Page 77 - Pierre Durand Collection Including Chinese Art and Porcelain Sothebys Jan 27 2022
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          LUCA CAMBIASO (MONEGLIA 1527-1585 MADRID)
          The Death of Cleopatra
          pen and brown ink, brown wash                       This drawing is connected to a fresco executed by Cambiaso on the ceiling of
          10 x 15æ in. (25.5 x 40 cm)                         the reception room on the second floor of the Palazzo Vincenzo Imperiale in
                                                              Genoa. The fresco was destroyed during World War II, but it is known from
          $7,000-10,000
                                                              old photographs (Magnani, op. cit., p. 97, fig. 99). Cambiaso’s large modello
          PROVENANCE:                                         for the decoration survives at the Ackland Art Museum at Chapel Hill (inv.
          Unidentified collector (his mark, ‘D. H. H. F.’ in a rectangle, not in Lugt).  79.66.1; see Gillham and Wood, op. cit., no. 3). Several drawn versions of the
          with Durlacher Brothers, New York.                  composition are known. A sheet from the Lempereur collection was sold at
          Tomàs Harris (1908-1964), London.                   Christie’s, London, 7 July 2010, lot 303, and another version is in the Scottish
                                                              National Gallery, Edinburgh (inv. D718; see K. Andrews, Catalogue of Italian
          LITERATURE:
          B. Suida Manning and W. Suida, Luca Cambiaso. La vita e le opere, Milan, 1958,   Drawings, London, 1968, I, p. 25, fig. 195). A third drawing, representing only
          p. 88, ill.                                         one figure group of the scene, is at the Nationalmuseum in Stockholm (inv.
          L. Magnani, Luca Cambiaso da Genova all’ Escorial, Genoa, 1995, p. 97, ill.  NM 1588/1863; see P. Bjurström, Italian Drawings. Venice, Brescia, Parma,
          C.C. Gillham and C. H. Wood, European Drawings from the Collection of the   Milan, Genoa, Stockholm, 1979, no. 304, ill.). As argued by Jonathan Bober
          Ackland Art Museum, Chapel Hill, 2001, p. 24, under no. 3.  (op. cit., p. 270, under no. 30), the present sheet is an earlier version of the
          J. Bober in Luca Cambiaso 1527-1585, exhib. cat., Austin, Blanton Musum of   final composition developed in the fresco. While the general organization
          Art, Genoa, Palazzo Ducale, 2006-2007, p. 270, under no. 30.
                                                              of the scene and the main motifs are fully developed, the foreground is still
                                                              largely empty.



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