Giovanni Battista Tiepolo (Venice 1696-1770 Madrid)

The entrance to a large barn, a ladder leaning against the wall to the left

细节

Giovanni Battista Tiepolo (Venice 1696-1770 Madrid)
The entrance to a large barn, a ladder leaning against the wall to the left
pen and brown ink, brown wash, watermark Sceptre over MF (similar to Heawood 11-12 [Venice 1737])
11¼ x 7¾ in. (285 x 197 mm.)

来源

Given by the artist in 1762 to the Monastery of the Padri Somaschi at Santa Maria della Salute, Venice, suppressed in 1810.
Count Leopoldo Cicognara.
Antonio Canova, to his half-brother
Monsignor Giovanni Battista Sartori-Canova.
Francesco Pesaro, Venice, by whom sold to
Edward Cheney, Badger Hall, Shropshire, (cf. L. 444) by 1842, to his brother-in-law
Col. Alfred Capel-Cure, Blake Hall, Essex; Sotheby's, London, 29 April 1885, part of lot 1024 (£11 to Parsons).
with Edwin Parsons and Sons, London, by whom the albums were split.
with Leo Blumenreich (1884-1933), Berlin.

出版

D. von Hadeln, Handzeichnungen von G.B. Tiepolo, Munich, 1927, no. 115.
G. Knox, Un quaderno di vedute di Giambattista e Domenico Tiepolo, Milan, 1973, no. 44.

拍品专文

Professor George Knox has shown (loc. cit) that this drawing almost certainly comes from one of a number of albums that Giovanni Battista Tiepolo left for safekeeping in the library of the Monastery of the Padri Somaschi in Venice, where his second son Giuseppe Maria was a priest, shortly before he left for Spain in 1762. Professor Knox has also successfully unravelled the subsequent history of those albums (detailed above), most fully in his Catalogue of the Tiepolo drawings in the Victoria and Albert Museum, London, 1975, pp. 3-9. Professor Knox notes that the albums were in the main divided by subject matter suggesting that they formed Giovanni Battista's working visual archive, has traced seventy-four drawings that may have been part of the album of drawings made on the Venetian mainland (G. Knox, 1974, loc. cit..).
The gateway shown in the present view was drawn by Giovanni Battista from the other side and with greater focus on the wall of the barn in a drawing now in the Frits Lugt Collection at the Fondation Custodia, Paris (J. Byam Shaw, The Italian Drawings of the Frits Lugt Collection, Paris, 1983, no. 282, pl. 321). The gateway appears again in a drawing of Gypsies resting in a farmyard by Giovanni Battista's son Giovanni Domenico now in the Cleveland Museum of Art, demonstrating clearly how the family derived inspiration from one another.