BARTOLOMÉ ESTEBAN MURILLO (SEVILLE 1617-1682)
Étude d'un homme assis tourné vers la gauche (recto); Dessin d'une tête d'enfant (verso)
inscrit 'Murillo f.' et numero ‘22’ (en bas à gauche)
sanguine, pierre noire (recto); pierre noire (verso)
22,5 x 14,5 cm (8 7⁄8 x 5 3⁄4 in)
Probablement Miguel de Espinosa y Tello de Guzmán, II Count of Águila, Seville;
Probablement Francesco de Bruna, Seville;
Probablement Alleyne Fitzherbert, Baron St. Helens (1753-1839), Londres, Christie's, Londres, 26 mai 1840, lot 107.
Wildenstein & Co Gallery, New York.
M. Mena Marques, Bartolomé Esteban Murillo (1617-1682) dibujos, Madrid, 2015, n°104AA.
The Art of Drawing, 1500-1950, Wildenstein Gallery, New York, 1953, n°19.
Timeless Master Drawings, Wildenstein Gallery, New York, 1955, n°54.
Exposicion de dibujos del Renacimento al siglo XX, Caracas, Fundacion Eugenio Mendoza, New York, Wildenstein
Gallery, 1957, n°5.
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Post lot text
BARTOLOMÉ MURILLO, STUDY OF A SEATED MAN TURNED TO THE LEFT (RECTO), SKETCH OF A CHILD’S HEAD (VERSO), RED AND BLACK CHALK (RECTO), BLACK CHALK (VERSO), INSCRIBED
Property from the Collection of Elene Canrobert Isles de Saint Phalle
When Manuela Mena Marqués published this work in 2015 (knowing it only from a photograph), she tentatively connected this sheet with a group of drawings from the so-called Album de Murillo that belonged to Alleyne Fitzherbert, Baron St. Helens (1783-1839) and were sold at Christie’s in London in 1840 (Christie’s, London, 26 May 1840, lots 105-137). Like other drawings in the group, the present sheet is executed in black and red chalks and bears an inscription in pen and ink - ‘Murillo f.’ - at lower left (Mena Marqués, op. cit., no. 103AA). Marqués proposed to identify the drawing with lot 107 in the Christie’s sale, which was a drawing described as ‘A man’s portrait, and one by A. Cano on the reverse’. The scholar suggested that the absence of Cano’s drawing on the verso, which most likely cannot be identified with the faint sketch of the Head of a boy now visible, could be explained by saying that Cano’s work was perhaps made on a different sheet glued onto the back of the present drawing, as it occurs in other instances for Murillo’s drawings. Only one portrait depicting a seated sitter is known by Murillo, the portrait of Justino de Neve in the National Gallery in London (inv. NG6448). The present drawing is unrelated to that portrait and, in its intimate rendering, shows a less official and more immediate depiction of the sitter. As suggested by Marqués, the present drawing was probably made from life and can be dated towards the end of the 1660s.
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