Paolo Veronese

LOT 225 PAOLO CALIARI, CALLED IL VERONESE VERONA 1528 - 1588 VENICE RECTO: STUDIES OF THE ARM AND HEAD OF A BOY VERSO: SKETCH OF A MOTHER AND CHILDREN Black chalk heightened with white chalk (recto); black chalk (verso); on blue paper; bears old inscription in pen and brown ink, partially cut, recto: Di Paolo Ver... and bears numbering verso: iii Unevenly cut, 275 by 200 mm;10 7/8 by 7 7/8 in

Lot 95 School of Paolo Veronese The Consecration of SaintNicholas of Myra Oil on panel 26 1/4 x 16 3/4 inches (66.5 x 42.3 cm) Provenance: Sale, Christie's, New York, September 30, 2003, lot 366 This composition is derived from a work by Veronese in theNational Gallery, London. C Property from the Estate of Charles Blakiston ("Blake")Ashburner Estimate $3,000-5,000 Split in panel running approximately 5-6 inches from the hemof the Bishop's cloak to the lower margin of the panel. Surfacescratches in the clouds. Some strengthening around the Bishop'sright hand and on the hair, collar, and sleeve of the boy at thelower right. Any condition statement is given as a courtesy toa client, is only an opinion and should not be treated as astatement of fact. Doyle New York shall have no responsibility forany error or omission. The absence of a condition statement doesnot imply that the lot is in perfect condition or completely freefrom wear and tear, imperfections or the effects ofaging.

Property from the Estate of John H. Pritchard Follower of Veronese, 'The Raising of Lazarus', Oil on Canvas, depicting Christ extending his hand to Lazarus with a group of onlookers in the background and classical architecture to the left. Within an ornate 19th century frame. Frame size 43 1/2 in. x 54 in. Measurements H: 33 in. x W: 43 in. Fair condition, relined. Significant restoration to the outer edges of the canvas, with overpainting and raised areas. Small areas of overpainting throughout canvas particularly to Lazarus's face, there appears to be a repaired tear both vertically and horizontally on Jesus' torso. Some surface grime. The frame with small chips and rubbed areas.

Paolo Caliari, il Veronese (Verona 1528-1588 Venice) Studies of Mercury, Venus, Cupid and Saturn and other figures with number '7' adjusted to '64' (recto) and '170' on the mount pen and brown ink, brown wash 11 7/8 x 7 7/8 in. (303 x 203 mm.) Provenance Sir Joshua Reynolds (L. 2364). Sir Harry Wilson. Anonymous sale; Foster's, 8 June 1921 (10s.). Literature Literature Reford, Studio, Special Number, 1922/3, p. 55. D. von Hadeln,'Drawings by Paul Veronese', The Burlington Magazine, December 1925, XLVII, p. 304. D. von Hadeln, Venezianische Zeichnungen der Spat-renaissance, Berlin, 1926, pl. 22. G. Fiocco, Veronese, Bologna, 1928, no. 129. H. Tietze and E. Tietze-Conrat, The Drawings of the Venetian Painters, New York, 1944, no. 2104. R. Cocke, 'New Light on Veronese', The Burlington Magazine, January 1974, CXVI, p. 31. R. Cocke, Veronese's Drawings, London, 1984, no. 11. T. Pignatti, Veronese, Milan, 1995, p. 117, under no. 76. Exhibited Paris, Goupil Gallery, 1922, no. 77. London, Burlington Fine Arts Club, 1922. London, Matthiesen Gallery, Venetian Drawings, 1939, no. 100. Venice, Palazzo Giustiniani, Mostra di Paolo Veronese, 1939, no. 1. London, Royal Academy, Old Master Drawings, 1953, no. 102. London, Royal Academy, The Paul Oppé Collection, 1958, no. 359. Ottawa, National Gallery of Canada, Exhibition of Works from the Paul Oppé Collection, 1961, no. 153. Lot Notes Veronese's surviving drawings divide into three distinct groups, the finished drawings in wash on tinted paper that present the final composition, the worked-up studies in black and white chalk on blue paper that resolve the forms of individual figures, and the drawings in pen and ink which, like the present drawing, seem to document the initial stage of the artist's inspiration. The elements are drawn spontaneously and with élan, each well-formed figure presenting a self-contained pose but also interacting with the myriad of studies around it. Each figure is drawn from a low viewpoint suggesting that the artist was thinking of a freso placed high on a wall or on a ceiling. The figures also have a sculptural quality: the figures of Venus and Cupid at the centre seem to derive from the 2nd Century AD statue of Venus Felix with Amor, placed by Pope Julius II in the Belvedere at the Vatican, which Veronese may have known from prints or other reproductions. The pose of the Venus may have been the starting point for Veronese's fresco of the goddess used in the ceiling in a lower room in the Palazzo Trevisan, now in the Louvre (T. Pignatti, op. cit., no. 76B), a connection reinforced by the similarity between the seated figure to the left of the drawing with the fresco of Apollo for the same Palazzo (T. Pignatti, op. cit., no. 76A). Other figures in the drawing are harder to identify: the three male figures at the top left may be Mercury, who is repeated below holding his caduceus. Further down the sheet the figure seems to morph into Saturn holding his scythe precariously between his legs and again with an eagle or perhaps a swan. The triangle of figures at the bottom of the sheet can however clearly be associated with the figure of King David in Veronese's fresco for the nave of the church of San Sebastiano, Venice, painted, like the interior of the Palazzo Trevisan, in 1556-58. In the extreme left the figure is shown under a suggestion of the trompe l'oeil arch found in the fresco. Above, the artist concentrates on the position of King David's left arm, and above that investigates the possibility of him holding his harp in front of him, the balance of the figure examined in a nude study. Below these is a quick study of the pose to be used, another of the draperies, and in the far right a first idea for the harp itself.

provenance bears unidentified collector's mark, lower left (not in lugt); sale, london, sotheby's, 15 june 1983, lot 27; muriel and philip berman, allentown, usa exhibited washington, d.c., national gallery of art, the art of paolo veronese 1528-1588, 1988-89, cat. no. 50 literature and references the genius of venice, 1500-1600, exhibition catalogue, london, royal academy, 1983-84, p. 235; r. cocke, veronese's drawings, a catalogue raisonné, london 1984, p. 138, no. 55, reproduced; l. l. crosato, 'i disegni di paolo veronese', in arte veneta, vol. 40, 1986, p. 253; veronese e verona, exhibition catalogue, verona, museo di castelvecchio, 1988, p. 233, reproduced, and p. 236 note 12; w.r. rearick, 'black chalk drawings by paolo veronese', in master drawings, vol. 30, no. 2, 1992, p. 151, reproduced p. 152, fig. 10 catalogue note this is a preliminary study for the central figure, and for the legs of the figure on the right, in veronese's painting st. barnabas healing the sick (fig. 1), executed for s. giorgio in braida, verona and now in the musée des beaux-arts, rouen (see t. pignatti and f. pedrocco, veronese: catalogo completo dei dipinti, florence 1991, p. 178, cat. no. 92). in his catalogue entry for the drawing in the washington exhibition (see below), rearick refers to a pen and ink sketch for the composition which veronese then apparently rejected (städelschen kunstinstitut, frankfurt, no. 4461). the present study is in, as rearick points out, 'veronese's preferred medium for individual figure studies' and shows the figure almost exactly as it appears in the painting. there is a further related drawing, a splendid head of young negro, in the louvre (exhibition catalogue, washington, no. 51). the subject is most unusual and shows st. barnabas using the gospel of st. matthew to cure the sick in cyprus. the dating of the painting has been debated by various scholars, but is now generally thought to be the late 1560s.