PROPERTY FROM THE COLLECTION OF DR. JERROLD AND MRS. JACKIE ZIFF (LOTS 3, 8, 13, 20 AND 22)

Circle of Raffaello Motta, called Raffaellino da Reggio (Codemondo 1550-1578 Rome)

God the Father surrounded by angels and cherubim

Details

Circle of Raffaello Motta, called Raffaellino da Reggio (Codemondo 1550-1578 Rome)
God the Father surrounded by angels and cherubim
traces of black chalk, pen and brown ink, brown wash, heightened with white on blue paper
10 7/8 x 16 5/8 in. (277 x 420 mm.)

Provenance

E. Lelli (L. 2852).
R. Udny (L. 2248).
With Herbert Feist, New York (as G.B. Trotti).
Sotheby's, London, 1 July 1971, lot 173 (as after Raffaellino da Reggio).
With Alister Mathews, Bournemouth (as Raffaellino da Reggio), 1973, from whom acquired by the present owner.

Literature

J.A. Gere, 'The Lawrence-Phillips-Rosenbach "Zuccaro Album"' in Master Drawings, VIII, no. 2, 1970, p. 136, under cat. no. 37.

Exhibited

New York, Herbert E. Feist, Italian Master Drawings from 1500-1800, March-April 1969, no. 11.
Urbana-Champaign, Krannert Art Museum, University of Illinois, Drawings from Four Collections, 1973 (as attributed to Bartholomaeus Spranger).
Urbana-Champaign, Krannert Art Museum, University of Illinois, The Ziff Collection of Old Master and Nineteenth Century Drawings, 1999, no. 5.

Sale room notice

Please note that this lot has been withdrawn from the sale

Lot Essay

After a drawing by Raffaellino da Reggio, previously attributed to Federico Zuccaro that was part of an album sixty-seven drawing that at one point was in the collection of Sir Thomas Lawrence. Acquired by Dr. A.S.W. Rosenbach of Philadelphia in 1934, it was later bought by the British Rail Pension Fund and sold at Sotheby's, New York, 11 January, 1990 (lot 45). In his 1970 article, J.A. Gere reattributed many of the drawings in the album that had been attributed to Taddeo and Federico since Lawrence owned them. He attributed God the Father with Angels in a Lunette to Raffaellino da Reggio, who was Federico's assistant. The present drawing is one of several variants after Raffaellino's original. There is an old copy in Stockholm; another version or perhaps a copy in the Rijksmuseum, Amsterdam with the outlines indented and the verso blackened as if for transfer; and another copy in the Bibliothèque nationale, Paris (Gere, op. cit, p. 136).
Gere, who did not see the present drawing first hand, described it as 'better quality' than the one in the Lawrence-Phillips-Rosenbach album (Gere, op., cit., p. 136).

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