Italian School, 16th century, The Meeting of Anne and Joachim at the Golden Gate black chalk, feather and brown Ink, brown wash Sheet: 9 3/4 x 5 in. (24.8 x 12.7 cm.), Frame: 19 3/4 x 14 3/4 in. (50.2 x 37.5 cm.) Provenance: Christie’s, Paris; Peintures Anciennes et Dessins Anciens et du XIX SieclePaintings, Sale 5438 Lot 72; 15 November 2006 Note: (From the Estate): "This exceptional drawing is executed after the renowned engraving commonly entitled The Golden Gate by Albrecht Dürer, following the version engraved by Marcantonio Raimondi (see The Illustrated Bartsch, Sixteenth-Century German Artists. Albrecht Dürer, New York, 1981, T.10, pp. 349–50, C.3). Dr. Julian Brooks regards the work as a fine Italian hand. It is particularly compelling to consider the possibility that this drawing may have been executed by Paolo Veronese (1528–1588). The great Venetian master is documented to have honed his youthful skills by copying the graphic works of Dürer, and Raimondi’s reproductions—readily accessible in Venice—would have served as an ideal local source. The drawing’s emphasis on the poignant expressions of the grieving figures, contrasted with the minimal rendering of the landscape, architecture, and ancillary elements, reflects an exceptionally sophisticated hand. The delicately nuanced expression of Saint Anne, in particular, surpasses the quality of the prints by both Dürer and Raimondi, suggesting the presence of a masterful Venetian artist. Teresio Pignatti observes in The Art of Paolo Veronese (National Gallery of Art, 1988) that Ridolfi’s mid-17th century study of Veronese emphasizes the artist’s practice of copying Dürer’s engravings and prints, often from an album owned by the Muselli family of Verona (pg. 6), further supporting this attribution. This drawing represents a rare and insightful glimpse into the formative practice of one of the Venetian Renaissance’s most celebrated masters." The sheet with a 1/2 inch-long vertical tear to center of top edge, a 3/4 inch-long diagonal tear to upper right corner, faint creases at upper right and lower right corners, and minor abrasions scattered along edges. Sheet does not appear to be laid down (slightly wavy.) Framed under acrylic. Not examined out of frame. Abell provides in-house shipping for select items. Our office is open Monday to Friday from 8:00 AM to 12:00 PM and 1:00 PM to 3:00 PM for item pickups. Items that cannot be shipped will be noted. An email will go out after invoices are sent. For assistance with shipping, please refer to our shippers' page at https://www.abell.com/buy-sell/how-to-ship/. Payment: Jewelry and coins must be paid by wire transfer, cash, or check (checks subject to clearance before release). 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Provenance: Christie’s, Paris; Peintures Anciennes et Dessins Anciens et du XIX SieclePaintings, Sale 5438 Lot 72; 15 November 2006Note: (From the Estate): "This exceptional drawing is executed after the renowned engraving commonly entitled The Golden Gate by Albrecht Dürer, following the version engraved by Marcantonio Raimondi (see The Illustrated Bartsch, Sixteenth-Century German Artists. Albrecht Dürer, New York, 1981, T.10, pp. 349–50, C.3). Dr. Julian Brooks regards the work as a fine Italian hand.It is particularly compelling to consider the possibility that this drawing may have been executed by Paolo Veronese (1528–1588). The great Venetian master is documented to have honed his youthful skills by copying the graphic works of Dürer, and Raimondi’s reproductions—readily accessible in Venice—would have served as an ideal local source. The drawing’s emphasis on the poignant expressions of the grieving figures, contrasted with the minimal rendering of the landscape, architecture, and ancillary elements, reflects an exceptionally sophisticated hand. The delicately nuanced expression of Saint Anne, in particular, surpasses the quality of the prints by both Dürer and Raimondi, suggesting the presence of a masterful Venetian artist.Teresio Pignatti observes in The Art of Paolo Veronese (National Gallery of Art, 1988) that Ridolfi’s mid-17th century study of Veronese emphasizes the artist’s practice of copying Dürer’s engravings and prints, often from an album owned by the Muselli family of Verona (pg. 6), further supporting this attribution. This drawing represents a rare and insightful glimpse into the formative practice of one of the Venetian Renaissance’s most celebrated masters."