Carlo Urbino

Unframed. Laid down on an old backing sheet. There is a loss to the lower right corner, made up. A horizontal crease near the upper edge. Some surface dirt and slight ink-type stains in the lower left corner. The ink 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.

This sheet of studies for the figure of Saint Paul can be closely related to one by Carlo Urbino in the Louvre (inv. no. 5422).  As Bora suggests in his article in Paragone,¹ the Louvre drawing appears to be linked to the figure of St. Paul in the Nativity with Saints in the church of St. Antonio in Milan.²  The altarpiece, dated 1565, was painted by Bernardino Campi after drawings by Carlo Urbino, who assisted Bernardino on several commissions, even providing the drawings as in this instance.  Lomazzo describes Carlo Urbino as 'dissegnatore et inventor bonissimo'.  The final drawing for this commission, squared for transfer and also by Carlo Urbino, is in the Gallerie dell'Accademia, Venice (inv. no. 203).  Other studies by Carlo Urbino for the same altarpiece are known.³

1. See G. Bora, 'Note Cremonesi, II: L'eredità di Camillo e i Campi', in Paragone, May 1977, no. 327, pp. 68-9, reproduced fig. 49b
2. Idem, fig. 47a
3. See I Campi, Cultura artistica cremonese del Cinquecento, exhibition catalogue, Cremona, Palazzo Pubblico, 1985, p. 299, no. 2.11.2, reproduced