This is an excerpt from the article “Duke of Devonshire to sell major Raphel drawing at Sotheby’s” mainly about the Raphael drawing.  Original English text from SPEAR’S website with Japanese translation.

By the way, Chatsworth appears in two films, Pride and Prejudice (2005) and The Duchess (2008) which portrays Duchess of Devonshire (1757-1806).




Tuesday, 4th September 2012


Video ビデオ

スクリーンショット(2012-12-07 23.13.55)

Gregory Rubinstein, Worldwide Head of Old Master Drawings at Sotheby’s, said: “It is one of the greatest privileges of my career to be handling the sale of a drawing of such extraordinary importance – and of such incredible power and beauty too. These rare moments, over the centuries, define the history of the drawings market.”


Of Raphael’s late works, it is the Transfiguration for which the largest number of studies survive, partly, no doubt, because this was such an important commission that Raphael must have felt the need to prepare it with an exceptional degree of care and attention. No fewer than 17 drawings for The Transfiguration are known. Nine of these (including the one to be sold) are currently reassembled, alongside other related material, in the acclaimed exhibition on the late works of Raphael in the Prado Museum in Madrid.


For his most important paintings, Raphael used auxiliary cartoons to explore the subtlest details and aspects of the poses and modelling of the figures in his paintings. Having first produced a series of rapidly executed sketches of the whole composition and several more detailed – and still relatively small scale – figure studies, he must then have made a full, actual size cartoon of the whole composition which would then have been used to transfer the design to the wooden panel on which the painting was executed.

この最も重要な絵画のために、ラファエロはAuxiliary Cartoon (補助的な下絵:絵画の一部の細密な原寸大下絵)を使い、この絵画に登場する人物像のポーズや肉付けの最も繊細な細部や表情を研究した。まず、全体の構図を何枚か大まかにスケッチしてから、まだ比較的小規模な人物像の下絵を少し丁寧に描く。次に、原寸大の全体像の下絵を作成し、その図柄が最終的に、木製パネルに写し取り色付けされることになる。

Finally, he transferred certain details from the main cartoon to further sheets, and worked up these large-scale studies with enormous attention, perfecting still further the finest nuances of the poses, the lighting and the modelling. The resulting auxiliary cartoons include some of the most supremely magical works on paper that this greatest of Renaissance masters ever produced.

Image: Sotheby’


The drawing comes to sale from one of the greatest Old Master Drawings collections in the world. Most of the drawings in the Devonshire Collection were acquired by William Cavendish, 2nd Duke of Devonshire (1672-1729), a brilliant and highly effective collector, who managed with some regularity to beat all the other leading European collectors of his time to the greatest prizes that became available in this field. Raphael’s drawings are particularly well represented in the Devonshire Collection: only two other British collections (the Ashmolean Museum, Oxford, and the British Museum), can boast more drawings by the master than the 14, including two other studies for the same painting, which will remain at Chatsworth following this sale.



Current loans to exhibitions



Prado Museum, Madrid

Late Raphael (12 June – 16 September 2012)

Study for ‘The Transfiguration’
Raphael (1483 – 1520)
Red chalk on white paper

Nude Studies for St Andrew and another Apostle in ‘The Transfiguration’
Raphael (1483 – 1520)
Red chalk on cream paper

Study for the Disciple at the extreme left of ‘The Transfiguration’
Raphael (1483 – 1520)
Black chalk on grey paper


From exhibit List of Late Raphael (12 June – 16 September 2012), Prado Museum


THE TRANSFIGURATION. Group of works to be displayed in Room 49 (Villanueva Building)

61. Copy of The Transfiguration

Workshop of Giulio Romano and Gianfrancesco Penni, oil on panel, 396 x 263 cm
1520 – 1528 (?)
Madrid, Museo Nacional del Prado

62. Study for the composition

Copy after Gianfrancesco Penni after Raphael, pen and wash over chalk, on beige prepared paper, heightened with white by Michel II Corneille, 41,3 x 27,4 cm
After 1516

Paris, Musée du Louvre. Département des Arts graphiques

63. Study for Christ, Moses, Elijah, three apostles and two other figures

Raphael, red chalk over stylus, squared in red chalk, on paper, 24,6 x 35 cm

1518 – 1519 (?)

The Trustees of the Chatsworth Settlement

64. Study for Saint Matthew and another apostle

Raphael, red chalk over stylus, on paper, 32,8 x 23,2 cm

ca.1518 – 1519 (?)

The Trustees of the Chatsworth Settlement

65. Auxiliary cartoon for the head of a young apostle

Raphael, black chalk over spolveri on paper, 37,5 x 27,8 cm

1519 – 1520 (?)

The Trustees of the Chatsworth Settlement

66. Study for two apostles

Raphael, red chalk over stylus, traces of black chalk on left-hand figure, on paper, perhaps counterproofed, 34,1 x 22,3 cm

1518 – 1519 (?)

Paris, Musée du Louvre. Département des Art graphiques

67. Study for the possessed son and his father

Giulio Romano, red chalk over stylus (under the father), on paper, 28,6 x 19,2 cm

1518 – 1519 (?)

Milan, Veneranda Biblioteca Ambrosiana, Pinacoteca

68. Nude study

Copy after Gianfrancesco Penni after Raphael

Red chalk over stylus on paper, 53,4 x 37,6 cm


Vienna, Albertina

69. Study for an apostle

Raphael, black chalk with white body-colour on paper, 26,4 x 19,8 cm

1518 – 1519 (?)

Paris, Musée du Louvre. Département des Art graphiques

70. Study for the head of a kneeling woman

Raphael, black chalk with faint white chalk highlights over spolveri on paper, 33 x 24,2 cm

1518 – 1519 (?)

Amsterdam, Rijksmuseum

71. Auxiliary cartoon for the head of Saint Mathew

Raphael, black chalk over spolvero on paper, 39,9 x 35 cm


1519 – 1520 (?)

London, British Museum

72. Auxiliary cartoon for the head of an apostle

Raphael, black chalk over spolverion paper, 26,4 x 19,8 cm

ca.1519 – 1520 (?)

London, British Museum


73. Auxiliary cartoon for the heads and hands of two apostles

Raphael, black chalk with faint white chalk highlights over spolveri on paper, 49,9 x 36,4 cm

ca.1519 – 1520 (?)

Oxford, The Ashmolean Museum. Presented by a Body of Subscribers, 1846

74. Modello for the first version of The Transfiguration

Copy after Gianfrancesco Penni (?), after Raphael, brush and wash, with white heightening, on dark grey washed paper, 39,8 x 26,8 cm


Vienna, Albertina




Afterwords …. the British government imposes temporary ban on foreign buyer taking it out of the country.
その後 …. 英政府は一時的に国外持ち出し禁止令を発行