Girolamo Fr. Mazzola Parmigiano

Lot Description Girolamo Francesco Mazzola, il Parmigianino (Parma 1503-1540 Casalmaggiore) Head of a bearded man in profile facing left, possibly a self-portrait with number '238-845' (on the mount) traces of black chalk, pen and brown ink 6½ x 4¾ in. (16.8 x 12.3 cm.) Lot Condition Report I confirm that I have read this Important Notice and agree to its terms. View Condition Report Provenance Thomas Howard, 2nd Earl of Arundel. William, 2nd Duke of Devonshire (L.718), and by descent to The Duke of Devonshire and the Trustees of the Chatsworth Settlement; Christie's, London, 3 July 1984, lot 32, where purchased by Richard Day for a New York private collection. Literature A.E. Popham, Catalogue of the Drawings of Parmigianino, London, 1971, no. 723, pl. 296. J. Wood, 'Inigo Jones, Italian Art and the Practice of Drawing', The Art Bulletin, LXXIV, no. 3, June 1992, p. 253, fig. 23. M. Jaffé, The Devonshire Collection of Italian Drawings: Bolognese and Emilian Schools, London, 1994, p. 264, no. 705. A. Gnann, Parmigianino: die Zeichnungen, Petersberg, 2008, I, p. 444, no. 591; II, p. 467 (where the location is incorrectly given as Chatsworth). Exhibited Washington D.C., National Gallery of Art, and elsewhere (International Exhibitions Foundation), Old Master Drawings from Chatsworth, 1969-70, catalogue ed. J. Byam Shaw, no. 51. London, Victoria and Albert Museum, Old Master Drawings from Chatsworth, 1973-4, no. 51. London, British Museum, and New York, Metropolitan Museum of Art, Correggio and Parmigianino: Master Draughtsmen of the Renaissance, 2000-1, no. 96. Engraved Etched by L. Vorsterman, in reverse (fig. 2; Hollstein 40). View Lot Notes ›

LOT 229 GIROLAMO FRANCESCO MARIA MAZZOLA, CALLED PARMIGIANINO PARMA 1503 - 1540 CASALMAGGIORE RECTO: STUDIES OF AN EXECUTIONER AND A SEATED FIGURE; VERSO: A FRAGMENT OF FIGURE STUDIES, AFTER RAPHAEL Pen and brown ink and wash, and black chalk (recto); pen and brown ink and gray wash, heightened with white, over black chalk (verso), on paper tinted beige; bears numbering in brown ink, upper left corner: 159 126 by 121 mm; 5 by 4 3/4 in

GIROLAMO FRANCESCO MARIA MAZZOLA, CALLED IL PARMIGIANINO (CIRCLE OF) (Parma 1503-Casalmaggiore 1540) The Entombment. Pen and brown ink on cream laid paper. 318x268 mm; 12 1/2x10 5/8 inches. Ex-collection Henry Scipio Reitlinger (Lugt supplement 2274a, verso). Based on the same-titled etching by Parmigianino, circa 1530 (Bartsch 51). Estimate $1,200-1,800

Girolamo Francesco Maria Mazzola, Il Parmigianino (1503-1540) The Entombment (Second Version) (B. 5) etching, circa 1527-31, without watermark, a very good impressionof the first state (of two), printing strongly with little of theusual wear, with thread margins or trimmed on the platemark onthree sides, trimmed to the subject into the blank space below, thesheet slightly creased, pale scattered foxing mostly visible verso,two small paper splits in the lower subject, a 7 mm. tear withsmall associated paper loss at the left sheet edge, the upper rightcorner torn and very skilfully re-attached and partially made-up,other minor defects S. 312 x 240 mm. Provenance Comte G. Archinto (1783-1861), Milan (L. 52). Initials M.J.M., presumably Mary Jane Morgan (d. before 1886) (L.1879). Lot Notes 'For his grandest composition, The Entombment, known in twoversions, Parmigianino made something like twenty preparatorydrawings. [After the first attempt ended in technical failurehe]..was forced to copy it onto another plate...This is very muchbolder in its approach: the tool is thicker, the biting isdeeper...The print is full of restlessness and drama. This is oneof Parmigianino's greatest achievements in all media, and it isfitting, given what we know of his character, that he should haveabandoned printmaking soon after completing his masterpiece.' (David Landau and Peter Parshall, The Renaissance Print, YaleUniversity Press, New Haven and London, 1994, p. 269.)

55. Parmigianino (Girolamo Francesco MariaMazzola.) The Annunciation, etching, 1st state with minimal engraving to three fingers only, 108 x 65mm.,trimmed just to, and occasionally just within, the platemark,repairs to the upper corners, a short tear and crease lower rightcorner, tipped at left edge onto support, this annotated, signedand dated by the collector M.M. Neave, 1887, [Bartsch 2], early 16th century; Saint James Major, etching, 1st state , 117 x 64mm., trimmedon and occasionally just within the platemark, repairs to upperright corner and two short tears from right sheet edge, hinged atleft edge onto support, this annotated and signed as above by M.M.Neave, [Bartsch 8], early 16th century (2)