Aurelio Luini (Luino circa 1530-1593 Milan)
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Aurelio Luini (Luino circa 1530-1593 Milan)

An angel, resting his right foot on a pedestal

Aurelio Luini (Luino circa 1530-1593 Milan)
An angel, resting his right foot on a pedestal
black chalk, pen and brown ink, brown wash heightened with white (partially oxidized), squared in black chalk
8 ¼ x 3 ¼ in. (21.1 x 8.2 cm)
Count Jacopo Durazzo (1717-1794), Vienna (according to the 1895 Helbing catalogue).
Boguslaw Jolles (?-1912), Dresden and Vienna (L. 381); Hugo Helbing, Munich, 28-31 October 1895, lot 122 (as Simone Cantarini).
Dr Berolzheimer, Munich; Adolf Weinmüller, 9-10 March 1939, lot 141 (as Simone Cantarini).
Anonymous sale; Norbert Ketterer, Stuttgart, 24 November 1954, lot 388 (as Cantarini) (according to the Landolt typescript catalogue), where acquired by Robert Landolt.
Zurich, Graphische Sammlung ETH, Zwiegespräch mit Zeichnungen. Werke des 15. bis 18. Jahrhunderts aus der Sammlung Robert Landolt, 2013-2014, no. 27, ill. (catalogue entry by M. Matile).
Special notice

These lots have been imported from outside the EU or, if the UK has withdrawn from the EU without an agreed transition deal, from outside of the UK for sale and placed under the Temporary Admission regime.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.
Sale room notice
Please note that there is additional literature for this drawing: G. Agosti et al., Bernardino Luini e i suoi figli, exhib. cat., Milan, Palazzo Reale, 2014, p. 299 and 201, fig. 143, note 22.

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Stijn Alsteens

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Lot Essay

Trained by his father Bernardino, Aurelio received numerous important commissions from religious institutions in Lombardy throughout his life. His first major fresco cycle was for San Maurizio al Monastero Maggiore in Milan around 1555, on which he collaborated with his brother Giovan Pietro, and where his father had already supplied the majority of the frescoes. The attribution to Aurelio Luini of the present drawing was first suggested by Robert Landolt who bought it with an attribution to Simone Cantarini in 1954 (see Provenance), and the fluent and graceful style of this sheet are indeed entirely characteristic of Aurelio’s draughtsmanship. It is close, for example, to a drawing previously in the Jeffrey E. Horvitz collection of bearded men (sold at Sotheby’s, New York, 23 January 2008, lot 3). Other comparable figure studies can be found in the Royal Collection, Windsor Castle and the Biblioteca Ambrosiana, Milan (see A.E. Popham and J. Wilde, The Italian Drawings of the XV and XVI Centuries in the Collection of His Majesty the King at Windsor Castle, London, 1949, no. 408, fig. 148 and G. Bora, Disegni di manieristi lombardi, Vicenza, 1971, no. 94, ill.). The squaring of the drawing indicates that it must have been executed as a design for a painting or fresco, but it does not correspond to any of the artist’s known surviving works.

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