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Giulio Campi A young shepherd seated on a tree trunk, three dogs beside him, figures beyond and houses in the background
作品估价：GBP 12,000 - 18,000
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成交状态：未知
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图录号：
7
拍品名称：
Giulio Campi A young shepherd seated on a tree trunk, three dogs beside him, figures beyond and houses in the background
拍品描述：
Property from a Distinguished Private Collection
Giulio Campi
(Cremona circa 1505 - 1572)
A young shepherd seated on a tree trunk, three dogs beside him, figures beyond and houses in the background
Black chalk with traces of white heightening, indented for transfer;
theversoblackened, andwith some figure sketches;
bears inscription in pencil,verso:Niccoló dell' Abbate
335 by 188 mm
Sale, London, Sotheby's, 5 July 2006, lot 5;
sale, New York, Sotheby's, 27 January 2010, lot 23;
sale, New York, Sotheby's, 26 January 2022, lot 13
G. Bora, 'La decorazione cinquecentesca nella chiesa della Sante Margherita e Pelagia: il committente e l'artista', inLa chiesa delle Sante Margherita e Pelagia. Storia e restauro, (P. Bonometti and G. Colalucci eds.), Cremona 2008, p. 93,reproduced p. 83, fig. 22, note 29
Professor Giulio Bora was the first torecognize, at the time of the 2006 sale, that this very finished study by Giulio Campi – almost abozzetto–ispreparatory for the left side of the frescoed apse witha group of shepherds in the church of Saints Margherita and Pelagia, Cremona, paintedaround1547, when the church was rebuilt and decoratedex novo(a date recorded in an inscription on the façade).1A drawing representingThe Adoration of the Shepherds, now in the British Museum, wasidentified byProfessor Bora as Campi's preparatory study for the very damaged central section of the same apse, of which only a fragment survives.2The strong stylistic influences of both Correggio and Parmigianino are very evident in both the British Museum drawing and the present sheet.Two other finished studies by Giulio,The Raising of LazarusandThe Transfiguration,connected withhis decoration of the lateral walls of the nave in the same church, are in the Royal Collection at Windsor Castle.3Although originallycatalogued as anonymous Parma School works, the Windsor drawingswere independently recognized as the work of Giulio Campi by both Philip Pouncey and Giulio Bora.4
The present drawing is an important addition to this small group offinished compositional studies relating to the decoration of the whole church of Saints Margheritaand Pelagia, a major commission that wasentrusted to Giulio Campiby the humanist scholar Marco Girolamo Vida (1485-1566), with whom he worked on several occasions.Vida, Bishop of Alba, was thetitular prior of the small church and was responsible for the wholeproject andforthe iconographic sequence of thefrescoes, which are based on episodesfrom the life of Christ.With his brother Antonio (1522-1587), Giulio frescoed the entire interior.
1.We are grateful to Giovanni Renzi for kindly drawing our attention to Professor Bora's publication (seeLiterature)
2.London, British Museum, inv. no. 1941,1108.14;I segni dell' arte, IlCinquecento da Praga a Cremona,exhib. cat., Cremona,Museo Civico, 1997, pp. 248-9, reproduced
3.Windsor Castle, Royal Collection, RCIN 991125, 991126
4.Exhib. cat., Cremona,op. cit., nos. 76 and 78
Giulio Campi
(Cremona circa 1505 - 1572)
A young shepherd seated on a tree trunk, three dogs beside him, figures beyond and houses in the background
Black chalk with traces of white heightening, indented for transfer;
theversoblackened, andwith some figure sketches;
bears inscription in pencil,verso:Niccoló dell' Abbate
335 by 188 mm
Sale, London, Sotheby's, 5 July 2006, lot 5;
sale, New York, Sotheby's, 27 January 2010, lot 23;
sale, New York, Sotheby's, 26 January 2022, lot 13
G. Bora, 'La decorazione cinquecentesca nella chiesa della Sante Margherita e Pelagia: il committente e l'artista', inLa chiesa delle Sante Margherita e Pelagia. Storia e restauro, (P. Bonometti and G. Colalucci eds.), Cremona 2008, p. 93,reproduced p. 83, fig. 22, note 29
Professor Giulio Bora was the first torecognize, at the time of the 2006 sale, that this very finished study by Giulio Campi – almost abozzetto–ispreparatory for the left side of the frescoed apse witha group of shepherds in the church of Saints Margherita and Pelagia, Cremona, paintedaround1547, when the church was rebuilt and decoratedex novo(a date recorded in an inscription on the façade).1A drawing representingThe Adoration of the Shepherds, now in the British Museum, wasidentified byProfessor Bora as Campi's preparatory study for the very damaged central section of the same apse, of which only a fragment survives.2The strong stylistic influences of both Correggio and Parmigianino are very evident in both the British Museum drawing and the present sheet.Two other finished studies by Giulio,The Raising of LazarusandThe Transfiguration,connected withhis decoration of the lateral walls of the nave in the same church, are in the Royal Collection at Windsor Castle.3Although originallycatalogued as anonymous Parma School works, the Windsor drawingswere independently recognized as the work of Giulio Campi by both Philip Pouncey and Giulio Bora.4
The present drawing is an important addition to this small group offinished compositional studies relating to the decoration of the whole church of Saints Margheritaand Pelagia, a major commission that wasentrusted to Giulio Campiby the humanist scholar Marco Girolamo Vida (1485-1566), with whom he worked on several occasions.Vida, Bishop of Alba, was thetitular prior of the small church and was responsible for the wholeproject andforthe iconographic sequence of thefrescoes, which are based on episodesfrom the life of Christ.With his brother Antonio (1522-1587), Giulio frescoed the entire interior.
1.We are grateful to Giovanni Renzi for kindly drawing our attention to Professor Bora's publication (seeLiterature)
2.London, British Museum, inv. no. 1941,1108.14;I segni dell' arte, IlCinquecento da Praga a Cremona,exhib. cat., Cremona,Museo Civico, 1997, pp. 248-9, reproduced
3.Windsor Castle, Royal Collection, RCIN 991125, 991126
4.Exhib. cat., Cremona,op. cit., nos. 76 and 78