'LESS WORDS, MORE PICTURES' by Paul Sowden
Sant' Angelo In Vado, Marches 1540/42 - 1609 Ancona
Federico Zuccaro (Sant' Angelo In Vado, Marches 1540/42 - 1609 Ancona) Submission of the Emperor Frederick Barbarossa to Pope Alexander III. photo Sotheby's
Pen and brown ink and gray-brown wash over traces of black chalk and slight traces of red chalk. 10 5/8 by 16 1/2 in; 270 by 420 mm. Est. 120,000—160,000 USD. Lot Sold 194,500 USD
PROVENANCE: Sir Peter Lely (L.2092)
NOTE: This is an important addition to the existing corpus of studies for Federico's painting in the Sala del Gran Consiglio in the Palazzo Ducale, Venice (fig.1). In 1577 a major fire had swept the room, destroying the Guariento Paradiso as well as 14th- and 15th-century works devoted to important moments in Venetian history. In 1582 the Senate decided to restore the decoration of the room and Federico was awarded the commission to paint this subject, previously painted by Titian. Although he seems to have begun work immediately, he did not complete the painting until a return visit to Venice in 1603. The painted composition is an upright one, with the Pope standing under a baldacchino outside the narthex of S. Marco, his foot on the neck of the kneeling Emperor, with the Piazzetta and S. Giorgio Maggiore beyond.
The drawing which has been considered Federico's first idea for the painting is now in the Morgan Library, a vertical composition, with soldiers and a Swiss Guard and a dog in the foreground, but looking towards the Torre dell'Orologio as in the present composition.1 The reason for the subsequent change of orientation in the painting is not clear, but James Mundy suggests that it may have been in order to balance the nearby composition by Palma Giovane.2
The three other known composition studies for the painting are all close to the finished version. J.A. Gere published a sketchy study in an English private collection, which has a very similar arrangement of figures and includes the baldacchino but slightly differently placed.3 Another formerly in the Woodner Collection also has small variations, no baldacchino, and a pentimento of the side of the Doge's Palace, but is rather damaged and difficult to read. 4 The third is in the Getty Museum, again without the baldacchino and with some differences in the figures, but highly finished and perhaps a presentation drawing. 5 George Goldner mentions another compositional study, close to the Woodner version, in a French private collection, but does not illustrate it.6 There are also several individual figure studies which have been connected with the painting.
The present drawing is unusual in the group in that it is a large horizontal composition in an elaborate architectural setting, not at all suitable for the space ultimately allotted to the painting. It seems possible, therefore, that this is in fact Zuccaro's first idea for the commission that he submitted to the Senate in hopes of being given a larger space in the Sala to fill. It is a totally characteristic example of Federico's draftsmanship and figure type, full of lively details. In it he seems also to have absorbed compositional influences from the work of Venetian painters such as Veronese and Tintoretto. And, interestingly, a drawing exists which is thought by James Mundy and John Gere to be his copy after Tintoretto's Coronation of Frederick Barbarossa, one of the paintings lost in the fire in the Sala del Gran Consiglio, which Federico would have seen on his first visit to Venice in 1563-65 and which shows similarities with his own later painting for the Sala. 7 Although he had to alter his plans to suit the vertical space that was assigned to him in Venice, the ideas expressed in the present drawing can also be found in his design for the fresco decoration of 1604 in the Collegio Borromeo, Pavia, representing Carlo Borromeo Created a Cardinal by Pope Pius IV.8
The event depicted was an important one in Venetian diplomatic history as the Doge Sebastiano Ziani was influential in arranging the submission of the Emperor, whose son had been captured by the Venetian fleet, to the Pope. The Doge can be seen at the Pope's side in the painting and very clearly in the present drawing.
1. See J. Mundy, Renaissance into Baroque..., exhib. cat., Milwaukee, Milwaukee Art Museum and New York, National Academy of Design, 1989-90, p. 256, cat. no. 86
2. Ibid., pp. 258-59
3. J.A. Gere, 'The Lawrence-Phillipps-Rosenbach "Zuccaro Album"', in Master Drawings, vol. VIII, no. 2, 1970, p. 132, under cat. no. 21, reproduced fig. 1
4. Mundy, op. cit., p. 262, cat. no. 88
5. Ibid., p. 260, cat. no. 87
6. G. Goldner, European Drawings I, Malibu 1988, p. 132, under cat. no. 55
7. Mundy, op.cit., p. 178, cat. no. 54
8. Florence, Uffizi, inv. no.11031F. See C. Acidini Luchinat, Taddeo e Federico Zuccari, Milan 1999, vol. II, p. 249, fig. 42
Sotheby's. Old Master Drawings. 27 Jan 10. New York www.sothebys.com
A Chinese Imperial porcelain blue and white vase. Six character mark of Kangxi and of the period, 1662-1722.
A Chinese Imperial porcelain blue and white vase. Six character mark of Kangxi and of the period, 1662-1722.
of mallet form with tall cylindrical neck, beehive form body and flat foot rim, painted with two opened winged archaic style phoenix birds each with their heads turned holding a ring in their beaks. 7 3/8 inches, 18.7 cm high. Price on application
Notes: Formerly in the collection of J. T. Tai, New York.
Formerly in the collection of Cyrus and Mildred Churchill, Moleen, Illinois.
An identical vase in the Palace Museum collection, Beijing is illustrated by Chen Ren Min in Qing Dynasty, Underglaze Blue Porcelain of the Shunzhi and Kangxi Period in the Gugong Museum Collection, 2005, no. 266, p.412 and another is illustrated by Regina Krahl in Chinese Ceramics from the Meiyantang Collection, volume II, no. 754, p. 126.
A similar vase with copper-red phoenix birds is illustrated by Wang Qingzheng, in Kangxi Porcelain Ware from the Shanghai Museum Collection, no. 71, p.108.
Marchant. 120 Kensington Church Street London W8 4BH. www.marchantiques.com
Antonio della Corna (or Cornia), Saint Julian the Hospitaller, believing to surprise his wife and a lover, Kills his Parents
Antonio della Corna (or Cornia) (Born in Cremona; active in the last quarter of the 15th century), Saint Julian the Hospitaller, believing to surprise his wife and a lover, Kills his Parents. Photo: Christie's Images Ltd., 2010
oil on panel. signed and inscribed in Latin lower right: .HOC Q[UOD] MANTENEE DIDICI[T] SVB DOGMATE/ CLARI-/ ANTONI CORNE DEXTERA PINXIT/ OPVS-and dated on the coat-of-arms hanging on the wall: M/ CCCC and LXXX/ VIII [1488]. 53 by 60 1/8 in.; 134.5 by 152.7 cm. Est. 150,000—200,000 USD. Lot Sold 206,500 USD
PROVENANCE: In the collection of the artist and biographer Giambattista Zaist (1700-1757), Cremona;
In the collection of Panni, editor of the posthumous edition of Zaist's book (see Literature), Cremona, after 1774;
Conti Averoldi, Brescia, by 1827 (according to Grasselli, see Literature);
Monsignor Bignami collection, Casalmaggiore, by 1869 (according to Galantino, see Literature);
Pelletier collection, Paris, by 1932 (according to Fiocco, see Literature);
With Galleria Bellini, Florence, by 1954;
With Agnew's, London, 1967 (according to Kaftal, see Literature);
Acquired from the above shortly afterwards by the father of the present owner;
Thence by descent.
EXHIBITED: Florence, Palazzo Strozzi, La casa italiana nei secoli. Mostra delle arti decorative in Italia dal Trecento all'Ottocento, May - October 1948;
London, Agnew's, Old Masters. Recent Acquisitions, 1967, no. 50.
LITERATURE AND REFERENCES: G.B. Zaist, Notizie istoriche de' pittori, scultori ed architetti Cremonesi, Cremona 1774, ed. Rome 1965, pp. 37-39;
G. Biffi, Memorie per servire alla storia degli artisti cremonesi, 1773-1788, ed. Cremona 1989, pp. 29-30;
P. Ceruti, Biografia soncinate, Milan 1834, pp. 96-101;
F. Galantino, Storia di Soncino con documenti, Milan 1869, pp. 321-22;
L. Lanzi, Storia Pittorica d'Italia, Bassano 1809, vol. IV, pp. 119 ff.;
G. Grasselli, Abecedario biografico dei pittori, scultori ed architetti cremonesi, Milan 1827, p. 109;
J.A. Crowe & G.B. Cavalcaselle, A History of Painting in North Italy, vol. II, London 1871, p. 73, footnote 1;
F. Sacchi, Notizie pittoriche cremonesi raccolte da F. Sacchi, Cremona 1872, pp. 101-2;
M. Salmi, "Una Mostra di antica pittura lombarda", in L'Arte, Year XXVI, 1923, p. 154;
G. Fiocco, "Porträts aus der Emilia", in Pantheon, vol. 10, no. 11, November 1932, p. 340, reproduced p. 338;
R. Longhi, Carlo Braccesco, Milan 1942, p. 25, footnote 26;
C.L. Ragghianti, La casa italiana nei secoli. Mostra delle arti decorative in Italia dal Trecento all'Ottocento, exhibition catalogue, Florence, Palazzo Strozzi, May - October 1948, p. 45;
A. Podestà, "La casa italiana nei secoli", in Emporium, vol. CVII, no. 646, October 1948, p. 174, reproduced;
A. Puerari, La Pinacoteca di Cremona, Cremona 1951, p. 54;
C. Baroni & S. Samek Ludovici, La pittura lombarda del Quattrocento, Messina 1952, pp. 81 and 225;
L. Coletti, Pittura Veneta del Quattrocento, Novara 1953, p. XLIV, p. 44, footnote 53, reproduced plate 81;
F. Bologna, "The Cremonese Ceiling from Via Belvedere," in The Burlington Magazine, vol. 96, no. 615, June 1954, pp. 167-68, footnote 10, reproduced, fig. 12;
A. Puerari, Boccaccino, Milan 1957, p. 38;
F. Voltini, "Antonio della Corna ad Asola", in Paragone, vol. IX, no. 97, January 1958, p. 14;
F. Zeri, "Studies on Italian Paintings II: Panels of the Passion of Christ by Antonio della Corna," in Journal of the Walters Art Gallery, vols. 29-30, 1966-67, p. 57;
M. Trionfi-Honorati, "A proposito del 'Lettuccio'", in Antichità Viva, vol. 20, no. 3, 1981, p. 45, footnote 39, reproduced fig. 12;
G. Kaftal, Iconography of the Saints in the Painting of North-West Italy, Florence 1985, pp. 414-17, reproduced fig. 581;
M. Tanzi, "Ipotesi per Paolo Antonio de Scazolis", in Itinerari, vol. 5, 1988, p. 101;
M. Tanzi, 'Della Corna, Antonio', in Dizionario Biografico degli Italiani, vol. XXXVI, Rome 1988, p. 760;
G. Bolaffi ed., Dizionario Enciclopedico dei Pittori e degli Incisori Italiani, vol. III, Turin 1990, p. 439;
M. Tanzi, "Fra Quattro- e Cinquecento: un crocivio culturale al centro della Valle Padana", in ed. M. Gregori, Pittura a Cremona dal Romanico al Settecento, Milan 1990, p. 19;
A. Galli, Antonio della Corna e il Maestro di Palazzo d'Arco: Due Artisti tra Cremona e Mantova a fine Quattrocento, Doctoral Dissertation, Università Cattolica del Sacro Cuore di Milano, Milan 1993, pp. 192-202;
A. Galli, "Antonio della Corna e il Maestro di Palazzo d'Arco", in Arte Cristiana, vol. LXXXIII, no. 769, July - August 1995, pp. 275-76, and p. 282, footnote 7, reproduced p. 276, fig. 1 (as dated 1488).
NOTE: Although Antonio della Corna is little-known outside of his native Cremona, this panel is a seminal work in his œuvre for, being signed, inscribed and dated, it constitutes the artist's earliest known work. The first reference to the painting is in Giambattista Zaist's book on Cremonese artists, edited by Zaist's brother-in-law and published posthumously in 1774. At the time of writing, Zaist actually owned the painting and indulged in a detailed description of the work, transcribing the inscription and date, which he erroneously read as 1478. He wrote: 'I am lucky to have come across a painting on panel, by his hand, which, despite suffering from woodworm, appears nicely painted and well preserved. It is currently in my possession, and thus I have to mention it, even though it hangs in my private home, because it is the only [painting] on which I can base these brief notices.'1 Zaist's account served as the principal source for subsequent scholars, all of whom assumed it to be accurate due to his firsthand knowledge of the painting.2 In fact, the date reads 1488 (not 1478) and this accords well with what is known of Della Corna's later activity. The panel still maintains its status as Della Corna's earliest recorded work and remains only one of two firmly documented paintings by the artist.3
Zaist was the first to describe the panel as 'mantegnesque' and Della Corna's inscription would appear to support this judgement: "Hoc, quod Manteneae didicit sub Dogmate claris, Antonii Cornae dextera pinxit opus" ('This work, which he learned under the instruction of the famous Mantegna, was painted by the hand of Antonio della Corna'). Despite declaring himself a pupil of Mantegna's, Della Corna's words should not be taken literally. Cavalcaselle did so and this led him to mistakenly identify the artist of this painting as Antonio da Pavia, a pupil of Mantegna in Mantua, despite the artist's name being clearly stated as Antonio della Corna (Antonii Cornae).4 Though Della Corna may not have been a direct pupil of Mantegna the painting's mantegnesque elements are self-evident. Most obviously, the figure of Saint Julian's father, reclining in bed and shown in sharp foreshortening, is clearly inspired by Mantegna's Dead Christ in the Pinacoteca di Brera, Milan.5 Scholars have noted the influence of Francesco Cossa and Baldassare d'Este, thus illustrating the diffusion of Ferrarese culture in Lombardy.
The scene shows Julian the Hospitaller (also known as Julian the Poor) murdering his own parents, whom he has mistakenly taken for his wife in the arms of a lover. Della Corna sets the scene in a 15th-century bedroom: the headboard of the bed is painted with a landscape that is a continuation of the 'actual' view visible through both arched window openings.6
We are grateful to Alessandro Galli for his assistance in cataloguing this lot.
1. 'A me però è toccata la sorte, di rinvenire una Tavola di legno, da esso dipinta, la quale, benchè rosa dal tarlo, pur apparisce ancora ben colorita, e competentemente conservata. Ella è ora esistente appresso di me, che trovomi costretto a mentovarla, quantunque riposte in luogo private, perchè è l'unica, da cui ricavar posso le presenti, scarse notizie' (Zaist, see Literature, p.38).
2. Galli was the only one who correctly read the date as 1488, following the correct transcription in the Agnew's 1967 exhibition catalogue.
3. The only other firmly documented work is Della Corna's triptych in the Bagatti-Valsecchi collection, which is signed and dated 1494.
4. The information about Cavalcaselle is relayed by Bologna, under Literature, p. 167.
5. For which see N. Garavaglia, L'opera completa del Mantegna, Milan 1967, pp. 108-9, cat. no. 57, reproduced in colour plates LX-LXI.
6. A whole article has been dedicated to the design of the 'lettuccio' (bed), in which this painting is mentioned: see Trionfi-Honorati, under Literature.
Christie's. Old Master & 19th Century Paintings, Drawings, & Watercolors. 27 January 2010. New York, Rockefeller www.christies.com
Unvalentines Jewelry: Dagger and Heart Druzy Pendant by Druizgjg
Druizgjg. Dagger and Heart Druzy Pendant
39ct 33x27x9x9mm Druzy onyx cabochon heart shape, bezel set in sterling silver with a gold studded bail 5.83mm id and a 60mm silver, gold and copper dagger going through it. It comes on a 2.5mm 16" ss ball chain. Price $200.00 USD @ etsy
Rolph Scarlett, two Silver-smithed designs of sterling silver and semi-precious stones, circa 1955
Rolph Scarlett, Silver-smithed designs of sterling silver and semi-precious stones, circa 1955
Authenticated by the estate. height - 5 in, width - 5 in, depth - 2.5 in. Estimate: from $20,000 to $30,000
Rolph Scarlett, Silver-smithed design of sterling silver, pearl and semi-precious stones, circa 1955
Authenticated by the estate. height - 3 in, width - 4.5 in, depth - 2.5 in. Estimate: from $20,000 to $30,000
Notes: Created during the mid-50s, after SCARLETT had returned to New York from Hollywood, and a period when the artist was involved with Hilla Rebay and Solomon Guggenheim.
SELECTED PUBLIC COLLECTIONS:
Amon Carter Museum, Fort Worth, TX
Brooklyn Museum of Art, Brooklyn, NY
Carnegie Museums of Pittsburgh/Carnegie Institute, Pittsburgh, PA Farnsworth Art Museum, Rockland, ME
Jane Voorhees Zimmerli Art Museum, New Brunswick, NJ
Los Angeles County Museum of Art, Los Angeles, CA
Macdonald Stewart Art Centre, Guelph, Ontario, Canada
Montréal Museum of Fine Arts, Montréal, Ontario, Canada
Sheldon Memorial Art Gallery, Lincoln, NE
Smithsonian American Art Museum, Washington, D.C.
Solomon R. Guggenheim Museum, New York, NY
The Cummer Museum of Art, Jacksonville, FL
The Museum of Modern Art, New York, NY
Whitney Museum of American Art, New York, NY
Woodstock Artists Association, Woodstock, NY
Artnet Auctions. Tuesday, February 09, 2010, 2:52 PM EST www.artnet.com
Ensemble de pièces à fond dit “noir basalte”, XIXe siècle.
Bol et vase à large bord, XIXe siècle
décor en léger relief sur fond dit ”noir basalte” de personnages à l'Antique, guirlandes et filets. (Marqués). Estimation : 150 / 250 €
Vase à grand bord, XIXe siècle.
décor en léger relief de guirlandes et filet sur fond dit ”noir basalte”. (Marqué) Hauteur : 9,5 cm. Estimation : 80 / 120 €
Trois vases, XIXe siècle
décor en léger relief de filets, motifs quadrillés et têtes de boucs sur fond dit ”noir basalte”. Estimation : 80 / 100 €
Grande verseuse, XIXe siècle.
avec couvercle bombé orné d'une prise en forme de fleurs et petit vase globulaire à larges bords, fond dit “noir basalte”, motifs de rubans sur textile en léger relief. (Marquée en creux). Hauteur : verseuse : 24 cm. Estimation : 150 / 250 €
Grand pichet à bec pincé, XIXe siècle.
décor sur fond noir dit “noir basalte”, décor en relief d'une frise d'amours célébrant des festivités sur la panse et de côtes sur le col et la base en léger relief. (Marqué) Hauteur : 24 cm. Estimation : 150 / 250 €
Ensemble de pièces de service à thé à fond dit “noir basalte”, XIXe siècle.
inspirés des céramiques étrusques comprenant : une petite verseuse, une théière de forme ovoïde, un pot à lait, une tasse. (Marquées).Hauteur : 16 cm. Longueur : 16,5 cm. Estimation : 150 / 250 €
Beaussant-Lefèvre - Paris. Vente du Mercredi 10 février 2010. Drouot Richelieu - Salle 5 - 9, rue Drouot - 75009 Paris. Pour tout renseignement, veuillez contacter la maison de ventes au 01 47 70 40 00
Brûle-parfum, Paire de chandeliers & Grand vase couvert à piédouche à fond dit “noir basalte”, XIXe siècle
Brûle-parfum à fond dit “noir basalte”, XIXe siècle.
sur base triangulaire à pans coupés, le corps cylindrique est supporté par des protomes de tigres ailés surmontés d'une coquille destinée à recevoir une bobèche. Motifs de feuillages enroulés sur le corps. (Marqué) Hauteur : 22,5 cm - Estimation : 300 / 500 €
Paire de chandeliers formés de deux dauphins sur socle rectangulaire, fond dit “noir basalte”, XIXe siècle.
la queue formant le bougeoir. (Marquée). Hauteur : 21 cm - Estimation : 800 / 1 200 €
Grand vase couvert à piédouche muni d'anses sur socle carré, XIXe siècle.
décor en léger relief sur fond dit ”noir basalte” d'une ronde de femmes à l'Antique, de filet et motifs fleuris. (Marqué) Hauteur : 32 cm - Estimation : 500 / 600 €
Beaussant-Lefèvre - Paris. Vente du Mercredi 10 février 2010. Drouot Richelieu - Salle 5 - 9, rue Drouot - 75009 Paris. Pour tout renseignement, veuillez contacter la maison de ventes au 01 47 70 40 00
Paire de plaques ovales encadrées à fond dit ”noir basalte”, XIXe siècle.
Paire de plaques ovales encadrées à fond dit ”noir basalte”, XIXe siècle.
décor en léger relief d'Hercule luttant contre le lion de Némée, d'Hercule portant la dépouille du lion de Némée. (Marquées). Longueurs : 19 cm - Estimation : 150 / 250 €
Beaussant-Lefèvre - Paris. Vente du Mercredi 10 février 2010. Drouot Richelieu - Salle 5 - 9, rue Drouot - 75009 Paris. Pour tout renseignement, veuillez contacter la maison de ventes au 01 47 70 40 00
