Girolamo da Santacroce (Bergame 1480-1556 Venise)
Etude pour un retable avec la résurrection de Christ avec saint Antoine et saint Pierre
numéroté '78' (en haut à droite)
plume et encre brune, lavis brun sur papier collé en plein sur un montage

numbered '74' (upper right)
pen and brown ink, brown wash on paper laid down on a mount
29.8 x 20.8cm (11 3/4 x 8 3/16in).
Footnotes:
Provenance
Sale, Sotheby's B. Geiger, 7 December 1920, lot 134
Collection of Prince W. Argoutinsky-Dolgoroukoff (1875-1941) (L. 2602d)
Collection Dr. C. R. Rudolf, London, (L. 2811b)
his sale, Sotheby's, London, 19 May 1977, lot 3
Private Collection, Germany
Sale, Karl & Faber kunstauktionen, 13 May 2011, lot 176
With Galerie Arsinopia, Paris
Private Collection, France

Born in Bergamo, Girolamo da Santacroce was mainly active in Venice for most of his career, where trained as pupil of Gentile Bellini who left him drawings in his will (1507). Afterwards Santacroce probably worked in the studio of Giovanni Bellini and Cima da Conegliano.
Very few drawings by the artists are known. The only study by his hand is the Saint John Chrysostom and Onofrius at Christ Church, Oxford (see J. Byam Shaw, Drawings by Old Masters at Christ Church Oxford, Oxford, 1976, vol. I, no. 712, vol. II, pl. 405) which is a study for two panels, originally organ shutters, in the church of S. Giovanni Crisostomo, Venice (D. Della Chiesa and E. Baccheschi, I pittori da Santa Croce, in I Pittori Bergamaschi, il Cinquecento, II, Bergamo, 1976, no. 50, p. 34, illustrated p. 56).
Other drawings attributed to the artist include the ex-Earl of Harewood contract drawing for a polyptych (Tietzes no. A 1402; Frerichs 1966, figs 1 and 2), signed by the notary Bartommeo da Raspis in June 1526, now in the Rijksprentenkabinet, Amsterdam; and a squared study at Darmstadt (AE 1264) for the painting of the Last Supper in S. Martino, Venice (Della Chiesa and Baccheschi (op. cit., p. 35, no. 55, ill. p. 65). Formerly in the renowned collection of B. Geiger, the Prince W. Argoutinsky-Dolgoroukoff and Rudolf, where it was attributed to Girolamo's son Francesco da Santacroce, the present lot, is to be considered as a preparatory drawing for an altarpiece.