GRABADOS ARENBERG 19.10.2019

Dessins et peintures anciens – Oude tekeningen & schilderijen
A hooded monk praying in front of a tree while looking upwards to the left.
Possibly a preparatory study for an unidentified painting representing St
Francis. The vivid drawing style can be linked to similar drawings in black chalk
by the Bolognese painter Cavedone (1577-1660), such as the «The Penitent
Magdalene» in the collection of the British Museum (inv. 1946,0713.1502).
Ref. E. Negro and N. Roio, «Giacomo Cavedone 1577-1660», Modena, 1996.
117 [Italian school]
Circle of DA CORTONA, Pietro - Study of draperies. [Rome],
first half of 17th c.
Drawing, black and white chalk, 28,9 x 22,4 cm, brown laid paper, unsigned (upper
and right edges sl. frayed, some creases not affecting the image, paper toned).
200 / 250 €
Skilful sketch of an arm and folding draperies. The style and technique recalls a
draughtsman working in Rome at the turn of the seventeenth century. On the
verso, a second sketch of a female head shows a resemblance to similar figure
studies by Pietro da Cortona (1596-1669) such as an attributed drawing showing
«Study of a nymph», recently sold at Christie’s (31 Jan. 2019, lot 35), or «a study for
the Allegory of Religion» in the Metropolitan Museum of New York (inv. 64.197.3).
118 [Italian school]
Circle of GIONIMA, Antonio - Noli me tangere. C. 1680-1730.
Drawing, pen and brown ink, brown wash, heightened with white, 28 x 19,6 cm,
laid paper, unsigned (lower right corner heavily affected by ink corrosion with loss
of image, some stains, lower edges frayed, sm. lacune upper left). Glued by corners
on later paper support.
250 / 300 €
The drawing shows characteristics of the Bolognese Baroque school of the late
seventeenth century. In particular, drawings attributed to Antonio Gionima
(1697-1732) come close to the composition, technical execution and stylistical
elements of the present drawing. A similar angel-type is present in «St Roch in
the desert» in the collection of the Morgan Library in New York (inv. 1992.121).
In addition, the combination of diagonal hatching with the use of brown wash is
equally present in other drawings of the same oeuvre, which allows approximate
localisation and dating of the present sheet. The idiosyncratic elongated shape
of the hand of Christ, for example, is similar to the hands in «The Virgin and Child
Enthroned» in the Metropolitan Museum of New York (inv. 80.3.495).
Ref. J .Bean and W. M. Griswold «18th Century Italian Drawings in The
Metropolitan Museum of Art», New York, 1990, cat. no. 77.
Prov. Bonhams Sale 9.12.2002, lot 31 (as Bolognese school, 17th century).
119 [Italian school]
Attributed to MILANI, Aureliano - The Incredulity of Saint
Thomas. C. 1700-1749.
Drawing, pen and brown ink with wash, heightened with white, 44 x 32 cm, on
verso in cont. hand «A. Milani» (min. foxing, sm. blue stains in lower right, rep.
tear in lower part, sm. defects in lower left margin). Stuck by upper corners under
passe-partout.
350 / 600 €
Classical representation of Jesus, here in an architectural setting and surrounded
by numerous disciples, guiding Thomas’ fingers into the wound. The ms. note
refers to the Italian painter of the late Baroque period A. Milani (1675-1749), who
was active in Bologna and Rome.
the subject was Pietro da Cortona (1596-1669). The present drawing copies
many of the elements also present in da Cortona’s composition such as the two
chambermaids in the background and the dagger in Nero’s hand. In style the
sheet comes very close to that of Giovanni Romanelli (1610-1662), who worked
in da Cortona’s workshop untill 1630. In particular, the rendering of draperies,
the locks of curly hair and the treatment of Nero’s left foot are elements which
make attribution to Romanelli very plausible. Comparable drawings are «The
Banquet of Dido and Aeneas» and «Juno asking Jupiter for Custody of Io» in the
British Museum (inv. Ff,3.195 and Ff,3.196).
Ref. N. Turner, «Roman Baroque Drawings, 1620-1700», London 1980, nos. 21,
273.
121 [Italian school]
Attributed to SIMONINI, Francesco - Battle scene in front of a
fortress. 18th c.
Drawing, pen and brush with black and grey ink, 21 x 36,5 cm (visible), laid paper
framed with gilt lines. Passe-partout, wooden frame (not studied outside frame).
600 / 800 €
Simonini (Parma 1686-after 1753 Venice or Florence) was an Italian painter. He
travelled to Florence, Rome and Bologna but found success in Venice, where he
worked for Johann Matthias von der Schulenburg, mercenary commander of the
Venetian forces in the struggle against the Turks, from 1733 to 1745 and painted a
great number of battle scenes involving cavalry. His peculiar style, characterised
by quick brushstrokes and the use of bright colours, was developed under the
influence of the contemporary Venetian school with particular reference to view
painters such as Marco Ricci and Francesco Guardi.
122 [Italian school]
Attributed to TAVARONE, Lazzaro - Seated woman.
Drawing, pen and brown ink, grey wash, 16 x 19,5 cm, underlaid, unsigned
(several creases, sm. holes, dampstain near female head).
200 / 250 €
120 [Italian school]
Attributed to ROMANELLI, Giovanni Francesco - Emperor
Nero kicking his wife Poppaea. C. 1630-1660.
Drawing, pen and brown ink, brown wash over black chalk, traces of graphite,
40,3 x 28,5 cm, underlaid, unsigned (prick holes in upper corners, dampstains at
lower edge, several lacunes with loss of paper). Glued on cardb. support.
600 / 700 €
This scene is taken from Suetonius (Life of Nero 35.3) who relates that while
Poppaea was awaiting the birth of her second child in the summer of 65, she
quarreled fiercely with Nero over his spending too much time at the races. In a fit
of rage, Nero kicked her in the abdomen, causing her death. This gruesome scene
from Roman history is rarely depicted in art. One of the few artists who tackled
ARENBERG AUCTIONS • 19.10.2019 • 43