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拍品專文
Three painted versions of the Agony in the Garden are today recognised as works by Tiziano Vecellio. The first, most celebrated but poorly conserved painting was painted for Philip II of Spain and is in the Monasterio de San Lorenzo, El Escorial. A second version, formerly in the Spanish Royal Collection, is now in the Museo Nacional del Prado, Madrid. The third one, of nearly equal dimensions as the first version, formerly from the Estate of Ramon Osuna but possibly with an 18th century Venetian provenance, has recently been accepted by Giorgio Tagliaferro (2015) as a work by Titian and his studio (Christie's, New York, 29 October 2019, lot 712).
A preparatory black chalk and charcoal drawing of the figure of Christ, which reappears almost unaltered in all three paintings, is in the Uffizi, Florence (inv. 12911 Fr.).
Two engravings are known after the Escorial version: one by Giulio Bonasone, in the same direction (see Bartsch 40, Massari 137), and the present one, in reverse, made by Nicolas Beatrizet and published by Luca Bertelli. The Venetian engraver and publisher was one the leading print and book producers of the second half of the 16th century, who collaborated with many Italian engravers and other publishers such as Antonio Lafréry in Rome.
This print by Beatrizet is of outmost rarity. The impression illustrated in Bartsch is from the collection of Musée Historique Lorrain, Nancy. It is an impression of the second state, with Bertelli's address, such as the present one. According to Bartsch, the address was added in the second state, but we could not locate any other impression of either the first or second state.
A preparatory black chalk and charcoal drawing of the figure of Christ, which reappears almost unaltered in all three paintings, is in the Uffizi, Florence (inv. 12911 Fr.).
Two engravings are known after the Escorial version: one by Giulio Bonasone, in the same direction (see Bartsch 40, Massari 137), and the present one, in reverse, made by Nicolas Beatrizet and published by Luca Bertelli. The Venetian engraver and publisher was one the leading print and book producers of the second half of the 16th century, who collaborated with many Italian engravers and other publishers such as Antonio Lafréry in Rome.
This print by Beatrizet is of outmost rarity. The impression illustrated in Bartsch is from the collection of Musée Historique Lorrain, Nancy. It is an impression of the second state, with Bertelli's address, such as the present one. According to Bartsch, the address was added in the second state, but we could not locate any other impression of either the first or second state.