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Editions and Works on Paper 1500-2017

Tuesday 26th September 2017: 1:00pm BST

Follower of raphael (1483-1520) christ's charge to peter (matthew 16: 18-19

Full Lot Details

Follower of Raphael (1483-1520)
Christ's Charge to Peter (Matthew 16: 18-19, John 21: 15-17)
Pen and brown ink, brown wash, heightened with white, some oxidation to pigment, traces of black chalk, on laid paper, no watermark visible, unframed.

Provenance:
Francis Abbott (1801-1893) [Lugt 970]
Anonymous sale, possibly the Galerie Fiévez auction, Brussels, 22-23rdNovember, 1922;
Private Collection, Scotland

⁂ The Louvre hold a preparatory drawing (see INV 3863, recto), which appears to be the source for the present work, as opposed to the cartoon on display in the Victoria & Albert. Yet, there are notable differences in the composition between the two drawings, such as the inclusion of the fishing boat to the right hand side, which is not found in the Louvre sheet. For another variant drawing of the same composition, with an attribution to Raphael, see the Archdiocesan Museum, Katowice, Poland.

In private correspondence dated 1957, the present owner's father received a reply from John Gere, at the time still Assistant Keeper of the British Museum, in which prior to showing it to Philip Pouncey, Gere makes a tentative suggestion that the work 'may possibly be a product of Raphael's workshop'. An interesting comparative work can be found in the pen and ink study of The Miraculous Draft of Fishes, held in the Royal Collection, Windsor (see RCIN 912749), where the drawing is described as being by the School of Raphael, with old attributions to both Raphael himself, and his contemporary Giovanni Francesco Penni (1496-c. 1536).

Full Lot Details

Follower of Raphael (1483-1520)
Christ's Charge to Peter (Matthew 16: 18-19, John 21: 15-17)
Pen and brown ink, brown wash, heightened with white, some oxidation to pigment, traces of black chalk, on laid paper, no watermark visible, unframed.

Provenance:
Francis Abbott (1801-1893) [Lugt 970]
Anonymous sale, possibly the Galerie Fiévez auction, Brussels, 22-23rdNovember, 1922;
Private Collection, Scotland

⁂ The Louvre hold a preparatory drawing (see INV 3863, recto), which appears to be the source for the present work, as opposed to the cartoon on display in the Victoria & Albert. Yet, there are notable differences in the composition between the two drawings, such as the inclusion of the fishing boat to the right hand side, which is not found in the Louvre sheet. For another variant drawing of the same composition, with an attribution to Raphael, see the Archdiocesan Museum, Katowice, Poland.

In private correspondence dated 1957, the present owner's father received a reply from John Gere, at the time still Assistant Keeper of the British Museum, in which prior to showing it to Philip Pouncey, Gere makes a tentative suggestion that the work 'may possibly be a product of Raphael's workshop'. An interesting comparative work can be found in the pen and ink study of The Miraculous Draft of Fishes, held in the Royal Collection, Windsor (see RCIN 912749), where the drawing is described as being by the School of Raphael, with old attributions to both Raphael himself, and his contemporary Giovanni Francesco Penni (1496-c. 1536).