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Lot 36
  • 36

Lelio Orsi

Estimate
12,000 - 18,000 USD
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Description

  • Lelio Orsi
  • a design for a section of a frieze with fantastic animals and acanthus leaves
  • Pen and brown ink and wash heightened with white-beige bodycolor over paper washed green;
    bears numbering in pen and brown ink: 13, and on the backing in pencil: Lelio de Novelara

Provenance

See introduction to lots 30-40

Condition

Laid down. Some vertical light folds towards the last part of the frieze , some litle dark staining at the bottom and a few pipoint black spots scattered around the sheet . A litle red stain towards the center of the acanthus laeave. A few spots where the heightening has oxidized
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Catalogue Note

This is closely related to Orsi's design for a frieze in the Uffizi, although with minor differences and in a different technique.1  The dating of the Uffizi drawing has varied widely across Lelio's career, but the influence of Perino which Vittoria Romani noted would indicate it must have been drawn after his first trip to Rome in 1546-7.  She also confirms the suggestion made by Sylvie Béguin2 that details such as the elaborate cartouche show a debt to designs coming from Font💝ainebleau, which Lelio would have known through engravings (see also p💦revious lot).  In the present sheet the fantastic female animal rests her hand on what appears to be the frame of a less elaborate cartouche than the one in the Uffizi's drawing.  Surely Lelio used these successful inventions for more than one project, introducing only minor differences.

1.  Inv. no. 1640 E; Lelio Orsi, exhib. cat., Reggio Emilia, Teatro Valli, 198🤪7-8, p. 🍒53, no. 7, reproduced

2.  S. Béguin, 'Emilia and Fontainebleau: Aspects of a Dialogue,' The Age of Correggio and the Carracci, exhib. cat., Washington, National Gallery of Art, et al., 1986-87, pp. 24-25