TADDEO ZUCCARO (CIRCLE OF) (Sant'Angelo in Vado 1529-1566 Rome) An Allegory of Peace . Pen and brown ink and wash on cream laid paper mounted on stiff laid paper. 218x132 mm; 83/4x51/4 inches. Ex-collection Sir Thomas Lawrence (see Lugt 2445); Samuel Woodburn (see Lugt 2584); Sir Thomas Phillips; T. Fitzroy Fenwick; and Philip H. and A. S. W. Rosenbach Foundation, Philadelphia. See J. A. Gere, Mostra di Disegni degli Zuccaro, Gabinetto disegni e stampe degli Uffizi , volume XXIV, Florence, 1966, no. 50; J. A. Gere, Taddeo Zuccaro His Development Studied in his Drawings , London 1969, no. 216; J. A. Gere, 'The Lawrence-Phillips-Rosenbach "Zuccaro Album,"' Master Drawings , vol. 8, no. 2, 1970, no. 8, pl. 2; Drawings by Taddeo and Federico Zuccaro and other Artists , Sotheby's auction catalogue, New York, 11 January 1990, lot 29. The current work, a preparatory study for a fresco of one of the allegorical figures in the Antecamera del Concilio in the Palazzo Farnese, Caprarola, was formerly ascribed by Gere to Federico Zuccaro However, since then he has suggested that the free use of wash and the characteristic, foreshortened left hand make an attribution to Taddeo Zuccaro more likely.
TADDEO ZUCCARO (CIRCLE OF) (Sant'Angelo in Vado 1529-1566 Rome) An Allegory of Peace . Pen and brown ink and wash on cream laid paper mounted on stiff laid paper. 218x132 mm; 83/4x51/4 inches. Ex-collection Sir Thomas Lawrence (see Lugt 2445); Samuel Woodburn (see Lugt 2584); Sir Thomas Phillips; T. Fitzroy Fenwick; and Philip H. and A. S. W. Rosenbach Foundation, Philadelphia. See J. A. Gere, Mostra di Disegni degli Zuccaro, Gabinetto disegni e stampe degli Uffizi , volume XXIV, Florence, 1966, no. 50; J. A. Gere, Taddeo Zuccaro His Development Studied in his Drawings , London 1969, no. 216; J. A. Gere, 'The Lawrence-Phillips-Rosenbach "Zuccaro Album,"' Master Drawings , vol. 8, no. 2, 1970, no. 8, pl. 2; Drawings by Taddeo and Federico Zuccaro and other Artists , Sotheby's auction catalogue, New York, 11 January 1990, lot 29. The current work, a preparatory study for a fresco of one of the allegorical figures in the Antecamera del Concilio in the Palazzo Farnese, Caprarola, was formerly ascribed by Gere to Federico Zuccaro However, since then he has suggested that the free use of wash and the characteristic, foreshortened left hand make an attribution to Taddeo Zuccaro more likely.
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