Luca Cambiaso

VENETIAN SCHOOL, 18TH CENTURY Christ with two boys. Pen and brush in brown. Inscribed verso in pencil: Luca Cambiaso. 12.3 x 12.2 cm. Framed. CHF 600.- / 800.- € 500.- / 670.- VENEZIANISCH, 18. JAHRHUNDERT Christus mit zwei Jüngern. Feder und Pinsel in Braun. Verso mit Bleistift bezeichnet: Luca Cambiaso. 12,3 x 12,2 cm. Gerahmt. CHF 600.- / 800.- € 500.- / 670.-

Luca Cambiaso (Moneglia 1527-1585 Madrid) Venus and Cupid pen and brown ink, ink gall damage, losses 10 x 15¾ in. (25.4 x 40 cm.) Mrs P. Brindley; Christie's, London, 21 November 1967, lot 143. We are grateful to Jonathan Bober, who has confirmed the attribution on examination of the original.

Luca Cambiaso (Moneglia 1527- 1585 El Escorial) The Holy Family with the Infant John the Baptist oil on canvas, 132 x 109.7 cm, in a possibly contemporary frame We are grateful to Dr. Anna Orlando, for confirming the attribution (written communication). The present, previously unpublished, painting is an important addition to Cambiaso´s oeuvre. It was most probably executed in the 1550s. as it was during this period that Cambiaso´s figurative compositions appeared more elegant, refined and graceful. He moved away from his earlier style, as he began echoing the great masters of the earlier 16th Century. Correggio´s influence, for example, is recognisable in the use of colour. Comparable works by Cambiaso of this date are the Madonna with Child and Saint Mary Magdalene (Genoa, Palazzo Bianco) and the Holy Family with John the Baptist and Angels (Genoa, Accademia Ligustica). From the middle of the 16th Century onwards Cambiaso tended to painted on canvas as in the present work, rather than panel and these canvases were normally executed as private devotional paintings. The naturalness and the intimacy of the present composition are particularly striking. The artist dealt with this subject repeatedly, however, he appears never to have represented the Holy Family in such a inimate manner as here as in the natural way in which the infant Jesus has fallen asleep next to his mother, for example and the way in which the Madonna gestures to Saint John the Baptist warning him not to wake the infant. Joseph watches from the background. In the present work Cambiaso has used thin glazes over a fine and lightly-primed canvas, allowing every detail be emphasized. As an artist Cambiaso was experimental and the present work demonstrates the ingenuity of the artist, working within a single tradition whilst approaching this tradition with a great capacity to innovate both in terms of iconography and painterly technique. Recent literature on the works of Luca Cambiaso is available in the Austin and Genoa exhibition catalogues (Silvana Editoriale, 2007). Both catalogues provide a good overview of the artist’’’’s stylistic development from his early career in the 1540s through to his mature period in the 1580s when he was active at the Spanish court of Philip II. We are grateful to Dr. Anna Orlando for her assistance in cataloguing the present work.

Luca Cambiaso (Genoa 1527-1585 Madrid) A centaur on his back with number '58' pen and brown ink, loss at upper left corner, unframed 14½ x 9 in. (37.8 x 23.9 cm.) I confirm that I have read this Important Notice and agree to itsterms. Sir Archibald Campbell, Bt.; Sir George Campbell, Bt., and by descent to Sir Ilay Campbell Bt.; Christie's, London, 26-27 March 1974, lot60. with Galerie Gabor Kekko, Lucerne, Meisterzeichnungen V, [undated],no. 2. PROPERTY FROM A DISTINGUISHED CANADIAN COLLECTION (LOTS 17,22-23, 26, 30-32, 38) Glasgow, Art Gallery, Old Master Drawings from the Collection ofGeorge Campbell, 1953, no. 34. Toronto, Galerie Kekko, Important Old Master Drawings in TorontoCollections: a loan exposition, 1980, unnumbered. This vigorous drawing probably dates from circa 1547-8, shortlyafter Luca Cambiaso's return from his first visit to Rome, when hewas commissioned to fresco the Sala di Apollo in Antonio Doria'spalazzo in Genoa. The draughtsmanship is very close to that in theSilenus Drinking at Princeton (inv. 1948.627) and in the Samsonsold at Sotheby's, New York, 26 January 2011, lot 531. We are grateful to Jonathan Bober for confirming the attribution onthe basis of a photograph and for his assistance in cataloguingthis drawing.

LOT 531 LUCA CAMBIASO MONEGLIA 1527 - 1585 MADRID SAMSON TEARING DOWN THE COLUMNS OF THE TEMPLE Pen and brown ink; bears signature: Luca Cambiaso and traces of another erasedinscription 15,000—20,000 USD measurements measurements note 428 by 280 mm; 16 7/8 by 11 in Description Pen and brown ink;bears signature: Luca Cambiaso and traces of another erasedinscription PROVENANCE Giuseppe Vallardi (L.1223) CATALOGUE NOTE This very vigorous work is characteristic of Cambiaso's earlydrawings made soon after his return from Rome. It can be comparedwith others such as the Silenus Drinking, now inPrinceton,1 in which the influence of Michelangelo'smonumental style is evident. The subjects of these early drawingsare often combats or scenes of frantic activity. Within a fewyears, Cambiaso's style had achieved a greater equilibrium. Thisdrawing can be dated around 1547-48 and has not been connected witha surviving work. We are grateful to Mary Newcome Schleier forconfirming the attribution to Cambiaso. 1. See Luca Cambiaso, exhib. cat., Austin, Texas, Blanton Museumof Art, et al., 2006-7, p. 228, no. 9