The head of the Virgin

細節

Bernardino Lanino (Vercelli circa 1509-after 1581 Milan)
The head of the Virgin
black and white chalk, stumping, on blue paper
12¾ x 8 5/8 in. (32.4 x 22.1 cm.)

來源

Biblioteca Reale, Turin (according to the Paul Drey Gallery).
J.P. Durand-Matthiesen, Geneva, by 1956 (according to Janos Scholz's notes at the Morgan Library).
with the Paul Drey Gallery, New York, from whom acquired in 1973 by
Dr and Mrs Malcolm W. Bick, Longmeadow, Mass.
Anonymous sale; Sotheby's, New York, 16 January 1985, lot 146 (as Gaudenzio Ferrari).
with Colnaghi, New York, 1986, where acquired by the present owner.

出版

P. Astura and G. Romano, Bernardino Lanino, exhib. cat., Vercelli, Museo Borgogna, 1985, pp. 117-18, under no. 32, fig. 32a (as workshop and conflated with the Morgan version).
R.R. Coleman, Bernardino Lanino and the Laninian Current in Sixteenth-Century Piedmontese-Lombard Painting, Ph.D diss., University of Chicago, 1988, III, 'Catalogue of drawings by Bernardino Lanino', pp. 624-26, fig. D21.

展覽

New Haven, Yale University Art Gallery, Sixteenth Century Italian Drawings: Form and Function, 1974, no. 1 (as Gaudenzio Ferrari).

注意事項

VAT rate of 5% is payable on hammer price and at 20% on the buyer's premium.

拍場告示

Please note that the Biblioteca Reale provenance for this drawing, cited in the previous literature, is not supported by any stamps or marks on the drawing and appears to be incorrect. This information appears to relate to another drawing of the same subject, probably a copy, in the Biblioteca Reale, Turin.

榮譽呈獻

Benjamin Peronnet

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拍品專文

Previously attributed to Gaudenzio Ferrari (1475/80-1546), this drawing was recognized as a work by his pupil Lanino by R.R. Coleman (op. cit.). He identified it as a preparatory study for Lanino's Madonna delle Grazie in the church of San Paolo in the artist's native Vercelli (Fig. 1). Lanino received the commission around 1554, though the painting is signed and dated 1568. Another version of the head by Lanino remains in the collection of the Biblioteca Reale, Turin (inv. 14646 S.M.; Astura and Romano, op. cit., pp. 116-17, no. 32) and there is a workshop version of the head in the Pierpont Morgan Library, New York (inv. 1993.325).

Although this drawing was executed late in Lanino's career, it is still strongly influenced by the art of his master, Gaudenzio Ferrari, whose style remained the preferred taste of patrons in Vercelli. Indeed, the contract for Lanino's Madonna delle Grazie, drawn up on 8 May 1554, specified that the artist should base his altarpiece on Gaudenzio's Madonna degli Aranci in the church of San Cristoforo, also in Vercelli.