A girl addressing a youth reclining by a tree and a girl kneeling by a column

Details

ANDREA DE LEONE (NAPLES 1610-1685)
A girl addressing a youth reclining by a tree and a girl kneeling by a column
with inscription ‘Gio Be.o Castiglione’ (lower right)
red chalk, brown wash, watermark bird on three hills inscribed in a circle
7 1⁄8 x 10 1⁄8 in. (18 x 26 cm)

Provenance

Padre Sebastiano Resta (1635-1714), Milan.
Don Gaspar Mendez de Haro y Guzmán, Marchese del Carpio (1629-1687), Rome and Naples; Christie’s, London, 20 March 1973, lot 9 (as Giovanni Benedetto Castiglione).
with Adolphe Stein (1913-2002), Paris.
with Charles E. Slatkin Galleries, New York (as Giovanni Benedetto Castiglione).
Gerald Bronfman (1911-1986) and Marjorie Bronfman, née Schechter (1917-2012), Montreal; by descent to
Corinne Bronfman (1947-2022), Washington DC; by descent to the present owners.

Literature

M. Newcome, ‘A Castiglione-Leone Problem’, Master Drawings, XVI, no. 2, Summer 1978, p. 163, ill.
A. Czére, 17th Century Italian Drawings in the Budapest Museum of Fine Arts. A Complete Catalogue, Budapest, 2004, no. 221/b, ill.
V. Farina, ‘Collezionismo di disegni a Napoli nel Seicento. Le raccolte di grafica del viceré VII marchese del Carpio, il ruolo id padre Sebastiano Resta e un inventario inedito di disegni e stampe’, in España y Nápoles, Madrid, 2009, pp. 355-356, 362.
M. Di Penta, Andrea De Leone (Napoli 1610-1685). Pittore e disegnatore, Rome, Ph.D. dissertation, 2011, Università la Sapienza, drawings, no. 21.
M. Di Penta, Andrea De Leone (Napoli 1610-1685). Dipinti-Disegni, Rome, 2016, no. D.30, ill.
M. Epifani, ‘Resta e il disegno Napoletano’, in Padre Sebastiano Resta (1635-1714). Milanese, oratoriano, collezionista di disegni nel Seicento a Roma, Rome, 2017, pp. 320-311.

Conditions of sale

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Lot Essay

The drawing has a long and interesting collecting history having been part of an album once in the collection of Don Gaspar Mendez de Haro y Guzmán, Marchese del Carpio. The Marchese, together with Padre Sebastiano Resta, were among the very first buyers and collectors of Neapolitan drawings in Italy and Spain (on this topic see G. Fusconi, S. Prosperi Valenti Rodinò, ‘Un’aggiunta a Sebastiano Resta collezionista. Il Piccolo preliminare al Grande Anfiteatro Pittorico’, Prospettiva, 33/36 (1983-1984), pp. 237-256). The attribution of the sheet to the Neapolitan Andrea de Leone, in spite of the old inscription referring it to the Genoese Giovanni Battista Castiglione, was first suggested by Mary Newcome in an important article about the intricate and enduring relationship between Castiglione and de Leone (Newcome, op.cit., p. 163. For a more recent discussion of this topic see also V. Farina, Andrea de Leone. Some notes on his relation with Castiglione and Falcone, Naples, 2014).

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