Giovanni Battista Tiepolo

Library of the Somasco Convent at Santa Maria della Salute, Venice;
Count Leopoldo Cicognara;
Antonio Canova;
by inheritance to his half-brother, Monsignor Giovanni Battista Sartori-Canova;
Francesco Pesaro;
by whom sold to Col. Edward Cheney, Badger Hall, Shropshire;
by inheritance to his brother-in-law, Col. Alfred Capel-Cure, Blake Hall,
sale, London, Sotheby's, 29 April 1885 (part of lot 1024), to E. Parsons and Sons, London;
With The Savile Gallery, London, Drawings by Giovanni Battista Tiepolo, exhib. cat., 1928, possibly part of no. 12, not reproduced;
Duc de Talleyrand, Saint-Brice-sous-Forêt;
The British Rail Pension Fund;
from which acquired by the present owner

A. Morassi, Dessins Vénitiens du Dix-huitième Siècle de la Collection du Duc de Talleyrand, Milan 1958, p. 15, no. 17, reproduced, fig. 17

Hinged to the top and bottom left edge to the new mount. Generally in good condition, media and paper fresh. A repaired tear top left. Two small areas of thinning of the paper top right and bottom right edge were there must have been previous hinges. Two very tiny brown spots and minor, not very visible, foxing at the top. some surface dirt at the lower right corner. Some buckling of the paper. Sold mounted and framed in a modern wooden frame.
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.

Like lots 54, 55 and 59, this drawing belongs to Tiepolo's remarkable series of variations on the theme of the Holy Family.  (See note to lot 54 for a full account of the series.)  Drawn with the same golden ink as lots 54 and 55, this sheet is also characterized by an extensive black chalk underdrawing, from which it is clear that Tiepolo made a few alterations to his composition, most noticeably in the right hand of the kneeling St. Joseph.  Even while finishing the hand in question in pen and ink, Tiepolo was still clearly rethinking its final position.  These pentimenti testify to the artist’s continuous and indefatigable pursuit of perfection.  

In this version of the subject, St. Joseph is represented as a beardless young man, kneeling with open arms in front of the Christ Child, who stands slightly above him, behind his cradle.  While the Madonna restrains the naked Child from moving towards the St Joseph, an angel tries to cover him with a cloth.  Three angels overlook the intimate moment.  In this sheet Tiepolo has used the cradle as an architectural element in the foreground, while the event develops around it.  The handsome figure of the kneeling St Joseph balances the composition to the left.  The Virgin’s hair and her veil are enriched by vibrant touches of pen and brown ink.  There are sparkles of light everywhere, due to Tiepolo's subtle and extraordinary use of the white surface of the paper.  The abundant brown wash is applied in two different shades, one slightly more gray.