3
3
Paolo Farinati
SAINT JEROME, SAINT BARTHOLOMEW AND SAINT CLAIRE 
Estimation
7 0009 000
Lot. Vendu 17,500 GBP (Prix d’adjudication avec commission acheteur)
ACCÉDER AU LOT
3
Paolo Farinati
SAINT JEROME, SAINT BARTHOLOMEW AND SAINT CLAIRE 
Estimation
7 0009 000
Lot. Vendu 17,500 GBP (Prix d’adjudication avec commission acheteur)
ACCÉDER AU LOT

Details & Cataloguing

Old Master & British Works on Paper

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Paolo Farinati
VERONA 1524 - 1606
SAINT JEROME, SAINT BARTHOLOMEW AND SAINT CLAIRE 
Pen and brown ink and wash, heightened with white, over traces of black chalk, within partial pen and brown ink framing lines;
bears attribution in pen and brown ink, lower right:  P. Farinati and bears Sagredo inventory number in brown ink, verso: S.V. n:o 82
310 by 224 mm
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Provenance

From the Sagredo album (with numbering, see above), the provenance of which is as follows:
Doge Nicolò Sagredo, Venice, by circa 1654;
his brother, Stefano Sagredo, Venice;
his nephew, Zaccaria Sagredo, Venice;
his wife, Cecilia Sagredo, until sold, circa 1743;
Private Collection, France

Bibliographie

F. Dal Forno, 'Un disegno del Farinati e dipinto eseguito' in Vita Veronese, vol. XXXI, pp. 135-136, reproduced fig. 2

Description

This sensitive and expressive drawing is preparatory for Farinati's painting of the same subject, commissioned in 1568 for the Church of Santa Chiaranow housed in the Museo di Castelvecchio, Verona (fig. 1).1

The final composition in oil adheres, for the most part, to the arrangement of the present drawing, with a few exceptions.  In the drawing there is a pentimento visible where the artist has sketched out a different position for Saint Claire’s head, turning her face inwards, looking towards Saint Bartholomew and it is this revised position that is adopted in the oil painting.  Farinati, in his drawing, has placed the Crucifix, that St Jerome genuflects on, at a slant on a stone, and in the painting it lies flat on the ground.  The other noticeable difference is that the skull, depicted in the drawing, is omitted from the final composition.

Farinati employs a visually appealing choice of media for the present study, skillfully using pen and brown ink and wash with a delicate application of white heightening. For another work by Paolo Farinati, see lot 21.

1. (Inv, no 4033-IB496), Paolo Farinati 1524-1606 Dipinti, incisione e diesgni per L'architettura, exhib. cat., Verona, Museo di Castelvecchio, 2005-2006, p.179, no. 167 

Old Master & British Works on Paper

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