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Head of Giulio Contarini, in three-quarter profile, after Alessandro Vittoria

  • Listed: January 1, 1970 12:00 am
  • Title: Head of Giulio Contarini, in three-quarter profile, after Alessandro Vittoria
  • Artist: Giovanni Battista Tiepolo
  • Origins:
  • Format (cm): 24.5 x 18 cm.
  • Format (in): 9¾ x 7½ in.
  • Material:
  • Last Sale price: 386 500,00
  • Last Sale date:
Head of Giulio Contarini, in three-quarter profile, after Alessandro Vittoria


Giovanni Battista Tiepolo (Venice 1699-1770 Madrid) Head of Giulio Contarini, in three-quarter profile, after Alessandro Vittoria red and white chalk on blue paper, watermark three crescents 9¾ x 7½ in. (24.5 x 18 cm.)
Giovanni Domenico Bossi, with associated price code ‘f.1 No. 3346′ and ‘753’ ( verso ), and by descent to Maria Theresa Karoline Bossi. Karl Christian Friedrich Beyerlen; H.G. Gutekunst, Stuttgart, 27-8 March 1882. Anonymous sale; Christie’s, London, 2 July 1985, lot 73.
G. Knox and T. Martin, ‘Giambattista Tiepolo: A series of chalk drawings after Alessandro Vittoria’s bust of Giulio Contarini’, Master Drawings , 1987, III, p. 160, note 23, pl. 20. B. Aikema, in Tiepolo and his circle , exhib. cat., New York, The Pierpont Morgan Library and elsewhere, 1996, p. 268, under no. 17. G. Knox, ‘Giambattista Tiepolo’s Drawings after Alessandro Vittoria’s Bust of Giulio Contarini’, in Vittoria and Tiepolo. The Giulio Contarini Bust and the Drawings it inspired , exhib. cat., New York, Salander-O’Reilly, 2001-2, p. 40, illus.
This drawing is part of a series by Giambattista after a bust of Giulio Contarini ( circa 1500-1580) by Alessandro Vittoria (1525-1608). Vittoria was born in the Veneto and trained with Jacopo Sansovino. Contarini was a Procurator of San Marco and a patron of the arts. The sculpture (fig. 1) which Giambattista and his son Domenico depicted in at least a dozen other chalk drawings was and remains in the church of Santa Maria del Giglio in Venice. Tiepolo drew the bust from the front, right and left three quarter view, profile and even from the back of the head. All are executed in chalk, but several are more summarily described than others where there is a rich build up of the red and white chalk. Some of these more rapidly executed sketches were attributed to Domenico by Knox and Martin in their 1987 Master Drawings article ( op. cit. , pp. 159-60). George Knox ( op. cit. , 2000, pp. 40-1) has convincingly shown that Giovanni Battista executed his drawings not after the marble but after a terracotta bust, recently acquired by the National Gallery of Canada (fig. 1; see exhib. cat. Salander-O’Reilly, 2000-1, pp. 12-28). The terracotta bears an inscription that incorrectly identified the model as Titian, an identification Tiepolo most likely assumed as well when he executed the drawings. Giambattista’s drawings after Vittoria’s sculptures are one of several examples of Tiepolo finding inspiration from earlier artists — both painters and sculptors. Tiepolo made drawings of another portrait bust by Vittoria, this one of the artist Palma Giovane (a terracotta version of which is in the Kunsthistoriches Museum, Vienna). There are also several drawings after Antique sculpture (Knox, Giambattista and Domenico Tiepolo. A Study and Catalogue Raisonné of the Chalk Drawings , Oxford, 1980, K.6-9, M.260, 272, 459, 527, 655, 661, 67-82). In addition, Tiepolo executed drawings after paintings by Veronese, Peter Paul Rubens and Guido Reni (Knox, 1987, op. cit. , pp. 158, 162, notes 3, 4). Knox and Martin date the Contarini drawings to around 1742-3 based upon comparison with the Palma Giovane sheets and similar heads found in paintings by Tiepolo from the 1740s.

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