Francesco Albani (Italian, 1578-1660) Ecce Homo Unsigned, with a collector's stamp "P.L" (Lugt, 2092) l.r. (see below). Red chalk on paper, sight size 11 x 7 1/2 in. (28.0 x 18.8 cm), framed. Condition: Laid down on paperboard support, surface losses and holes. Provenance: Ex-Collection of Sir Peter Lely (L., 2092), Anonymous sale; Phillips, London, July 5, 1995 (as by Bartolomeo Schedoni ; Private Collection, New York; Christie's New York, Old Master and 19th Century Drawings, January 29, 2009, Sale 2134, Lot 20; through to the estate of Robert Wynne, Massachusetts. Literature: Catherine R. Puglisi, Francesco Albani (New Haven and London: Yale University Press, 1999), pp. 166-67, under no. 77, fig. 175. N.B. The drawing at hand relates to Francesco Albani's painting of the same subject in the Colonna Gallery, Rome. Dr. Puglisi noted the association with the Colonna painting, and commented that, like other Albani drawings, it shares the soft, blurred definition of the facial features and uneven contour lines. In the painting, Christ's head is shown tilted to His right, but the modeling of the torso and the depiction of the fingers are almost identical. (Puglisi, op.cit ., p. 167) The lot is accompanied by a copy of the Christie's invoice from January 2009.
Francesco Albani (Italian, 1578-1660) Ecce Homo Unsigned, with a collector's stamp "P.L" (Lugt, 2092) l.r. (see below). Red chalk on paper, sight size 11 x 7 1/2 in. (28.0 x 18.8 cm), framed. Condition: Laid down on paperboard support, surface losses and holes. Provenance: Ex-Collection of Sir Peter Lely (L., 2092), Anonymous sale; Phillips, London, July 5, 1995 (as by Bartolomeo Schedoni ; Private Collection, New York; Christie's New York, Old Master and 19th Century Drawings, January 29, 2009, Sale 2134, Lot 20; through to the estate of Robert Wynne, Massachusetts. Literature: Catherine R. Puglisi, Francesco Albani (New Haven and London: Yale University Press, 1999), pp. 166-67, under no. 77, fig. 175. N.B. The drawing at hand relates to Francesco Albani's painting of the same subject in the Colonna Gallery, Rome. Dr. Puglisi noted the association with the Colonna painting, and commented that, like other Albani drawings, it shares the soft, blurred definition of the facial features and uneven contour lines. In the painting, Christ's head is shown tilted to His right, but the modeling of the torso and the depiction of the fingers are almost identical. (Puglisi, op.cit ., p. 167) The lot is accompanied by a copy of the Christie's invoice from January 2009.
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.jpg "Quelle: Christie's")
.jpg "Quelle: Christie's")
