Lot 5

ITALIAN SCHOOL, 16TH CENTURY, AFTER PIETRO BUONACCORSI, CALLED PERINO DEL VAGA (FLORENCE 1501-1547 ROME)

The Fall of the Giants

Name: ITALIAN SCHOOL, 16TH CENTURY, AFTER PIETRO BUONACCORSI, CALLED PERINO DEL VAGA (FLORENCE 1501-1547 ROME)
Brand: The Fall of the Giants
Price: 5500.00 GBP
Availability: SoldOut

Price Realised GBP 6,875

Estimate

GBP 5,000 - GBP 7,000

Closed: 27 Jul 2020

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ITALIAN SCHOOL, 16TH CENTURY, AFTER PIETRO BUONACCORSI, CALLED PERINO DEL VAGA (FLORENCE 1501-1547 ROME)

The Fall of the Giants

Price Realised GBP 6,875

Closed: 27 Jul 2020

Price Realised GBP 6,875

Closed: 27 Jul 2020

Details Lot Essay Related Articles More from

ITALIAN SCHOOL, 16TH CENTURY, AFTER PIETRO BUONACCORSI, CALLED PERINO DEL VAGA (FLORENCE 1501-1547 ROME)
The Fall of the Giants
with inscription '1540./ Perino del Vaga.' (recto) and 'Giove fulminante i Giganti,/ Disegno originale di Perino dell Vaga Principael [crossed out]/ fatto per suo depinto nel Palazzo Doria, in Genova./ vide Vasari; ook Karel van Mander' (verso)
pen and brown ink, brown wash, heightened with white on blue paper
13¹⁄₈ x 22 in. (33 x 56 cm)

John Clerk Lord Eldin, Edinburgh; Winstanley's, Edinburgh, 14-29 March 1833, part of lot 232 (1 gn to Sir Archibald Campbell, 2nd Bt. of Succoth (1769-1848), and by descent to
Sir Ilay Campbell (1734-1823), Bt.; Christie's, London, 27 March 1974, lot 184 (130 gns. to List)
Herbert List (1903-1975), Munich (L. 4063).
Anonymous sale; Christie's, London, 27 March 1974, lot 184.

Glasgow City Art Gallery, 1953, no. 24.

Please note this lot is the property of a consumer. See H1 of the Conditions of Sale.

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Lot Essay

This carefully executed drawing of impressive size is a largely faithful reproduction of Perino del Vaga’s famous ceiling decoration at the Palazzo Doria, Genoa, painted in the early 1530s. The drawing is not copied after Giulio Bonasone’s engraving after the fresco, as is evident from the many differences, especially in the number of figures in the background (see , exhib. cat., Mantua, Palazzo Te, 2001, no. 104, ill.). Certain differences from the painting, such as the head of the putto behind Jupiter’s leg (absent in the fresco), suggest the present replica could be made after a drawing, perhaps the shown by the artist to his patron. Its style and technique suggest a date within the artist’s lifetime, unlike later copies, such as one in watercolour at the Victoria and Albert Museum (inv. E.5265-1958).