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Taddeo Zuccaro (Sant’Angelo in Vado 1529-1566 Rome) and Bartolomeo Passarotti (Bologna 1529-1592)
Taddeo Zuccaro (Sant’Angelo in Vado 1529-1566 Rome) and Bartolomeo Passarotti (Bologna 1529-1592)
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Taddeo Zuccaro (Sant’Angelo in Vado 1529-1566 Rome) and Bartolomeo Passarotti (Bologna 1529-1592)

Two studies of Diana with her hounds (recto); A partially draped woman holding a vessel on her head (verso)

Details
Taddeo Zuccaro (Sant’Angelo in Vado 1529-1566 Rome) and Bartolomeo Passarotti (Bologna 1529-1592)
Two studies of Diana with her hounds (recto); A partially draped woman holding a vessel on her head (verso)
with inscription ‘del [?] Tadeo’ (recto)
black chalk, pen and brown ink, brown wash (recto); red chalk, pen and brown ink (verso), extended along the lower edge with a separate sheet of paper
12 7/8 x 7 ½ in. (32.6 x 19 cm)
Provenance
Modesto Ignazio Bonaventura Luigi Genevosio (1719-1795), Turin (L. 545, recto and verso, with his (erased and illegible) inscription on his associated mount); sold in 1794 to Giovanni Antonio Turinetti, Marquis of Priero (1762-1801), Turin and sold by his family in 1803.
Giuseppe Vallardi (1784-1863), Milan (L. 1223, recto and verso, and with associated red chalk numbers ‘D. 13 and ‘D. 12’ respectively).
Anonymous sale; Christie's, London, 22 March 1960, lot 135 (100 gns. to Hans Calmann), from whom acquired by Robert Landolt.
Literature
J.A. Gere, Taddeo Zuccaro. His Development Studied in His Drawings, London, 1969, no. 23, pl. 23 (Zuccaro only).
P.G. Tordella, ‘Il collezionismo dei disegni a Torino e in Piemonte da Emanuele Filiberto all’età napoleonica’, in G.C. Sciolla, ed., ‘…quei leggierissimi tocchi di penna o di matita…’. Le collezioni di disegni in Piemonte, Milan, 1996, p. 55, n.
Possibly A. Cifani and F. Monetti, ‘Il Commendatore Genevosio, collezionista di disegni, dipinti antichi e antichità greco-romane a Torino nel Settecento. Nuovi documenti’, Saggi e Memorie di storia dellarte, XXVI, 2002, p. 206.
M.S. Bolzoni, ‘Intorno a due poco noti disegni di Taddeo Zuccari per la cappella Mattei in Santa Maria della Consolazione’, ArtItalies, 20, 2014, pp. 26-27, 29 n. 30, figs. 12-13.
H. Damm, in Galleria portatile. Handzeichnungen alter Meister aus der Sammlung Hoesch, Petersberg, 2017, pp. 73-74, under no. 13, fig. 5.
Exhibited
Zurich, Graphische Sammlung ETH, Zwiegespräch mit Zeichnungen. Werke des 15. bis 18. Jahrhunderts aus der Sammlung Robert Landolt, 2013-2014, nos. 5a and 5b, ill. (catalogue entry by M.S. Bolzoni).
Special notice

These lots have been imported from outside the EU or, if the UK has withdrawn from the EU without an agreed transition deal, from outside of the UK for sale and placed under the Temporary Admission regime. Import VAT is payable at 5% on the hammer price. VAT at 20% will be added to the buyer’s premium but will not be shown separately on our invoice.

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Lot Essay


In this exceptional double-sided drawing, two brilliant young artists worked each on one side of the same sheet. On the recto, Taddeo Zuccaro drew the graceful but commanding figure of Diana, as identified by the crescent on her forehead, striding forwards accompanied by her hounds. On the verso, Taddeo’s friend Passarotti filled the sheet with a larger, similarly draped female figure, seen from the back while carrying a vase on her head. Following the old inscription (and probably working from an old photograph, as he was unaware of the drawing on the back), John Gere rightly attributed the recto to Taddeo, and compared it to a study in the Uffizi of a woman running forwards (inv. 1146 S; see op. cit., no. 48, pl. 21). The Landolt drawing is executed in the artist’s distinctive ‘electric’ penwork and dates to the early 1550s, when he was living in Rome. While the figure on this sheet cannot be directly connected with any of Taddeo’s paintings, the story of Diana and her nymphs unravels on the ceiling of the ground floor of Villa Giulia, the suburban residence of Pope Julius III on the Pincio, which Taddeo painted with Prospero Fontana between 1553 and 1555, as recorded both by Vasari and documentary evidence.

The boldly executed figure on the verso was already recognized by Hans Calmann and Robert Landolt as a characteristic drawing by Passarotti. It was subsequently published as such by Michael Matile (op. cit.). In its drapery, wrapped round the body from the waist down, and its matching position from behind, the figure appears almost as a playful exercise based on Taddeo’s drawing on the recto. Raphael’s woman holding a vessel frescoed in the Stanza dell’Incendio might have inspired the artist, who presumably added the strips of paper to extend the original sheet. An important visual document reflecting the relationship between Zuccaro and Passarotti, both born in 1529, the double-sided Landolt drawing provides further evidence of their friendship and working rapport. As recorded by Raffaello Borghini (1584), the two artists knew each other and lived in the same household in Rome from 1551, when Passarotti is first documented in the city: ‘after a while, Passarotti came back to Rome and started working with Taddeo Zuccaro, and lived together for a long period’ (‘[Passarotti] dopo non molto tempo ritorno’ a Roma e si mise a lavorare con Taddeo Zucchero, e assai tempo dimorarono insieme’, Il Riposo, ed. 1827, p. 98). During this period Passarotti produced a set of etchings and engravings based on Zuccaro’s designs, including The Risen Christ, five apostles and Joseph and Potiphars wife (see B. Bohn, The Illustrated Bartsch, Commentary, pt. 2, IX, 1996, pp. 26-31, ill.; and C. Jenkins in The Renaissance of Etching, exhib. cat., New York, The Metropolitan Museum of Art, 2019, no. 73, ill.).

While displaying Passarotti’s characteristic style, sich as his energetic cross-hatching and bold penwork, the imposing figure on the verso perhaps appears too dynamic to be of his own invention: it may have been a study after a Taddeo design to be engraved later. The relationship between the two was not just one way: while Taddeo exerted influence on Passarotti, he also developed the fluency of his penwork under the influence of his Bolognese colleague, as this drawing suggests. As recently observed by Heiko Damm, Passarotti probably also added the smaller figure on the recto (op. cit., 2017, pp. 73-74).

Testament to an artistic exchange and the rapid development of the two young artists in Rome, the Landolt sheet is one of the few from the Cinquecento where two associates performed on the same sheet, another example being a double-sided drawing jointly executed in circa 1505, given to Lorenzo Costa and Amico Aspertini, at the Harvard Art Museums, Cambridge (inv. 1965.338; see J. G. Harper, Verso: the flip side of Master Drawings, Cambridge, MA, 2001, no. 3, ill.).

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