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Identification and Creation

Object Number
1924.101
People
Paolo Caliari, called Veronese, Italian (Verona, Italy 1528 - 1588 Venice, Italy)
Title
Four Studies for a "Baptism of Christ"; verso: a letter in Veronese's hand dated 4 February, 1588
Classification
Drawings
Work Type
drawing
Date
1588
Places
Creation Place: Europe, Italy, Veneto, Venice
Culture
Italian
Persistent Link
https://hvrd.art/o/299132

Physical Descriptions

Medium
Brown ink and brown wash on cream antique laid paper
Dimensions
19.9 x 18 cm (7 13/16 x 7 1/16 in.)
Inscriptions and Marks
  • inscription: verso, brown ink, Italian, in artist's hand: [Letter: ] Io come homo che mai manca della sua parollano[n] mi amanto p[er] fare qua[e?]l [che]o' pottuto per darli [darvi?]satisfacione e tralastio opere da inportanciache mi vollia farli meno e percio de cio che con...mia tirato a farli non vollio i per che sonza [?]stimando li omini per il suo pezzo ma li vido conper quanto digno [digià?] e posso. E li dico che sendo cresuto...la sua contenta [consorta?] che cone tuto cio che altre [ebbi?] per elli p...cupato un pezzo di tempo e che...di questo [?]non sia Patroni che li acertavo [acetero?] volentieri. Perche i...il tempo non li amancava ricapitto e con magiorCose [?] prima la miaavese mandato senzaltro da me r...li auvria ogni con paze e tranquilita di animo m...hora che latri li piacia cossí [cussi?] a io non posso di...sento [?] che facio piasti ma da liser suo che de 5 du [cati]ma li si tenga per sicuro che non avro un perdoni [?]...che la li avera as? altri tanti come altri si gr...qual prima li date per dti [ducati] 15, nel Junia p...mil cento la mil charita ese? mia crivia o...me servira ad altro. con che con nostro cuore all...me racomando di Venezia li 2 fevraio 1587. [Dated 4 February, 1588]

Provenance

Recorded Ownership History
Denman W. Ross, Cambridge, Mass., gift; to Fogg Art Museum, 1924

Acquisition and Rights

Credit Line
Harvard Art Museums/Fogg Museum, Gift of Denman W. Ross
Accession Year
1924
Object Number
1924.101
Division
European and American Art
Contact
am_europeanamerican@harvard.edu
Permissions

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Publication History

  • Agnes Mongan, "A Sheet of Studies by Veronese", Old Master Drawings (September 1931), vol. VI-VII, pp. 21-25, repr. pl. 19
  • Style and Technique: Their Interrelation in Western European Painting, exh. cat., Fogg Art Museum (Cambridge, MA, 1936), no. 40, p. 46, pl. XIX
  • Agnes Mongan and Paul J. Sachs, Drawings in the Fogg Museum of Art, Harvard University Press (Cambridge, 1940), vol. 1, cat. no. 205, pp. 108-110; vol. 2, repr. figs. 112 (recto) and 113...
  • Titian, Tintoretto, Paolo Veronese, with a group of sixteenth-century Venetian drawings, exh. cat., Art Gallery of Toronto (Toronto, Canada, 1960), cat. no. 50
  • Jacob Bean and Felice Stampfle, Drawings from New York Collections: The Italian Renaissance, exh. cat., The Morgan Library & Museum and The Metropolitan Museum of Art (New York, NY, 1965), Vol. I, no. 73
  • Veronese and His Studio in North American Collections, exh. cat., Birmingham Museum of Art (Birmingham, AL, 1972), p. 46, repr. recto and verso
  • Terisio Pignatti, Veronese (Venice, Italy, 1976), under cat. no. 4 and cat. no. 114, repr. fig. 6
  • George R. Goldner, "A Baptism of Christ by Veronese in the Getty Museum", The J. Paul Getty Museum Journal (1981), vol. IX, p. 116, repr. fig. 6
  • Kurt Badt, Paolo Veronese (Cologne, Germany, 1981), p. 47, repr. fig. 28
  • Richard Cocke, Veronese's Drawings: a Catalogue Raisonné, Sotheby's Publications (London, England, 1984), cat. no. 125, repr. recto and verso, also p. 25 and under cat. no. 121
  • Howard Coutts, Review of "Veronese's Drawings" by Richard Cocke, Master Drawings (Autumn 1986), vol. XXIII-XXIV, no. 3, pp. 398-404, p. 403, under no. 125, and p. 404 (n. 24)
  • W.R. Rearick, The Art of Paolo Veronese, 1528-1588, exh. cat., National Gallery of Art (Washington, D.C, 1988), no. 105, repr., see also pp. 152, 159, 191 and 201
  • Agnes Mongan, Konrad Oberhuber, and Jonathan Bober, The Famous Italian Drawings at the Fogg Art Museum in Cambridge, Silvana Editoriale (Milan, Italy, 1988), p. 40, repr.p. 48, fig. 32 (recto)
  • Giuseppe Maria Pilo, "Paolo Veronese e il Tema del Battesimo di Gesu Cristo", Nuovi Studi su Paolo Veronese, ed. Massimo Gemin, Arsenale (Venice, Italy, 1990), pp. 400-411, p. 405, repr. fig. 313
  • Chiyo Ishikawa, A Gift to America: Masterpieces of European Painting from the Samuel H. Kress Collection, exh. cat. (New York, NY, 1994), under cat. no. 4, repr. fig. 1
  • W.R. Rearick, "More Veronese Drawings from the Sagredo Collection", Master Drawings (Summer 1995), vol. XXXIII, no. 2, pp. 132-143, p. 142 (n. 10)
  • W.R. Rearick, Il disegno veneziano del Cinquecento, Electa (Milan, Italy, 2001), pp. 170 and 226 (n. 251)
  • James Harper, Verso: The Flip Side of Master Drawings, exh. cat., Harvard University Art Museums (Cambridge, MA, 2001), cat. no. 8, pp. 34-35, and pp. 12 and 15, repr. p. 35, fig. 8R (recto) and...
  • Peter Humfrey, Timothy Clifford, and Aidan Weston-Lewis, The Age of Titian, exh. cat., National Galleries of Scotland (Edinburgh, 2004), p. 246, fig. 197
  • Diana Gisolfi, "Collaboration and Replicas in the Shop of Paolo Veronese and his Heirs", Artibus et Historiae (2007), 28, no. 55, pp. 73-86, p. 81, repr. p. 78 as fig. 5 (recto), repr. p. 79 as fig. 6 (verso)
  • Virginia Brilliant and Frederick Ilchman, ed., Paolo Veronese: A Master and His Workshop in Renaissance Venice, exh. cat., John and Mable Ringling Museum of Art (Sarasota, 2012), p. 268, cat. no. 39, pp. 177, 178, 180, 182, 183, 206, repr. p. 180 (recto and verso)
  • David Rosand, Véronèse, Citadelles & Mazenod (Paris, France, 2012), pp. 216, 218, repr. Fig. 184.
  • Diana Gisolfi, Paolo Veronese and the Practice of Painting in Late Renaissance Venice, Yale University Press (New Haven, 2017), p. 212, fig. 308a (recto), fig. 308b (verso)
  • Bastian Eclercy and Hans Aurenhammer, ed., Titian and the Renaissance in Venice, exh. cat., Städel Museum and Prestel (Munich, 2019), p. 29, repr. as fig 37
  • David Rosand, Paolo Veronese, ed. Mary E. Frank, Harvey Miller Publishers (London, 2023), pp. 184-185, 186, repr. p. 185 as fig. 7.11

Exhibition History

  • Style and Technique: Their Interrelation in Western European Painting, Fogg Art Museum, Cambridge, 06/01/1936 - 12/31/1936
  • Titian, Tintoretto and Paolo Veronese, Art Gallery of Toronto, Toronto, 02/12/1960 - 03/13/1960
  • Drawings from New York Collections: The Italian Renaissance, The Metropolitan Museum of Art, New York, 11/08/1965 - 01/09/1966
  • Veronese and His Studio in North American Collections, Birmingham Museum of Art, Birmingham, 10/01/1972 - 11/15/1972; Montgomery Museum of Art, Montgomery, 12/05/1972 - 12/31/1972
  • The Art of Paolo Veronese 1528-1588, National Gallery of Art, Washington, 11/13/1988 - 02/20/1989
  • Verso: The Flip Side of Master Drawings, Harvard University Art Museums, Cambridge, 05/19/2001 - 08/12/2001
  • Paolo Veronese: A Master and His Workshop in Renaissance Venice, John and Mable Ringling Museum of Art, Sarasota, 12/07/2012 - 04/14/2013

Verification Level

This record has been reviewed by the curatorial staff but may be incomplete. Our records are frequently revised and enhanced. For more information please contact the Division of European and American Art at am_europeanamerican@harvard.edu