Lot 36
  • 36

Grosshans Thomann

Estimate
6,000 - 8,000 USD
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Description

  • Grosshans Thomann
  • The arms of bullinger, berker and adlischwiler, with Samuel killing agag above
  • Pen and black ink; vertical crease;
    dated, upper center: 1563;
    and inscribed: IOANNES BVLLINGER ET / MARGARITA BERKERIN. / HEINRYCHVS BVLLINGER ET / ANNA ADLISCHVILERIN.

Provenance

W. Bates (L.2604)

Condition

Unframed. Laid down. Very slight losses at the lower right corner. A vertical crease at the centre which appears to have split at the upper and lower edge. There is some light foxing and the paper is slightly thinned in parts, on Samuel's legs, and above the animals. There is a little abrasion in the centre, but apart from that the ink is still strong.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Catalogue Note

The two alliances for whom this design was ordered, were the marriages of Heinrich Bullinger (1504-1575) to Anna Adlischwiler (1529-1564) and Heinrich's brother, Josias Reinhard Bullinger (1496-1570) to Margarete Berker (1532-1565).   Both wives succumbed to the plague shortly after this design was commissioned.  Heinrich Bullinger was Antistes, or head of the church in the city of Zürich.  He was, furthermore, a highly important figure in the Reformed Church of Switzerland as a whole and one of the most influential figures of the Protestant Reformation. 

The thin pen lines, somewhat simplified figure types, complex composition and decorative elements, together with the presence of the arms of three notable Zürich families, identifies this drawing as the work of the Zürich artist, Grosshans Thomann.