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RAFFAELLO DA MONTELUPO (MONTELUPO FIORENTINO 1504-1566 ORVIETO)
Property from a Swiss Private Collection
RAFFAELLO DA MONTELUPO (MONTELUPO FIORENTINO 1504-1566 ORVIETO)

A sheet of studies including an astrological clock, the head of a bearded man, standing nudes and architectural details

Details
RAFFAELLO DA MONTELUPO (MONTELUPO FIORENTINO 1504-1566 ORVIETO)
A sheet of studies including an astrological clock, the head of a bearded man, standing nudes and architectural details
inscribed 'lungo [...]'
pen and brown ink, the upper right section made up
6 3/8 x 8 7/8 in. (16.2 x 22.5 cm.)
Provenance
Padre Sebastiano Resta (L. 2992).
John, Lord Somers, ink numbering '135.n.' (attributed to 'Correggio da Rafaele alla Loggia 1520' in the Somers-Resta manuscript) (L. 2981).
J. Richardson Sr., his mount (slightly cut), with attribution 'Michelagnolo'.
Sir Joshua Reynolds (L. 2364).
T. Blayds (L. 416a).
Lord Overstone, and by descent.

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Lot Essay

The artist and biographer Giorgio Vasari (1511-1574) was one of the first admirers of the draftsmanship of the celebrated Tuscan sculptor Raffaello da Montelupo: 'He drew in a very practical way, and understood the artistic things way better than his father Baccio' (G. Vasari, The Lives, 1568, IV, p. 296). A tour de force of architectural projects and decorative designs assembled together in organic continuity, the present sheet of studies justifies Vasari’s praise of Raffaello’s drawings. Possibly a leaf from the artist’s sketchbook, the sheet is powerfully drawn in Raffaello’s characteristic penmanship. It contains projects for a decorative clock or an astrolabe at top left, with various designs for architectural moldings drawn throughout the page. At center, a muscular figure seen from behind appears to represent Samson pushing the columns of the Philistine Temple, while the mask of the bearded satyr is also seen in a sheet in the Musée du Louvre, Paris (inv. 715 verso).

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