Giandomenico Tiepolo

Dr J. Paul Richter, London;

With Sedelmeyer, Paris, 1910 or shortly before;

Kersten W. von Schenck, Landsberg an der Lech, Bavaria;

Thence by descent.

E. Sack, Giambattista und Domenico Tiepolo, Hamburg 1910, p. 314, reproduced fig. 334;

M. Goering, in F. Thieme & U. Becker, Allgemeines Lexikon der bildenden Künstler, vol. XXXIII, Leipzig 1939, p. 160;

M. Precerutti-Garberi, 'Asterischi sull'attività di Domenico Tiepolo a Würzburg', in Commentari, 1960, pp. 278–79;

A. Morassi, A Complete catalogue of the paintings of G.B. Tiepolo, London 1962, p. 43;

M. Precerutti-Garberi, 'Segnalazioni tiepolesche', in Commentari, no. 3/4, 1964, p. 256;

A. Morassi, 'Giandomenico Tiepolo', in Enciclopedia Universale dell'Arte, Venice and Rome 1965;

A. Mariuz, Giandomenico Tiepolo, Venice and Milan 1971, p. 120, reproduced plate 306;

A. M. Gealt and G. Knox, Domenico Tiepolo. A New Testament, Bloomington (Indiana), 2006, p. 773, under no. 160, reproduced fig. 191.

The following condition report is provided by Hamish Dewar who is an external specialist and not an employee of Sotheby's: Structural Condition The canvas has been lined onto a new keyed wooden stretcher. This is ensuring a stable structural support and has successfully secured the overall pattern of very fine lines of drying craquelure which are entirely stable and are not visually distracting. Paint Surface The paint surface has an uneven and discoloured varnish layer and should benefit considerably from cleaning and revarnishing. Inspection under ultra-violet light shows only very small scattered retouchings and confirms how discoloured the varnish layers have become. Summary The painting would therefore appear to be in very good and stable condition and should respond very well to cleaning, restoration and revarnishing.
"This lot is offered for sale subject to Sotheby's Conditions of Business, which are available on request and printed in Sotheby's sale catalogues. The independent reports contained in this document are provided for prospective bidders' information only and without warranty by Sotheby's or the Seller."

The composition of this sketch is clearly related to the drawing of the subject made as part of a cycle of 313 drawings of upright format illustrating The New Testament drawn in circa 1786–90.¹

1.  Zurich, collection of Annette Bühler; see Gealt and Knox under Literature, pp. 396–97, no. 160, reproduced.