FJK 131
Veronese (Caliari Paolo) (Italian, Verona 1528–1588 Venice)
Deposition
ca. 1575-76 according to Prof. W.R.Rearick
6 11/16 × 10 23/64 in. (170 × 263 mm)
Medium
Pen, brown ink, bistre wash and traces of charcoal on paper laid down on 17th-century paper
Collector’s mark “Marie Marignane” bottom right (Lugt 1848)
Inscription in pen onto secondary paper support: S.P. no 22 (Lugt 2103a)
18th-century inscription in ink on white support: Alvise dal Friso and Carletto
Origin
Zaccaria Sagredo Collection, Venice
Marie Marignane Collection, Paris
Sale, Christie’s, New York, January 30, 1998, no. 48
Jan Krugier Collection, Monaco, JK 5548
Jan Krugier Foundation
Bibliography
REARICK W. R.,Paolo Veronese. Disegni e dipinti, Vicenza: Neri Pozza Editore, 1988, pp. 66-67, no. 25.
COCKE Richard, “Veronese in Venice,” in The Burlington Magazine,130, 1988, p. 488.
Exhibitions
Paris, Gallery Claude Aubry, 1971, no. 77 (under Palma il Giovane)
Venice, Fondazione Giorgio Cini, Paolo Veronese, Disegni e Dipinti, March 26 - July 10, 1988, pp. 66-67, no. 25, ill.
Berlin, Kupferstichkabinett, Staatliche Museen zu Berlin - Preussischer Kulturbesitz, Linie, Licht und Schatten. Meisterzeichnungen und Skulpturen der Sammlung Jan und Marie-Anne Krugier-Poniatowski, 1999, no. 15, p. 44; color ill. p. 45.
Venice, Peggy Guggenheim Collection, Solomon R. Guggenheim Foundation, The Timeless Eye. Master Drawings from the Jan and Marie-Anne Krugier-Poniatowski Collection, 1999, p. 88, no. 37, color ill. p. 89.
Madrid, Museo Thyssen-Bornemisza, Miradas sin Tiempo. Dibujos, Pinturas y Esculturas de la Coleccion Jan y Marie-Anne Krugier-Poniatowski, 2000, p. 110, no. 39, color ill. p. 111.
Paris, Musée Jacquemart-André, La Passion du dessin. Collection Jan et Marie-Anne Krugier-Poniatowski, 2002, p. 102, no. 39, color ill. p. 103.
Munich, Kunsthalle der Hypo-Kulturstiftung, Das Ewige Auge - Von Rembrandt bis Picasso. Meisterwerke aus der Sammlung Jan Krugier und Marie-Anne Krugier-Poniatowski, 2007, p. 94, no. 39, color ill. p. 95.
Notes
Professor Rearick, in the exhibition catalogue of 1988, dates the drawing to late 1575-early 1576 by comparison with a drawing in the Staatliche Kunstsammlungen, Kassel, of Studies of Venice enthroned. The latter composition is related to a picture of the same subject painted for the Anticamera of the Sala del Collegio in the Palazzo Ducale, Venice, finished by February 1576, R. Cocke, Veronese’s drawings, London, 1984, no. 83. Professor Rearick refers to another drawing close in handling and of a similar date to the present one, of Studies for the four Allegories of Love in the Metropolitan Museum of Art, connected to the four pictures commissioned by Emperor Rudolph II in the 1560s and now in the National Gallery, London, R. Cocke, op. cit., no. 78. Close in handling and also in type of composition is a sheet of studies of Judith and Holofernes, Judith and Goliath formerly in the Hirsch collection in Basel, drawn on the verso of a letter dated 1582. R. Cocke, op. cit., no. 99.
The main source for the composition of the present drawing seems to have been Titian’s picture of the same subject, now in the Prado, Madrid, F. Valcanove, L’opera completa di Tiziano, Milan, 1969, no 467. The picture was described by Vasari as still being in Titian’s studio in 1566 where Veronese might have seen it.”
Christie’s, Old Master Drawings (part I), London January 1998 (extract from)
Request for information/loan
The Jan Krugier Foundation is devoted to increasing the impact of the collection of drawings through regular loans to major exhibitions. Loan applications should include a complete presentation of the project.