拍品 1

The Goldman Collection (Lots 1-12 & 119) Born in 1906, Tillie Goldman was very much a child of the 20th century. While her parents were both immigrants rooted in the old world, Tillie was an All-American, New York City girl. Coming of age in the heady, liberating years between the wars, Tillie embraced her century and her city with a passion and energy that lasted a lifetime. The young and deeply inquisitive Tillie embarked on a life-long quest for knowledge. With no formal education beyond high school, she was a model of the self-educated woman, taking course after course at Columbia's College of General Studies, the New School and the Jefferson School of Labor Studies. Drawn to history in general, and art history in particular, she was extremely knowledgeable about all aspects of Western European art, history and culture. She studied French, Italian and Spanish and was a serious student of the classical piano. Tillie loved New York City. It was, she said, 'my town', just as Central Park was 'my estate'. She lived her whole life on one edge or other of the park; first in Harlem, then on Central Park West and finally on Fifth Avenue. She spent countless hours of countless days walking round the Reservoir with her family, riding in the Meadow and figure-skating on Wollman Rink. Even during the last years of her life, hardly a day passed when Tillie could not be found sitting on 'my bench', near the entrance at 61st and Fifth. Ever a child of her era, Tillie was deeply moved by the spirit of change that lifted America during the 1930s. Inspired by FDR, Fiorello La Guardia and the progressive leaders of the day, she was an ardent New Dealer, and a sincere and deeply committed supporter of the Spanish Loyalists. In the years following the Second World War, she invested her energy in Israel's kibbutz movement. She and her husband Charlie made many trips to Israel in that country's early days, lending support however they could. By the 1950s Tillie and Charlie were passionate art collectors. Guided by their own instinctive and eclectic good taste, and aided by brilliant dealers like Sam Salz and Mathias Komor, they began to assemble Old Master drawings, Impressionist pictures, antiquities and African artworks. Benefactors as well as collectors, they were founders of the Israel Museum, benefactors of The Metropolitan Museum of Art and patrons of the Goldman-Schwartz Art Studios at Brandeis University in Boston. Tillie's home was an exciting and stimulating place. Sharing it were her children-- first the late Robert, and then Barbara, myself and Tony and often her seven grandchildren and four great-grandchildren. It was filled not only with great art but also with the sounds of music and stimulating conversation. Mark Goldman

Girolamo Bedoli (1500-1569)

Adam holding an apple, seated, in a medallion; and Aaron looking up, seated, in a medallion

細節

Girolamo Bedoli (1500-1569)
Adam holding an apple, seated, in a medallion; and Aaron looking up, seated, in a medallion
black chalk, pen and brown ink, brown wash heightened with white, squared in black chalk (2)
12 7/8 x 4 3/8 in. (326 x 112 mm.) and 13 1/8 x 4½ in. (333 x 114 mm.)

來源

A. Rutgers, his inscriptions 'Franc° Parmig°: 1536.' (1) and 'Franc° Parmigiano f^t 1536-' (2).
H.A.R. Munro of Novar
G.A. Watson.
H.E. Neville Clark.
with W.R. Jeudwine.
Peter Josten, New York.

出版

L. Fröhlich-Bum, 'Five Unpublished Drawings by Parmigianino', Pantheon, 1960, 18, 5, pp. 239-41, illustrated (as Parmigianino).
M. Di Giampaolo, Girolamo Bedoli, Florence, 1997, nos. 140-1 (as Attributed to Bedoli).

展覽

New York, Master Drawings in Private Collections, 1962, nos. 15-6 (as Parmigianino).
New York, The Metropolitan Museum of Art, Sixteenth-Century Italian Drawings in New York Collections, 1994, nos. 9a-b (entry by Linda Wolk-Simon).

拍品專文

The attribution of the drawings to Bedoli was kindly confirmed by Mario Di Giampaolo on the basis of transparencies.
These two drawings record Parmigianino grisaille compositions on the east vault of the Church of Santa Maria della Steccata, in Parma. These two drawings were previously attributed to Parmigianino and Linda Wolk-Simon was the first to re-attribute them to Girolamo Bedoli, Parmigianino's cousin. Dr. Wolk-Simon compared the style of the drawings to Bedoli's Meeting at the Golden Gate in the Art Institute of Chicago and the two walking figures at Christ Church, Oxford (M. Di Giampaolo, op. cit., nos. 67 and 107).
The drawings were probably executed during the years 1547-1553, when Bedoli was decorating the northern apse of the Steccata with frescoes of the Pentecost and The Adoration of the Shepherds (M. Di Giampaolo, op. cit., nos. 27 and 36). In each of these frescoes he introduced two medallions in grisaille with Old Testament figures, rather similar in composition to these two drawings, and certainly inspired by the frescoes of his cousin on the opposite side of the church.