ATELIER DE PAOLO CALIARI, DIT VÉRONÉSE (VÉRONE 1528-1588 VENISE)

Études d’une armure, d’un gantelet, d’un casque et d’une poignée d’épée (recto) ; Études de quatre casques (verso) ; et Études d’une armure, de deux gantelets, de quatre poignées d’épées (recto) ; Études d’une armure et d’un casque (verso)

成交價 歐元 30,000
估價
歐元 20,000 – 歐元 30,000
估價不包括買家酬金。成交總額為下鎚價加以買家酬金及扣除可適用之費用。
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ATELIER DE PAOLO CALIARI, DIT VÉRONÉSE (VÉRONE 1528-1588 VENISE)

Études d’une armure, d’un gantelet, d’un casque et d’une poignée d’épée (recto) ; Études de quatre casques (verso) ; et Études d’une armure, de deux gantelets, de quatre poignées d’épées (recto) ; Études d’une armure et d’un casque (verso)

成交價 歐元 30,000
拍品終止拍賣: 2021年3月24日
成交價 歐元 30,000
拍品終止拍賣: 2021年3月24日
細節
ATELIER DE PAOLO CALIARI, DIT VÉRONÉSE (VÉRONE 1528-1588 VENISE)
Études dune armure, dun gantelet, dun casque et d’une poignée d’épée (recto) ; Études de quatre casques (verso) ; et Études d’une armure, de deux gantelets, de quatre poignées d’épées (recto) ; Études dune armure et dun casque (verso)
avec numéro ‘437’ et inscription ‘Scuola di Paolo Veronese’ (i) ; avec inscriptions ‘drito’ (trois fois), ‘rovesci’ et ‘Scuola di/ Paolo V.’
pierre noire et sanguine, plume et encre brune, lavis brun, sur papier bleu (i, recto) ; pierre noire, sanguine et craie blanche, plume et encre brune, lavis brun, sur papier bleu (i, verso, et ii, recto et verso) ; sur une seule feuille d’album, filigrane trois croissants
(i) 30,6 x 21,1 cm
(ii) 30,7 x 20 cm
WORKSHOP OF PAOLO CALIARI, CALLED VERONESE (VERONA 1528-1588 VENICE)
Studies of armour, a gauntlet and the hilt of a sword (recto); Studies of four helmets (verso); and Studies of armour, two gauntlets and the hilts of four swords (recto); Studies of armour and a helmet (verso)
with number ‘437’ and with inscription ‘Scuola di Paolo Veronese’ (i); with inscriptions ‘drito’ (three times), ‘rovesci’ and ‘Scuola di/ Paolo V.’
black and red chalk, pen and brown ink, brown wash, on blue paper (i, recto); black, red and white chalk, pen and brown ink, brown wash on blue paper (i, verso, and ii, recto and verso); on the same album sheet, with watermark three crescents
(i) 30.6 x 21.1 cm (12 x 8 ¼ in.)
(ii) 30.7 x 20 cm (12 x 7 7/8 in.)
來源
Zaccaria Sagredo (1653-1729), Venise (avec inscriptions associées ‘S.P. no 52’ (i, verso) et ‘S.P. no 54’ (ii, recto), et ‘S.P. no 26’ (à côté de i) et ‘S.P. no 27’ (à côté de ii) sur la feuille d’album (L. 2103a)).
Probablement vente anonyme, Lyon, 1919 (voir catalogue de la vente de 1993, p. 6).
Vente anonyme ; Christie’s, Monaco, 2 juillet 1993, lot 28.
注意事項
ƒ: In addition to the regular Buyer’s premium, a commission of 5.5% inclusive of VAT of the hammer price will be charged to the buyer. It will be refunded to the Buyer upon proof of export of the lot outside the European Union within the legal time limit. (Please refer to section VAT refunds)
更多詳情
These drawings were once part by of the famous eighteenth-century Venetian collection of Zaccaria Sagredo, and are still preserved on a sheet from one of the albums in which his collection was kept, with the rather primitive hinges allowing both sides of the sheets to be seen. The double numbers – one on each of the rectos, one next to each of the drawings on the album sheet – are those associated with the Sagredo collection, with the initials probably signifying ‘Scuola di Paolo’.

This attribution, repeated in full on the first of the two drawings, still convinces today. While it has not been possible to connect these studies of armour, helmets, gauntlets and swords with any paintings by the great Veronese painter or his workshop, the use of black and white chalk with pen and wash (although not that of red chalk) is one often favoured by him. However, the only known autograph study of armour by Veronese, a magnificent sheet in Berlin,(1) is executed in a technique, unusual for him, of brush with white heightening. The Louvre owns another sheet with studies of armour in black and white chalk and bearing Sagredo numbers close to these on the present drawings, and has also been assigned to his workshop.(2) This probably also applies to at least four more drawings, not representing armour but in the same technique and sharing the same provenance – three at the Louvre and one in Rotterdam.(3)

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