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Lot 134
  • 134

Girolamo Muziano

Estimate
15,000 - 20,000 USD
bidding is closed

Description

  • Girolamo Muziano
  • Study of a male nude, his head tilted downwards and his right hand partly outstretched 
  • Red chalk and stumping, squared for transfer in red chalk;bears numbering in black chalk, lower left: 69
  • 360 by 194 mm; 14¼ by 7 5/8  in

Exhibited

With Aldega-Gordon, New York, Old Master Drawings, 1999, no. 18

Literature

P. Tosini Girolamo Muziano 1532-1592: dalla Maniera alla Natura, Rome 2008, p. 470 under no. D36, reproduced, p. 229, fig. 213

Condition

Laid down on thin japan paper.Light staining and surface dirt throughout the sheet. Some red wash splashes located at the lower margin, possibly studio stains. A few darker brown stains at the level of his hip. Red chalk remains fairly strong.
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 the preparatory study for the figure on the right of Muziano's painting, Messa di San Basilio, commissioned in 1582 for the Gregorian chapel in St. Peter's, Rome.  Muziano's work on the painting was interrupted by the death of Pope Gregory XIII in 1585 and the painting was eventually finished by Cesare Nebbia. The painting, which disappeared in the 18th Century, is now only known through an engraving by Jacques Callot.1 Another drawing, housed in the Uffizi, depicts the same figure leaning on the balustrade  and must be a later study as the man is drawn with his garments on and there is a subsidiary figure at the side.2

1. Tosini, op.cit., p. 227, fig. 211

2. Op.cit., fig. 212