Lot N. 10
Artista attivo a Roma metà del secolo XVI Artista attivo a Roma metà del secolo XVI
The Miracle of the Resurrection of the son of the widow of the city of Nain (Luke 7, 11-17)
pen and brown ink, washed in brown, over traces in black chalk. Inscribed in pen at the bottom left Vasari’, another indistinct inscription in the center. Inscribed on the verso in red chalk Andrea Schiavone’. Defects and restorations
mm 464x382
The drawing has been completely traced with a stylus and we can exclude it was used for a print for two reasons: the excessive size and the absolute lack of traces of chalk on the verso, used to transfer the design onto the copper plate.
The paper bears the Siren’ watermark, similar to the Briquet numbers 13.876, 13.877 and 13.878.
The drawing has been declared of historical and artistic interest by the ministerial decree no. 201/2018, dated November 29, 2018
The historical and artistic report accompanying the decree proposes for the drawing (the subject of which is erroneously identified as "The Resurrection of Lazarus") an attribution to
Andrea Boscoli during the years of his stay in Rome.
It seems to us that the drawing has nothing to do with Boscoli’s draughtsmanship and we propose to refer it to an unidentified artist working in Rome at least a generation before him, that is around the middle of the sixteenth century, as the watermark suggests.
The paper bears the Siren’ watermark, similar to the Briquet numbers 13.876, 13.877 and 13.878.
The drawing has been declared of historical and artistic interest by the ministerial decree no. 201/2018, dated November 29, 2018
The historical and artistic report accompanying the decree proposes for the drawing (the subject of which is erroneously identified as "The Resurrection of Lazarus") an attribution to
Andrea Boscoli during the years of his stay in Rome.
It seems to us that the drawing has nothing to do with Boscoli’s draughtsmanship and we propose to refer it to an unidentified artist working in Rome at least a generation before him, that is around the middle of the sixteenth century, as the watermark suggests.