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Antonio d'Enrico, called Tanzio da Varallo
STUDY OF A SHEPHERD, A SEPARATE STUDY OF HIS RIGHT HAND, AND ANOTHER STUDY FOR A LEFT HAND
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2
Antonio d'Enrico, called Tanzio da Varallo
STUDY OF A SHEPHERD, A SEPARATE STUDY OF HIS RIGHT HAND, AND ANOTHER STUDY FOR A LEFT HAND
前往

拍品詳情

西洋古典素描

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Antonio d'Enrico, called Tanzio da Varallo
1575/80至1632/3年,阿拉尼亞里亞爾
STUDY OF A SHEPHERD, A SEPARATE STUDY OF HIS RIGHT HAND, AND ANOTHER STUDY FOR A LEFT HAND
Red chalk heightened with white chalk, on paper washed pink;
bears old numbering in pen and brown ink, upper left:  no. 10
212 by 152 mm; 8 3/8  by 6 in
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來源

Gotthard Schuh (1897-1969), Zurich;
Sale, Zurich, Schuler Auktionen, 12 December 2008, lot 4444 (two in the lot)

出版

F. Ferro, Testori a Novara, Milan 2009, pp. 145, 148, p. 149, note 3, reproduced p. 146;
S. Bareggi and F. Ferro, 'Antologia di Artisti, Alcuni disegni inediti di Tanzio da Varallo', Paragone, no. 112 (765), November 2013, pp. 32-41, reproduced pl. 23

相關資料

This sheet and lot 4 below both originate from a group of drawings by the rare Lombard artist Tanzio da Varallo, which are now dispersed across various public institutions and private collections.  First published by Ferro in 2009, and studied again more recently in Paragone (see Literature), the drawings from this series can be identified by the old pen and ink numbering in the top left corner of each sheet.  They were originally pasted down on album pages, possibly by the artist himself, to create a working notebook, or else by an early collector. 

The distinctive combination of media seen here - subtly applied red chalk heightened with white chalk, on paper washed pink - is typical of Tanzio and of his sophisticated and highly personal style, which was clearly influenced by the Florentine tradition brought to Milan by Leonardo.  Bareggi and Ferro have related the majority of the sheets from this series to Tanzio's late works.  In 2009, Ferro suggested that the present study might be connected with the figure of a shepherd who appears, in reverse to the drawing, in Tanzio's 1632 fresco decoration of the apse of Santa Maria della Pace, Milan (fig. 1).  We are grateful to Edoardo Testori for confirming that he considers this a late drawing by the artist, and related to this figure of a shepherd.  A red chalk preparatory study for the central figure group in the fresco is in a private collection.1

1. See Tanzio da Varallo, exhib. cat., Milan, Palazzo Reale, p. 148, reproduced p. 145

西洋古典素描

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