D`APRÈS MICHELANGELO BUONARROTI, DIT MICHEL-ANGE (CAPRESE 1475-1564 ROME) - photo 1
D`APRÈS MICHELANGELO BUONARROTI, DIT MICHEL-ANGE (CAPRESE 1475-1564 ROME) - photo 2

D`APRÈS MICHELANGELO BUONARROTI, DIT MICHEL-ANGE (CAPRESE 1475-1564 ROME)

Lot 2
26.03.2025 15:00UTC +01:00
Classic
Sold
€ 30 240
AuctioneerCHRISTIE'S
Event locationFrance, Paris
Archive
The auction is completed. No bids can be placed anymore.
Archive
ID 1389992
Lot 2 | D'APRÈS MICHELANGELO BUONARROTI, DIT MICHEL-ANGE (CAPRESE 1475-1564 ROME)
Estimate value
€ 7 000 – 10 000
D'APRÈS MICHELANGELO BUONARROTI, DIT MICHEL-ANGE (CAPRESE 1475-1564 ROME)
Haman
pierre noire, plume et encre brune, rehaussé de peinture à l'huile, les angles coupés
45,8 x 23 cm (18 x 9 in.)




Provenance

Michael Jaffé, C.B.E. (1923-1997), Londres, et par descendance.



Literature

M. Jaffé, ‘Rubens as a Collector of Drawings: Part III’, Master Drawings, IV, 1966, pp. 127-148.
M. Jaffé, Rubens and Italy, Oxford, 1977, pp. 19-20, pl. 11.
A.-M. Logan, ‘Rubens Exhibitions 1978’, Master Drawings, XVI, 1978, p. 433.
J. Wood, Rubens Drawing on Italy, Edinburgh, 2002, p. 47, sous le n°15.
J. Wood, Rubens, Copies and Adaptations from Renaissance and Later Artists, Londres, Turnhout, 2011, I, p. 170.



Further details

AFTER MICHELANGELO BUONARROTI, HAMAN, BLACK CHALK, PEN AND BROWN INK, HEIGHTENED WITH OIL, THE CORNERS CUT

This large drawing studies the contorted figure of Haman in Michelangelo’s fresco Punishment of Haman, in the Sistine Chapel, Vatican City.
It has previously been suggested that the present drawing was by the hand of Peter Paul Rubens (M. Jaffé, op.cit.), however this theory has been refuted (A.-M. Logan, op.cit.). Another sheet of the same subject is in the collection of the Louvre, Paris (inv. 20267; see J. Wood, 2002, op.cit.), attributed to Bartolomeo Passarotti (1529-1592), retouched by Rubens. The subject was anonymously engraved, and reissued by Antonio Lafreri in 1555, although Wood (2002, op.cit.) notes that neither the present sheet, nor the Louvre drawing are copies after the print, given the muscular detail that has been omitted in the production of the engraving.
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