Czére Andrea szerk.: A Szépművészeti Múzeum közleményei 102-103. (Budapest, 2005)

ZOLTÁN KÁRPÁTI: A Late Drawing by Domenico Campagnola

as a Parmigianino, with the earlier suggestion of Domenico Campagnola inscribed on the departmental file initially by Frederick Antal. 10 Pen and brown ink on buff paper, 170 x 255 mm, Haarlem, Teyler Museum, inv. no. A* 84; see C. van Tuyll van Serooskerken, The Italian Drawings of the Fifteenth and Sixteenth Centuries in the Teyler Museum, Haarlem, Gent, and Doornspijk 2000, no. 436: Campagnola, from his late period. 11 The Golden Legend VII, 22. 12 Tuyll 2000, no. 436; Poniz 1981, 68. 13 Pen and brown ink on white paper, 149 x 236 mm, inscribed with ink on the upper right corner: campaniola, Vienna, Akademie der bildenden Künste, inv. no. 4608; see Tietze and Tietze-Conrad 1944, 132, no. 566: late workshop; Poniz 1981, 66, fig. 5: Campagnola, from his late period. 14 Brown ink over black chalk on off-white antique laid paper, 179 x 200 mm; inscribed with dark brown ink on the lower right corner: Tiziano, Cambridge, (MA), Harvard University Art Museums, Fogg Art Museum, inv. no. 2002.95.116. According to the typical mid-seventeenth-century inscription on the verso (T. no. 6), the drawing came from the Sagredo collection, with provenance most likely as follows: Doge Nicoló Sagredo, Venice ca. 1651; thence by inheritance to his brother, Stefano Sagredo, Venice; thence by inheritance to his nephew, Zaccaria Sagredo, Venice, thence by inheritance to his wife, Cecilia Sagredo, until the collection was finally sold by the family, ca. 1743; sale, Paris, Drouot, 11 March 1985, lot 206, repr.: as circle of Titian, from the so-called Borghese album; acquired by Paul J. Haldeman, Cambridge 1985; gift to the Cambridge, Fogg Art Museum 2002. 13 Cf. H. E. Wethey, The Paintings of Titian: The Religious Paintings, London 1969, no. 10.