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PROPERTY FROM THE COLLECTION FORMED BY KING WILLIAM II OF THE NETHERLANDS AND ANNA PAVLOVNA

After Antonio Allegri, Called Correggio
ST. THOMAS AND AN ATTENDANT PUTTO, AFTER CORREGGIO
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20

PROPERTY FROM THE COLLECTION FORMED BY KING WILLIAM II OF THE NETHERLANDS AND ANNA PAVLOVNA

After Antonio Allegri, Called Correggio
ST. THOMAS AND AN ATTENDANT PUTTO, AFTER CORREGGIO
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拍品詳情

西洋古典素描

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After Antonio Allegri, Called Correggio
ST. THOMAS AND AN ATTENDANT PUTTO, AFTER CORREGGIO
Black chalk
410 by 264 mm; 16 1/8  by 10 3/8  in
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來源

Jean-Baptiste-Joseph Wicar (1762-1834);
Sir Thomas Lawrence (1769-1830), London,
from whose estate acquired by Samuel Woodburn (Fourth Woodburn/Lawrence exhibition, 1835, no. 77);
from whom acquired in February 1838 by Prince William of Orange, later King William II of the Netherlands (1792-1849),
sale of his estate, The Hague, de Vries/Roos/Brondgeest, 12-20 August 1850, probably lot 205 (Correggio, Étude de diverses figures à la pierre d'Italie; bought back for the family by Roos),
by inheritance to the present owner  

展覽

London, S. & A. Woodburn, The Lawrence Gallery. Fourth exhibition. A Catalogue of One Hundred Original Drawings by Il Parmigianino and Ant. A. Da Correggio, Collected by Sir Thomas Lawrence, 1835, no. 77 (as Correggio: STUDY OF AN EVANGELIST AND AN ANGEL - for the Cupola at Parma; black chalk; very capital. Size, 16 inches by 10 1/4  inches.  From the Collection of M. Vicar')

出版

A.E. Popham, Correggio's Drawings, London 1957, no. A37 (under Catalogue of Drawings Wrongly Attributed)

相關資料

The composition is taken from Correggio's fresco, The Assumption of the Virgin, in the cupola of the Duomo in Parma.  The two figures are copies after the pendentive frescoed with the subject of St. Thomas.1  Popham describes the present study as an 'obvious copy, perhaps sixteenth century, from part of the pendentive in the cathedral.'

1. Correggio, exhib. cat., Parma, Galleria Nazionale, 2008-2009, pp. 214-215

西洋古典素描

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