Daniele Crespi

LOT 281 DANIELE CRESPI BUSTO ARSIZIO CIRCA 1597 - 1630 MILAN ST. CATHERINE OF SIENA RECEIVING COMMUNION FROM CHRIST Pen and brown ink and wash heightened with white over black chalk, squared in red chalk; bears pencil attribution on the mount, not in Skippe's hand: Francesco Curradi 229 by 163 mm

LOT 11 DANIELE CRESPI BUSTO ARSIZIO CIRCA 1597 - 1630 MILAN RECTO: DESIGN FOR A SPANDREL WITH SEVERAL PUTTI VERSO: TWO ANGELS Red chalk and point of the brush and grey wash (recto and verso); bears old attribution in pen and brown ink top right: del Cambiagio; some old accounts in pen and brown ink (verso) 301 by 242 mm

LOT 542 DANIELE CRESPI BUSTO ARSIZIO CIRCA 1597 - 1630 MILAN SAINT CATHERINE OF ALEXANDRIA DISPUTING WITH THE PHILOSOPHERS,EMPEROR MAXENTIUS ENTHRONED BEHIND Pen and black ink over red chalk; inscribed in pen and black ink: Pompeo and ottavio 7,000—9,000 USD measurements 152 by 230 mm; 6 by 9 in Description Pen and black ink over red chalk;inscribed in pen and black ink: Pompeo and ottavio CATALOGUE NOTE The drawing cannot be connected to a known work, butstylistically it is close to Crespi's study of The Death of RaymondDiocrès, which is preparatory for a fresco in the Certosa ofGaregnano.1 Crespi completed the decoration of thisimportant Certosa in 1629. Characteristic are the agitated penstrokes, the faces, and the figure to the right seen frombehind. We are grateful to Dr Paul Taylor for his help in identifyingthe subject. 1. Milan, Biblioteca Ambrosiana; see N. Ward Neilson, DanieleCrespi, Soncino 1996, p. 33; p. 82, no. D14, reproduced p. 213,fig. 71 CATALOGUE NOTE The drawing cannot be connected to a known work, butstylistically it is close to Crespi's study of The Death of RaymondDiocrès, which is preparatory for a fresco in the Certosa ofGaregnano.1 Crespi completed the decoration of thisimportant Certosa in 1629. Characteristic are the agitated penstrokes, the faces, and the figure to the right seen frombehind. We are grateful to Dr Paul Taylor for his help in identifyingthe subject. 1. Milan, Biblioteca Ambrosiana; see N. Ward Neilson, DanieleCrespi, Soncino 1996, p. 33; p. 82, no. D14, reproduced p. 213,fig. 71

DANIELE CRESPI BUSTO ARSIZIO CIRCA 1597 - 1630 MILAN THE MADONNA AT PRAYER 20,000—30,000 GBP 63.2 by 48.5 cm.; 24 7/8 by 19 1/8 in. oil on panel This exciting new addition to the oeuvre of Daniele Crespi datesfrom the 1620s. It was during this decade that the young Crespicame into his own as an artist, moving away from the exaggeratedstyle of Lombard mannerism to develop his own original stylefocused on stark depiction of form and a simplification ofcontent. In the present painting this has resulted in an intense,psychological depiction of the Madonna paused in contemplation andprayer. Her simple, almost heavy, facial features appear repeatedlyin Crespi's other Madonnas of the 1620s. They can be found in amore emotional format in the Prado Pietà and again in thecompositionally more ambitious Madonna and Child with SaintsFrancis and Carlo Borromeo in the Pinacoteca dell'Ambrosiana (seeN. Ward Neilson, Daniele Crespi, Soncino 1996, pp. 31, 35,109 and 177). We are grateful to Dr. Francesco Frangi for endorsing theattribution to Crespi on the basis of photographs and forsuggesting a date of execution in the 1620s.

Daniele Crespi (Busto Arsizio 1598-1630 Milan) The Resurrection of Raymond Diocrès inscribed 'iusto Dei iudicio jiudicato suma iusto del udicio .uicato suma' black chalk, pen and brown ink, brown wash, heightened with white, squared in black chalk, and inscribed with an arched top 8¾ x 8 5/8 in. (22.1 x 22 cm.) Literature M. Gregori, Gli affreschi della Certosa di Garegnano, Milan, 1973, pp. 33, 40, note 78, fig. 28. G. Bora, 'Ruolo e significato del disegno in Daniele Crespi', in Fra Rinascimento, Manierismo e realtà: Scritti di storia dell'arte in memoria di Anna Maria Brizio, Florence, 1984, p. 163, fig. 13. N. Ward Neilson, Daniele Crespi, Soncino, 1996, no. D24, fig. 72b. Daniele Crespi: un grande pittore del Seicento lombardo, ed. A. Spiriti, exhib. cat., Palazzo Marliani Cicogna, Busto Arsizio, 2006, p. 298, under no. 57. Exhibited Galerie Claude Aubry, Paris, Dessins français et italiens du XVIe et du XVIIe siècle dans les collections privées françaises, 1971, no. 39. Lot Notes A study for the first fresco on the right in the Certosa di Garegnano in Milan (Ward Neilson, op. cit., no. 14, fig. 37C). Crespi probably began to paint the large cycle of frescoes in the Certosa at the end of 1627, and signed the work on 5 April 1629. Two further drawings are related to this fresco: a sketch for the full composition in the Ambrosiana, Milan, and a black chalk study for the figure of Raymond Diocrès in the Castello Sforzesco, Milan (Ward Neilson, op. cit., nos. D14-15, figs. 71 & 72a). The present drawing appears to be the final compositional study. Drawings for other scenes in the fresco cycle are illustrated in Ward Neilson, op. cit., nos. D13, D17, D27, D6, D35, D5, D25, D30, figs. 73-77. The Certosa fresco cycle depicts the life of Saint Bruno. This scene illustrates the first formative event in Bruno's life: the death of Raymond Diocrès, his theological tutor at the Sorbonne, where he had been renowned for his supposed virtue. Diocrès's true nature was revealed during his funeral, when he is said to have risen from his bier three times, proclaiming, in front of Bruno and his other pupils, 'By the justice of God, I am condemned'. In the present drawing his words are represented on a scroll curling from his mouth, whereas in the fresco they are, less evocatively, inscribed on a tablet at the foot of the bier.