TADDEO ZUCCARO (URBINO 1529-1566 ROME)
TADDEO ZUCCARO (URBINO 1529-1566 ROME)
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TADDEO ZUCCARO (URBINO 1529-1566 ROME)

The Entombment of Christ

Details
TADDEO ZUCCARO (URBINO 1529-1566 ROME)
The Entombment of Christ

black chalk, pen and brown ink, brown wash, incised for transfer
19.7 x 13.3 cm (7 3/4 x 5 1/4 in.)
Provenance
Probably Johann Edler Goll van Franckenstein Senior (1722-1785), Amsterdam; by inheritance to his son,
Johan Goll van Franckenstein Junior (1756-1821), Amsterdam (L. 2987, also used by his father, with the number ‘N.o 602’, and his attribution ‘Paolo Veronese’); by inheritance probably to his son,
Pieter Hendrik Goll van Franckenstein (1787-1832), Amsterdam.
Anonymous sale; Christie’s, London, 2 July 1996, lot 95; where acquired by the present owners.
Special notice
This lot has been imported 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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Annabel Kishor
Annabel Kishor Specialist

Lot Essay

Two early copies of this drawing exist; one in the British Museum pasted onto the page of one of Padre Resta’s books of drawings, the Secolo prattico (inv. 1900.2.14.1; see J. A. Gere, P. Pouncey, Italian Drawings in the Department of Prints and Drawings in the British Museum. Artists working in Rome c. 1550 to c. 1640, London, 1983, no. 342, as after Taddeo Zuccaro; and F. Grisolia, ‘Hora avea in fantasia il dolce del Correggio, hora il risentito di Michelangelo. Su Padre Resta e Taddeo Zuccaro’, in Padre Sebastiano Resta (1635-1714). Milanese, oratoriano, collezionista di disegni nel Seicento a Roma, Rome, 2017, p. 215). The page includes many annotations in Resta’s hand that reveal the uncertainty of the attribution of that weak copy. Resta mentions also that a painting by Taddeo of the same subject was in the collection of the Marchese del Carpio. The second copy was in these rooms on 7 July 1981, lot 37, as attributed to Andrea Boscoli.
We are grateful to Marco Simone Bolzoni for his assistance in cataloguing this drawing.

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