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David Jones Fine Art (UK) Limited
Stand Number D2
 
Print Speciality:
The company deals in Old Master Drawings from the 15th to the 19th century. We specialize in drawings of the Italian School of the 15th and 16th century but also stock drawings of the French, Dutch, Flemish and German schools. We have participated in a number of Fine Art fairs and Salons of Master Drawings in both Europe and America.
 
Representative Artists:
Albani Francesco, Alberti Cherubino, Andrea del Sarto, Baglione Giovanni, Caccia Guglielmo called Il Moncalvo, Cambiaso Luca, Coypel Antoine, Franceschini Baldassare, Freisinger Caspar, Ghezzi Pier Leone, Herrera Francisco de the Younger, Le Moyne François, Maratta Carlo, Murillo Bartolomé Esteban, Pajou Augustin, Palma Il Giovane, Rode Christian Bernhard, Romanino Gerolamo, Santi di Tito, Ubeleski Alexandre, Werner Joseph the Younger, Wierix Jan, Zampieri Domenico called Il Domenichino,
 
Website:
www.fineartuklimited.com

19, Kestrel Avenue
Herne Hill
LONDON SE24 0ED
Telephone: 020 7274 7770
Fax: 020 7274 2322
Giovanni BAGLIONE Rome 1573 - 1644 THE CIRCUMCISION Pen and brown ink over red chalk. 141 x 107 mm. Provenance: The Double number Collector. His numeration top left in figures and bottom right in letters. Baglione, who was a biographer as well as a painter, is best known for his Vite de-Rpittori, scultori ed architetti published in 1642. As an artist he took part in the decoration of the Vatican Library, the Scala Santa and several important Roman churches including Saint Peter~Rs, Santa Maria del Orto, Santa Maria Maggiore and San Giovanni in Laterano. Our drawing is an early work probably circa 1600. For another drawing comparable in style and technique see his preparatory study for the GIFT OF CONSTANTINE in the Ashmolean Museum, Oxford, Inv. n° 268, published by Dr Stephen Pepper in Master Drawings, vol. VIII, n° 3, pp. 268 to 269, pl. 22.

Giovanni BAGLIONE
Rome 1573 - 1644

THE CIRCUMCISION
Pen and brown ink over red chalk.
141 x 107 mm.
Provenance: The Double number Collector. His numeration top left in figures and bottom right in letters.

Baglione, who was a biographer as well as a painter, is best known for his Vite de-Rpittori, scultori ed architetti published in 1642. As an artist he took part in the decoration of the Vatican Library, the Scala Santa and several important Roman churches including Saint Peter~Rs, Santa Maria del Orto, Santa Maria Maggiore and San Giovanni in Laterano.

Our drawing is an early work probably circa 1600. For another drawing comparable in style and technique see his preparatory study for the GIFT OF CONSTANTINE in the Ashmolean Museum, Oxford, Inv. n° 268, published by Dr Stephen Pepper in Master Drawings, vol. VIII, n° 3, pp. 268 to 269, pl. 22.
PALMA Jacopo, called Palma Il Giovane Venice c.1548-V1628 Venice, Recto: ST JOHN THE BAPTIST KNEELING ON THE GROUND, RAISING HIS BAPTISMAL CUP IN HIS RIGHT HAND Verso: KNEELING CHRIST, NEARLY FULL-LENGTH, HIS ARMS CROSSED AT HIS BREAST Black chalk. Verso: black chalk, offset. 175 x 110 mm. Provenance: unidentified collector (his mark, consisting of a coronet over initials, stamped in black ink in the lower left, not in Lugt). This is very likely a preparatory study for Palma Giovane~Rs altarpiece of the Baptism of Christ, over the altar to the right, in the parish church of the Assumption, Ranzánico, a town overlooking the Lago di Éndine, north east of Bergamo. ( cf. N. Ivanoff and P. Zampetti, Giacomo Negretti, detto Palma il Giovane, estratto da ~QI pittori bergamaschi~R, Poligrafiche Bolis Bergamo, 1980, p. 552, no. 169, fig. 695. Two further paintings attributed to Palma Giovane, though possibly from his studio, are to be found in the same church, the Madonna of the Rosary and the Virgin Appearing to Sts. Charles and Hyacinth (Ivanoff and Zampetti, 1980, p. 601, no. 495). The altarpiece is signed on a rock on the bank of the River Jordan: IACOBUS PALMA / F. In the painting, the Baptist~Rs legs as well as his upper body are half turned to the left, and he holds his reed-cross in his left hand, almost upright and slightly away from his body, rather than stretching his left hand outwards in order to keep his balance. (Ivanoff and Zampetti, 1980, pp. 540-41 and 549, nos. 90 and 150.) The Kneeling Christ on the verso is an offset of another drawing by Palma Giovane for the same composition, now apparently untraced, in which the figure of Christ, like his counterpart in the painting, was drawn with his body half turned to the right. In the picture, Christ holds the palms of his hands together in prayer and his upper body swivels more to the front in the direction of the spectator. Both the drawn and painted figures wear a loose-fitting loincloth about the waist. Although the Ranzánico Baptism of Christ is not dated, a compositional study for the picture from the Janos Scholz Collection, the Pierpont Morgan Library, New York, which is inscribed at the bottom in the artist~Rs hand, i613 no 2i (i.e. 21st November 1613), allows the period of the execution of the painting to be established around that date. (New York, Pierpont Morgan Library: inv. no. 1982, 47, pen and brown ink and brown wash, over preliminary indications in black chalk; 287 x 225 mm. On the verso are pen-and-wash studies of miscellaneous allegorical figures, with a view of Venice.) Towards the end of his career, Palma Giovane seems to have been in the habit of inscribing his later compositional study in pen and wash with a date. Interestingly, the pose of the figure of Christ is more akin to that in the offset on the verso of the present sheet than to the painted figure, which would seem to suggest that the Morgan drawing was executed after the untraced study in black chalk for the figure of the kneeling Christ recorded in the offset in the present drawing. As Zampetti and Ivanoff record, two further treatments of the subject of Christ~Rs Baptism by Palma Giovane are known. One is the much ruined canvas at Lentiai (Belluno), datable 1599~V1602, and the other the altarpiece formerly in S. Giorgio dei Genovesi, Palermo, and now in the Galleria Regionale di Palazzo Abatellis in that city. ( cf. Catalogue of Drawings by Jacopo Palma, called Il Giovane, from the Collection of the Late Mr. C. R. Rudolf, part II, Sotheby~Rs, London, 4th July 1977, lot 13.) Not only are the two protagonists in the Palermo picture very different in pose from their counterparts in the Ranzánico picture, but the background is also fundamentally different. Worshippers fill the foreground and middle distance in the Palermo altarpiece, while that in Ranzánico shows only a bosky wilderness, said to resemble the terrain of the slopes above the Lago di Éndine, where the town is located. A compositional drawing of the Baptism of Christ, formerly on the art market, London, from the C. R. Rudolf Collection, in which a group of spectators appears in the distance to the left is therefore unquestionably for the Palermo altarpiece.
PALMA Jacopo, called Palma Il Giovane
Venice c.1548-V1628 Venice,

Recto: ST JOHN THE BAPTIST KNEELING ON THE GROUND, RAISING HIS BAPTISMAL CUP IN HIS RIGHT HAND
Verso: KNEELING CHRIST, NEARLY FULL-LENGTH, HIS ARMS CROSSED AT HIS BREAST
Black chalk. Verso: black chalk, offset.
175 x 110 mm.

Provenance: unidentified collector (his mark, consisting of a coronet over initials, stamped in black ink in the lower left, not in Lugt).

This is very likely a preparatory study for Palma Giovane~Rs altarpiece of the Baptism of Christ, over the altar to the right, in the parish church of the Assumption, Ranzánico, a town overlooking the Lago di Éndine, north east of Bergamo. ( cf. N. Ivanoff and P. Zampetti, Giacomo Negretti, detto Palma il Giovane, estratto da ~QI pittori bergamaschi~R, Poligrafiche Bolis Bergamo, 1980, p. 552, no. 169, fig. 695. Two further paintings attributed to Palma Giovane, though possibly from his studio, are to be found in the same church, the Madonna of the Rosary and the Virgin Appearing to Sts. Charles and Hyacinth (Ivanoff and Zampetti, 1980, p. 601, no. 495). The altarpiece is signed on a rock on the bank of the River Jordan: IACOBUS PALMA / F. In the painting, the Baptist~Rs legs as well as his upper body are half turned to the left, and he holds his reed-cross in his left hand, almost upright and slightly away from his body, rather than stretching his left hand outwards in order to keep his balance.
(Ivanoff and Zampetti, 1980, pp. 540-41 and 549, nos. 90 and 150.)

The Kneeling Christ on the verso is an offset of another drawing by Palma Giovane for the same composition, now apparently untraced, in which the figure of Christ, like his counterpart in the painting, was drawn with his body half turned to the right. In the picture, Christ holds the palms of his hands together in prayer and his upper body swivels more to the front in the direction of the spectator. Both the drawn and painted figures wear a loose-fitting loincloth about the waist.

Although the Ranzánico Baptism of Christ is not dated, a compositional study for the picture from the Janos Scholz Collection, the Pierpont Morgan Library, New York, which is inscribed at the bottom in the artist~Rs hand, i613 no 2i (i.e. 21st November 1613), allows the period of the execution of the painting to be established around that date. (New York, Pierpont Morgan Library: inv. no. 1982, 47, pen and brown ink and brown wash, over preliminary indications in black chalk; 287 x 225 mm. On the verso are pen-and-wash studies of miscellaneous allegorical figures, with a view of Venice.)

Towards the end of his career, Palma Giovane seems to have been in the habit of inscribing his later compositional study in pen and wash with a date. Interestingly, the pose of the figure of Christ is more akin to that in the offset on the verso of the present sheet than to the painted figure, which would seem to suggest that the Morgan drawing was executed after the untraced study in black chalk for the figure of the kneeling Christ recorded in the offset in the present drawing.

As Zampetti and Ivanoff record, two further treatments of the subject of Christ~Rs Baptism by Palma Giovane are known. One is the much ruined canvas at Lentiai (Belluno), datable 1599~V1602, and the other the altarpiece formerly in S. Giorgio dei Genovesi, Palermo, and now in the Galleria Regionale di Palazzo Abatellis in that city. ( cf. Catalogue of Drawings by Jacopo Palma, called Il Giovane, from the Collection of the Late Mr. C. R. Rudolf, part II, Sotheby~Rs, London, 4th July 1977, lot 13.) Not only are the two protagonists in the Palermo picture very different in pose from their counterparts in the Ranzánico picture, but the background is also fundamentally different. Worshippers fill the foreground and middle distance in the Palermo altarpiece, while that in Ranzánico shows only a bosky wilderness, said to resemble the terrain of the slopes above the Lago di Éndine, where the town is located. A compositional drawing of the Baptism of Christ, formerly on the art market, London, from the C. R. Rudolf Collection, in which a group of spectators appears in the distance to the left is therefore unquestionably for the Palermo altarpiece.