The Entombment

from the Stations of the Cross
Rizzi 54 DeVesme 49
Ex Coll: Tomas Harris
280 x 215 mm; 11 x 8 ½ inches
According to Rizzi, this Rembrandtesque composition demonstrates a new departure for the artist. A very fine impression with margins on all sides.
The Holy Family on the Bank of a River

Plate 14 from The Flight into Egypt
Etching, 1753
Rizzi 80, DeVesme 14
Dimensions:189 x 246 mm
Rest on the Flight into Egypt.

Plate 13 from The Flight into Egypt
Etching, 1753 Ex coll Naudet (L 1937)
Rizzi 79, DeVesme 13
Dimensions: 193 x 247 mm
The Trinity in the Clouds

Pen and brown wash in various shades. Signed center right: 'Dom Tiepolo'. Numbered at upper left: '33'. Mounted on 19th century support. Dimensions: 288 x 198 mm

Provenance: Prince Johann Georg von Sachsen (Variant Lugt 1466).

An uncleaned sheet with fresh colors of the subject of God the Father receiving Christ in Heaven or The Holy Trinity. Bearing the collector's stamp and number of Prince Johann Georg of Saxe on the 19th century cardboard mount verso, it was likely mounted in an Album and therefore not exposed to light. In our drawing, the Father has a triangular halo indicated by a dotted line, a common halo for God the Father in Domenico's series. This drawing is part of a larger group, which are mostly upright in shape, signed and are numbered on the upper left corner. A group of drawings by Giandomenico on this theme (or related theme) are referred to in Domenico Tiepolo Master Draftsman, Gealt/Knox: catalogue numbers: 68, 82, 83 84, 85 86 Though undated, Domenico Tiepolo's Trinity series likely postdates his return to Venice after his father's death in Spain in 1770. Vertical in their orientation, the drawings deal with the same subject: God the Father, Christ seen near his cross, and the Holy Ghost in different compositions. The exact number of this series, closely related to Domenico's drawings of God the Father, is hard to determine. The Snite Museum at Notre Dame has an example which appears to have the number 97 in the upper left hand corner, suggesting that Domenico experimented with various compositions in roughly 100 or more sheets.

This drawing is a particularly fine example and, if the numbering suggests chronology, then it comes relatively early in the series, bearing the number 33 in the upper left. Examples of the series are preserved at Notre Dame and in Toronto. This sheet happens to be a particularly fine and emotionally rich version of the theme- showing God the Father tenderly comforting his Son, whose raised arms echo his recent agony on the cross, while both are blessed by the Holy Ghost. The tightly aligned frieze of figures: the Angel, God the Father and Jesus, are particularly well done.

The sheet also has motifs that anticipate Domenico's New Testament drawings, which date to sometime after ca. 1785. The hill on the right showing the cross, are echoed in his New Testament cycle including Jesus Led to Calvary, Gealt & Knox, no. 197 and Station X, of the Stations of the Cross, The Despoiling of Jesus, Gealt & Knox, no. 223.

We are grateful to Adelheid M. Gealt for her expertise.