Details
FRANCESCO EUGENIO VANNI (SIENNE 1563-1610)
Vierge à l'Enfant
pierre noire, sanguine, filigrane fragmentaire cercle, les angles coupés
11,5 x 8,5 cm (4 5/8 x 3 3/8 in.)
Provenance
Comte George Spencer (1758-1834), Londres (L. 1530) ; vente Thomas Philipe’s, Londres, 10 juin 1811, lot 768 (comme Francesco Vanni .
Vente Cheffins, Cambridge, 25 mars 2010, lot 626.
Collectionneur anonyme (marque ‘FB’ avec feuille de ginkgo biloba, pas dans Lugt) (sur le montage).
Post lot text
FRANCESCO EUGENIO VANNI, VIRGIN AND CHILD, BLACK AND RED CHALK, FRAGMENTARY WATERMARK
From the time it was in the Spencer collection, this drawing has been given to the Sienese artist Francesco Vanni The figures bear close resemblance to a print by Raphael Sadeler I (Hollstein’s Dutch and Flemish Etchings, Engravings and Woodcuts ca. 1450-1700, XXI, Amsterdam, 1980, p. 228, no. 67, XXII, Amsterdam, 1980, ill. p. 193). The engraving’s letter records that its composition is the invention of Vanni. Sadeler and other members of the Sadeler dynasty of printmakers executed several prints after Vanni’s works (S. Boorsch, ‘Vanni fecit, Vanni invenit. The Proliferation of the Artist’s Images’, in Francesco Vanni Art in Late Renaissance Siena, exhib. cat., New Haven, Yale University Art Gallery, 2013, pp. 43-44).
Details
FRANCESCO EUGENIO VANNI (SIENNE 1563-1610)
Vierge à l'Enfant
pierre noire, sanguine, filigrane fragmentaire cercle, les angles coupés
11,5 x 8,5 cm (4 5/8 x 3 3/8 in.)
Provenance
Comte George Spencer (1758-1834), Londres (L. 1530) ; vente Thomas Philipe’s, Londres, 10 juin 1811, lot 768 (comme Francesco Vanni .
Vente Cheffins, Cambridge, 25 mars 2010, lot 626.
Collectionneur anonyme (marque ‘FB’ avec feuille de ginkgo biloba, pas dans Lugt) (sur le montage).
Post lot text
FRANCESCO EUGENIO VANNI, VIRGIN AND CHILD, BLACK AND RED CHALK, FRAGMENTARY WATERMARK
From the time it was in the Spencer collection, this drawing has been given to the Sienese artist Francesco Vanni The figures bear close resemblance to a print by Raphael Sadeler I (Hollstein’s Dutch and Flemish Etchings, Engravings and Woodcuts ca. 1450-1700, XXI, Amsterdam, 1980, p. 228, no. 67, XXII, Amsterdam, 1980, ill. p. 193). The engraving’s letter records that its composition is the invention of Vanni. Sadeler and other members of the Sadeler dynasty of printmakers executed several prints after Vanni’s works (S. Boorsch, ‘Vanni fecit, Vanni invenit. The Proliferation of the Artist’s Images’, in Francesco Vanni Art in Late Renaissance Siena, exhib. cat., New Haven, Yale University Art Gallery, 2013, pp. 43-44).
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