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Putto ailé, préparatoire pour la voûte du Palais Farnèse à Rome
细节
ANNIBALE CARRACCI (BOLOGNE 1560-1609 ROME)
Putto ailé, préparatoire pour la voûte du Palais Farnèse à Rome
avec inscriptions ‘annibal Carrache f.’ (en bas à gauche)
pierre noire, craie blanche sur papier beige
32 x 19 cm (12 5⁄8 x 7 ½ in.)
Putto ailé, préparatoire pour la voûte du Palais Farnèse à Rome
avec inscriptions ‘annibal Carrache f.’ (en bas à gauche)
pierre noire, craie blanche sur papier beige
32 x 19 cm (12 5⁄8 x 7 ½ in.)
来源
Francesco Angeloni (1587-1652), Rome, (d'après Rosenberg).
Pierre Mignard (1612-1695), Rome et Paris, (d'après Rosenberg).
Pierre Crozat (1665-1740), Paris, sa numérotation ‘60’ (en bas à droite) ; sa vente après décès, Paris, 10 avril-9 mai 1741, lots 462 à 472 (‘Études pour la galerie Farnèse’ lots acquis par Mariette).
Pierre-Jean Mariette (1694-1774), Paris, avec son montage associé.
Benjamin Fillon (1819-1881), Vendée, puis par descendance au propriétaire actuel.
Inscrit aux Monuments Historiques (2012).
Pierre Mignard (1612-1695), Rome et Paris, (d'après Rosenberg).
Pierre Crozat (1665-1740), Paris, sa numérotation ‘60’ (en bas à droite) ; sa vente après décès, Paris, 10 avril-9 mai 1741, lots 462 à 472 (‘Études pour la galerie Farnèse’ lots acquis par Mariette).
Pierre-Jean Mariette (1694-1774), Paris, avec son montage associé.
Benjamin Fillon (1819-1881), Vendée, puis par descendance au propriétaire actuel.
Inscrit aux Monuments Historiques (2012).
出版
B. Py, Les dessins italiens de Pierre Crozat, l’œil de Mariette, Paris, 2015, p. 293 (non reproduit).
P. Rosenberg, Les dessins de la collection Mariette, Écoles italienne et espagnole, Paris, I 2019, p. 311, n°1434, ill.
V. Hundsbuckler, Dessins des Carrache. La fabrique de la Galerie Farnèse, cat. exp., Paris, musée du Louvre, 2025-2026, n° 68, ill. (non exposé).
P. Rosenberg, Les dessins de la collection Mariette, Écoles italienne et espagnole, Paris, I 2019, p. 311, n°1434, ill.
V. Hundsbuckler, Dessins des Carrache. La fabrique de la Galerie Farnèse, cat. exp., Paris, musée du Louvre, 2025-2026, n° 68, ill. (non exposé).
更多详情
ANNIBALE CARRACCI, STUDY OF A PUTTI, PREPARATORY FOR THE PALAZZO FARNESE, BLACK AND WHITE CHALK ON LIGHT BROWN PAPER
An important rediscovery within Annibale Carracci’s graphic œuvre, this study of a putto holding a palm branch is preparatory for one of the figures decorating the vault of the Carracci Gallery in the Palazzo Farnese in Rome, painted in fresco circa 1597-1600.
After leaving Bologna, Annibale Carracci departed his native region and settled in Rome in 1594 with his brother Agostino, at the invitation of Cardinal Odoardo Farnese, who intended to embark on the ambitious decoration of the Palazzo Farnese.
An ambitious iconographic programme
Working in close collaboration, the brothers Annibale and Agostino Carracci undertook the creation of the vaulted ceiling: the elder oversaw the narrative compositions -The Loves of the Gods - while Agostino executed the architectural compartments and ornamental elements, including trompe-l’œil sculptures imitating marble, bronze medallions, the four groups of putti in the spandrels, and the ignudi.
The present putto is preparatory for one of the four spandrels: The Reconciliation of Eros and Anteros, situated to the left of Polyphemus and Acis (fig. 1), while the putti to the right depict their Combat. The angel’s pose is slightly altered in the final version: the left arm, here holding a palm branch, is ultimately adapted to embrace the angel facing him in the gesture of reconciliation. The position of the body and the treatment of the head clearly indicate a study intended for a ceiling decoration, conceived da sotto in su.
Two closely comparable drawings are preserved at the Musée du Louvre, executed in black chalk heightened with white on blue paper and depicting the pair of angels (inv. 7305; 7395; fig. 2; C. Loisel, Ludovico, Agostino, Annibale Carracci. Inventaire général des dessins italiens, Musée du Louvre, Paris, 2004, nos. 533, 534; see also Hundsbuckler, op. cit.). The first represents an intermediate stage toward the painted ceiling — much like the present sheet — while the second shows the putti in their definitive poses, exactly as they appear in the fresco.
As Catherine Loisel notes (ibid., 2004, p. 63), drawing played a fundamental role in the creative process of this ambitious decoration. Because the fresco technique allows little freedom due to the rapid drying of the plaster, careful preparation was essential, and the artist produced numerous academic studies from the nude model in advance.
Most of the preparatory drawings for the ensemble are today preserved in public collections - notably the Musée du Louvre and the British Royal Collections at Windsor Castle - as the recent Louvre exhibition has demonstrated (Hundsbuckler, op. cit., 2025- 2026).
A distinguished provenance since the 17th century
The present putto most likely passed through the hands of Francesco Angeloni, the learned antiquarian, friend of Annibale, and owner of the largest known group of preparatory sheets for the Farnese Gallery in his private museum as early as 1642-1644 (Hundsbuckler, op. cit., p. 66). It subsequently entered the collection of the painter Pierre Mignard, Premier peintre du roi, who lived in Rome from 1635 to 1657.
In the 18th century, the sheet was owned by two of the greatest collectors of drawings of the Enlightenment: Pierre Crozat and Pierre‑Jean Mariette (Rosenberg, op. cit., p. 286).
In the 19th century, it belonged to Benjamin Fillon, judge in La Roche‑sur‑Yon (Vendée), appointed prefect of the department in 1870. An art historian and contributor to the Société de l’histoire de l’art français, Fillon assembled an important collection of local curiosities from the Poitou region and a small group of significant drawings, including a red chalk by Primaticcio for the ceiling of the Porte Dorée at the Château de
This lot has been listed as a ‘Monument Historique’ since 5 April 2012, by official decree. It may leave French territory and will be sold with its cultural export certificate. Only the identity and contact details of the buyer must be communicated to the relevant French administrative authorities.
An important rediscovery within Annibale Carracci’s graphic œuvre, this study of a putto holding a palm branch is preparatory for one of the figures decorating the vault of the Carracci Gallery in the Palazzo Farnese in Rome, painted in fresco circa 1597-1600.
After leaving Bologna, Annibale Carracci departed his native region and settled in Rome in 1594 with his brother Agostino, at the invitation of Cardinal Odoardo Farnese, who intended to embark on the ambitious decoration of the Palazzo Farnese.
An ambitious iconographic programme
Working in close collaboration, the brothers Annibale and Agostino Carracci undertook the creation of the vaulted ceiling: the elder oversaw the narrative compositions -The Loves of the Gods - while Agostino executed the architectural compartments and ornamental elements, including trompe-l’œil sculptures imitating marble, bronze medallions, the four groups of putti in the spandrels, and the ignudi.
The present putto is preparatory for one of the four spandrels: The Reconciliation of Eros and Anteros, situated to the left of Polyphemus and Acis (fig. 1), while the putti to the right depict their Combat. The angel’s pose is slightly altered in the final version: the left arm, here holding a palm branch, is ultimately adapted to embrace the angel facing him in the gesture of reconciliation. The position of the body and the treatment of the head clearly indicate a study intended for a ceiling decoration, conceived da sotto in su.
Two closely comparable drawings are preserved at the Musée du Louvre, executed in black chalk heightened with white on blue paper and depicting the pair of angels (inv. 7305; 7395; fig. 2; C. Loisel, Ludovico, Agostino, Annibale Carracci. Inventaire général des dessins italiens, Musée du Louvre, Paris, 2004, nos. 533, 534; see also Hundsbuckler, op. cit.). The first represents an intermediate stage toward the painted ceiling — much like the present sheet — while the second shows the putti in their definitive poses, exactly as they appear in the fresco.
As Catherine Loisel notes (ibid., 2004, p. 63), drawing played a fundamental role in the creative process of this ambitious decoration. Because the fresco technique allows little freedom due to the rapid drying of the plaster, careful preparation was essential, and the artist produced numerous academic studies from the nude model in advance.
Most of the preparatory drawings for the ensemble are today preserved in public collections - notably the Musée du Louvre and the British Royal Collections at Windsor Castle - as the recent Louvre exhibition has demonstrated (Hundsbuckler, op. cit., 2025- 2026).
A distinguished provenance since the 17th century
The present putto most likely passed through the hands of Francesco Angeloni, the learned antiquarian, friend of Annibale, and owner of the largest known group of preparatory sheets for the Farnese Gallery in his private museum as early as 1642-1644 (Hundsbuckler, op. cit., p. 66). It subsequently entered the collection of the painter Pierre Mignard, Premier peintre du roi, who lived in Rome from 1635 to 1657.
In the 18th century, the sheet was owned by two of the greatest collectors of drawings of the Enlightenment: Pierre Crozat and Pierre‑Jean Mariette (Rosenberg, op. cit., p. 286).
In the 19th century, it belonged to Benjamin Fillon, judge in La Roche‑sur‑Yon (Vendée), appointed prefect of the department in 1870. An art historian and contributor to the Société de l’histoire de l’art français, Fillon assembled an important collection of local curiosities from the Poitou region and a small group of significant drawings, including a red chalk by Primaticcio for the ceiling of the Porte Dorée at the Château de
This lot has been listed as a ‘Monument Historique’ since 5 April 2012, by official decree. It may leave French territory and will be sold with its cultural export certificate. Only the identity and contact details of the buyer must be communicated to the relevant French administrative authorities.
荣誉呈献
Hélène Rihal
Head of Department
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