Andrea Semino

Laid down at the four corners on an old backing sheet right corner made up. A loss at the top margin at the center also made up. A pin point hole at the center. Several creases and traces of fold at the top right and across below the center of the sheet. A yellow stain on the winged lion decoraring the throne of Porsenna and on the edge to the right of the lunette and a light brown stain at the bottom in the center. The ink still fresh.
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.

The graphic style of Andrea Semino seems to be highly influenced by the fluid penmanship of Perino del Vaga, whose presence in Genoa was crucially important for future generations of artists.  This drawing could relate to the decoration mentioned by the 17th century biographer Soprani as having been executed by Semino circa 1570 in the piano nobile of the palace of Baldassarre Lomellino (Campanella), showing episodes from the life of Mutius Scaevola.¹  Elena Parma, when writing on the decoration of that Genoese palace, publishes a study by Semino, in a private collection, which is related to the scene of Mutius Scaevola entering the tent of Porsenna.²

1. See R. Soprani, Le Vite de' Pittori, Scoltori et Architetti genovesi e de' Forastieri che in Genova operarono con alcuni ritratti de gli stessi, Genoa 1674, p. 58
2. E. Parma, La pittura in Liguria, Il Cinquecento, Recco (Genoa) 1999, p. 228, reproduced fig. 219