wash, heightened with white, on light brown paper, with a separate sketch of flying angels in red chalk at upper right;
bears inscription on the mount at lower center in pen and brown ink: Pietro da Cortona; on reverse of the mount at upper right in pen and brown ink: Lady Sidmouth I Presented to Eliza Hobhouse Feb 1842
397 by 264 mm; 15⅝ by 10⅜ in.
Benjamin West (1738-1820), London (L.419);
Lady Sidmouth;
Eliza Hobhouse, Hadspen House, Castle Cary, Somerset, in 18421,
by descent to Arthur Lawrence Hobhouse (1886-1965), Hadspen House, by 19382;
with Katrin Bellinger at Colnaghi, London, Old Master Paintings and Drawings, 2003, no. 37,
where acquired by Diane A. Nixon
London, Royal Academy of Arts, Catalogue of the Exhibition of 17th Century Art in Europe, 1938, p. 152, no. 417;
New York, The Morgan Library & Museum; Washington, D.C., National Gallery of Art, Private Treasures: Four Centuries of European Master Drawings, 2007, no. 40 (entry by Rhoda Eitel-Porter);
Northampton, Massachusetts, Smith College Museum of Art; Ithaca, New York, Herbert F. Johnson Museum of Art, Drawn to Excellence: Renaissance to Romantic Drawings from a Private Collection, 2012-2013, no. 45
G. Briganti, Pietro da Cortona o della pittura barocca, Florence 1962, p. 307 [2nd rev. ed., 1982, p. 293];
W. Vitzthum, 'Review of G. Briganti, Pietro da Cortona o della pittura barocca, Florence 1962', Master Drawings, vol. I, no. 2 (1963), p. 50;
B.W. Davis, ‘The Drawings of Ciro Ferri’, Diss. Univ. of California, Santa Barbara 1982, p. 185, n. 16;
J.M. Merz, ‘Cortona-Studien, I-IV.’ Diss Univ. Tübingen, 1985, vol. III, pp. 169f, vol. IV, fig. 1214;
J. Montagu, Roman and Baroque Sculpture: The Industry of Art, New Haven 1989, pp. 80-82, reproduced fig. 95;
J. Montagu, Gold, Silver and Bronze – Metal Sculpture of the Roman Baroque, New Haven & London,1996, p. 7, fig. 11;
D.L. Sparti, La casa di Pietro da Cortona – Architettura, accademia, atelier e officina, Rome 1997, pp. 73, 75, fig. 52;
J. Montagu, 'La scultura cortonesca', in Pietro da Cortona 1597-1669, exh. cat., Rome, 1997-1998, pp. 128-129, reproduced fig. 108;
K. Noehles, ‘Cortona architetto – Osservazioni sull’origine toscano e la formazione romana del suo fare architettonico & Disegni di architettura e trattatistica’, in Pietro da Cortona 1597-1669, exh. cat., Rome, 1997-1998, p. 470, under no. 120;
D. Graf, 'Disegni di Pietro da Cortona e della sua scuola per il Missale Romanium, del 1662', Pietro di Cortona: atti del convegno internazionale, Roma Firenze 12-15 novembre 1997, C.L. Frommel & S. Schütze (eds.), Milan 1998 pp. 211-212, reproduced fig. 29;
S. Benedetti, ‘Cappella Chigi in Santa Maria della Pace’, in Pietro da Cortona – Piccole e grandi architetture, modelli, rilievi, celebrazioni, ed. S. Benedetti & A. Roca De Amicis, Rome 2006, pp. 107, 110, fig. 12;
F. Ackermann, Die Altäre des Gian Lorenzo Bernini, Petersberg 2007, p. 134;
J. Curzietti, Antonio Raggi scultore ticinese nella Roma barocca, Canterano 2020, p. 191;
S. Benedetti, ‘La definizione della Cappella Chigi tra Raffaello e Pietro da Cortona’, in Santa Maria della Pace in Roma – Storia urbana e vicende artistiche tra XV e XVII secolo, Rome 2022, pp. 98-100, fig. 8;
J.M. Merz, Pietro Berrettini da Cortona (1597-1669), Catalogue raisonné of His Drawings, 2 vols., Rome 2026 (forthcoming), vol. 2, p. 782, no. 465 (with further previous literature)
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