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PAOLO FARINATI | Saint Jerome, Saint Bartholomew and Saint Claire
估價
7,000 - 9,000 GBP
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招標截止
描述
- Paolo Farinati
- 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
來源
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
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
出版
F. Dal Forno, 'Un disegno del Farinati e dipinto eseguito' in Vita Veronese, vol. XXXI, pp. 135-136, reproduced fig. 2
Condition
Laid down. A tiny tear at the lower margin near the left corner. Light staining along the left margin. Some of the white heightening has oxidized. Overall medium remains strong and vibrant. Sold 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. 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."
拍品資料及來源
This sensitive and expressive drawing is preparatory for Farinati's painting of the same subject, commissioned in 1568 for the Church of Santa Chiara, now 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
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