LOT 17
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Biagio Pupini, called Biagio dalle Lame The scourging of a male Saint
作品估价：GBP 10,000 - 15,000
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成交状态：未知
买家佣金拍卖企业在落槌价的基础上收取买家佣金
26%
图录号：
17
拍品名称：
Biagio Pupini, called Biagio dalle Lame The scourging of a male Saint
拍品描述：
Biagio Pupini, called Biagio dalle Lame
(active Bolognacirca1511 - 1575)
The scourging of a male Saint
Pen and brown ink and wash, heightened with white;
bears old attribution in pen and ink, lower center:F. Parmagiano
247 by 196 mm
Possibly Pierre Crozat (1665-1740), Paris (bears numbering, 8, similar to his - see L.3612);
William Bates (1824-1884), Birmingham (L.2604);
sale, London, Sotheby's, 9 July 1981, lot 3;
sale, London, Christie's, 19 April 1994, lot 9;
withAdolphe Stein, Paris;
Private Collection, Belgium;
sale, New York, Sotheby's, 25 January 2006, lot 36,
where acquired by Jimmy Younger (1928-2022), Houston,
his estate sale, New York, Sotheby's, 31 January 2024, lot 208
Rotterdam, Kunsthal, European Master Drawings Unveiled,2002, no. 78, reproduced.
The old attribution to Parmigianino(1503-1540) that is inscribed on this drawing is not surprising, given the clear stylistic debt to the Parmesan master.Parmigianino was in Bolognacirca1527-30, and was extremely influential in the formation of the younger generation of Emilian artists.As was frequently the case in his graphicœuvre, Pupini here adopts a technique very similar to that of Parmigianino, with abundant contrasting use of white heightening to enliven the elongated and elegant figures, definedby skillfully applied pen and ink, and different shades of brown wash.
The construction of the space in the present sheet, witha figure seatedin the foreground and steps leading up to the main, crowded figure group, is comparable to a panel by Pupini, depicting theMarriage of theVirgin,in Palazzo Pitti, Florence.1First attributed to Pupini by Philip Pouncey, that painting is datable to the mid 1530s, on the basis of its debt to Parmigianino's style.
In hisLe pitture di Bologna, the biographer Carlo Cesare Malvasia (1616-1693) referred to Pupini as a pupil of Francesco Francia (1447-1517), though not a lot is known about his early training.2Interestingly, Pupini was also a musician, and the 17th-century biographer Giovanni Antonio Bumaldo (1601-1671) described him as'pictor et musicus perexcellens'.3
(active Bolognacirca1511 - 1575)
The scourging of a male Saint
Pen and brown ink and wash, heightened with white;
bears old attribution in pen and ink, lower center:F. Parmagiano
247 by 196 mm
Possibly Pierre Crozat (1665-1740), Paris (bears numbering, 8, similar to his - see L.3612);
William Bates (1824-1884), Birmingham (L.2604);
sale, London, Sotheby's, 9 July 1981, lot 3;
sale, London, Christie's, 19 April 1994, lot 9;
withAdolphe Stein, Paris;
Private Collection, Belgium;
sale, New York, Sotheby's, 25 January 2006, lot 36,
where acquired by Jimmy Younger (1928-2022), Houston,
his estate sale, New York, Sotheby's, 31 January 2024, lot 208
Rotterdam, Kunsthal, European Master Drawings Unveiled,2002, no. 78, reproduced.
The old attribution to Parmigianino(1503-1540) that is inscribed on this drawing is not surprising, given the clear stylistic debt to the Parmesan master.Parmigianino was in Bolognacirca1527-30, and was extremely influential in the formation of the younger generation of Emilian artists.As was frequently the case in his graphicœuvre, Pupini here adopts a technique very similar to that of Parmigianino, with abundant contrasting use of white heightening to enliven the elongated and elegant figures, definedby skillfully applied pen and ink, and different shades of brown wash.
The construction of the space in the present sheet, witha figure seatedin the foreground and steps leading up to the main, crowded figure group, is comparable to a panel by Pupini, depicting theMarriage of theVirgin,in Palazzo Pitti, Florence.1First attributed to Pupini by Philip Pouncey, that painting is datable to the mid 1530s, on the basis of its debt to Parmigianino's style.
In hisLe pitture di Bologna, the biographer Carlo Cesare Malvasia (1616-1693) referred to Pupini as a pupil of Francesco Francia (1447-1517), though not a lot is known about his early training.2Interestingly, Pupini was also a musician, and the 17th-century biographer Giovanni Antonio Bumaldo (1601-1671) described him as'pictor et musicus perexcellens'.3