Lot 69
  • 69

ATTRIBUÉ À JEAN-ANTOINE JULIEN, DIT JULIEN DE PARME | The Angel banishing Adam and Eve from Paradise (recto and verso)

Estimate
3,000 - 4,000 EUR
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Description

  • Attribué à Jean-Antoine Julien, dit Julien de Parme
  • The Angel banishing Adam and Eve from Paradise (recto and verso)
  • Pen and brown ink and wash over black chalk (recto and verso), on four joined sheets of paper; the outlines of the figures on the recto pricked for transfer
  • 655 x 600 mm

Provenance

Vente anonyme, Paris, Hôtel Drouot, MMarc Ferri, 17 mai 1981

Exhibited

Rennes, 2012, n°64 (notice par Pierre Rosenberg) ;
Sceaux, 2013 (sans catalogue)

Condition

Window mounted, and framed to be viewed double-sided. Numerous repaired losses and tears, mostly small/minor. Various stains throughout, but images on both sides still good and strong. Sold framed.
"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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Catalogue Note

On both sides of this large composite sheet, we find faithful copies of Raphael's famous fresco in the Vatican Logge, which would have been very widely known throughout Europe, not only from first hand viewing and drawn copies, but also through prints such as that made by Francesco Villamena (1564-1624), at the beginning of the 17th century (fig. 1).  As Pierre Rosenberg pointed out in his Rennes exhibition catalogue entry, the artist has transformed the composition from horizontal to vertical in format, losing in the process much of Raphael's tension and movement.  While noting that the attribution remains very tentative, Rosenberg thinks Julien de Parme is none the less a plausible candidate. Pricked for transfer, this very large drawing probably served as a cartoon for a painting in a restricted location, such as on a column.