Acknowledgements: Above all, I would like to thank Filippo Brass, Francesca and Costanza Lapiccirella Brass for having quietly followed me with faith throughout my ambitious project. Donatella Biagi Maino for the wonderful job done on Ubaldo and Gaetano Gandolfi. I would also like to thank Gloria Gallucci and Caterina Caputo for the excellent work produced for the cataloguing of the drawings; Marco Riccomini, Adriano Cera and Julien Stock. Last, but not least, a sincere acknowledgement to the Florentine institutions for their meticulous attention, availability, and collaboration: Angelo Tartuferi, director of the Ufficio Esportazioni of Florence as well as his valuable staff; Giorgio Marini, Director of the Gabinetto dei Disegni e delle Stampe of the Uffizi, Florence. To conclude, a special thank you to Francesca Antonacci and Leonardo Lapiccirella.
The frames are supplied by: Enrico Ceci, Cornici Antiche via Giardini 318 - 41043 Formigine (Modena) tel. +39 059 55.61.19 enricoceci@enricoceci.com - www.enricoceci.com Dimensions are given in millimetres, with height before width.
A PRIVATE COLLECTION OF ITALIAN OLD MASTER DRAWINGS PART TWO
Presented by Damiano Lapiccirella
PARIS Salon du Dessin 30th March - 4th April 2011
Galleria Lapiccirella
Borgo Ognissanti, 56r Firenze Via Margutta, 54 Roma
A PRIVATE COLLECTION OF ITALIAN OLD MASTER DRAWINGS PART two
Paris, Salon du Dessin 30th March 4th April 2011
DAMIANO LAPICCIRELLA Firenze Borgo Ognissanti, 56r Tel. +39.055.284902 e-mail: damianolapiccirella@gmail.com Roma Via Margutta, 54 Tel. +39.06.45433036 info@francescaantonacci.com
Catalogue entries by: Donatella Biagi Maino ( DBM ) Julien Stock ( JS ) Gloria Gallucci ( GG ) Caterina Caputo ( CC ) Printed in Italy by: Viol’ Art Firenze Translation: Lexus, Firenze Francesca Lapiccirella Brass, Firenze
FOREWORD
On the occasion of the “Salon du Dessin 2010” in Paris I presented the first part of a collection of Old Master drawings belonging to a private venetian collector. Now, at the “Salon du Dessin 2011” I am pleased to present a second catalogue of the same provenance. Most of the collection is made up of drawings by great Venetian masters; this second catalogue demonstrates the versatility of the collector who, with the assistance of his wife, displays not only sophisticated taste but also a passion of a kind that enabled him to appreciate even Masters outside the Venetian circles, always selected moreover with the most painstaking care and with a view to the utmost quality. Thus, in addition to the drawings by Tiepolo and Canaletto there are also fine examples by Ubaldo and Gaetano Gandolfi, Palma the Younger, Guercino, Pier Leone Ghezzi, Luca Cambiaso, and to round off a small collection of gouaches and drawings by Bernardino Bison and Carlo Grubacs. These two catalogues are intended to enhance the collection and to serve as a tribute to the person who, throughout his life and with a fine artistic sensitivity, succeeded in bringing together this collection of Old Master Drawings with consummate expertise and exquisite taste. Damiano Lapiccirella
LUCA CAMBIASO
Genova 1527 - Madrid 1585
Luca Cambiaso also known as Luchetto da Genova was taught from an early age by his father Giovanni (1495-1579). Luca studied the frescoes of Perino del Vaga in Palazzo Doria, Genoa and those of Michelangelo and Raphael at Rome. He is considered the first truly Genoese artistic personality. The most celebrated Mannerist painter and draughtsman of the Genoese School. In the 1550’s and 1560’s his extensive works in fresco in the Palaces of Genoa established him as the city’s most important artist. Along with Giovanni Battista Castello called il Bergamasco (1525/6 – 1569) he laid the foundation to the Genoese tradition of fresco decoration. His work is characterized by monumental figures, strong forshortening, dramatic gestures, rich, opulent and very decorative. His work of all varieties were greatly admired in the sixteenth and seventeenth centuries by collectors such as Rudolf II, King Charles I, Christina of Sweden and Philip IV of Spain. His drawings, as is clear from the huge number of old copies, were, and still are highly prized. He was called to Spain by Philip II in 1583 to work in the Escorial and at Madrid where he died.
1. St. Mathew Dateable circa 1550-60 Pen and brown ink. Inscribed in ink upper left: Luca Cambiaso No 1; on a old lable: Dono fattomi dall’amico Prof. Emilio Santarelli scultore fiorentino. Same ink corrosion. 28 x 27 mm Provenence: Prof. Emilio Santarelli, Firenze; private unncknown collection; Venice, private collection This fine study, although not directly connected, was probably executed for the frescoes on the vault in the church of S. Matteo, Genoa1. These frescoes are dated circa 1557-59. The sheet can be assigned to the artist “first manner”, that of the 1550’s. (JS)
JACOPO PALMA IL GIOVANE Venezia c. 15481 - 1628
His earliest training was with his father, Antonio Palma (c. 1515-1585) who was the nephew of Palma Vecchio (c. 1479-1528). He traveled to Pesaro, Urbino and Rome where he remained for eight years studying works by all the most famous artists but especially Michelangelo and Polidoro da Caravaggio. He returned to Venice in 1568 coming under the influence again of Titian, Veronese, Tintoretto and the Bassano’s. After their death he became the most important and sort after artist of early 17th century Venice. He received a vast number of commissions both ecclesiastical and secular. One of the first being that of 1578 for three scenes in the Sala del Maggior Consiglio in the Doge’s Palace. As well as being an immensely prolific painter he also excelled as a draughtsman and his drawings can be found in almost all the major print rooms of Europe and America. At Munich for example there are as many as four hundred sheets from his hand.
2. Two studies for a St Sebastian Dateable 1610-15 Pen and brown ink 164 x 156 mm Provenence: Venice, private collection This is a fine and typical example of Palma’s rapid style. As can be expected with an artist so prolific he returned time and again to the motif of St Sebastian’s martyrdom. In Stefania Mason Rinaldi’s, L’opera completa2 of his paintings she reproduces eleven works depicting the Saint and we have been able to count at least eight drawings. The present sheet of two studies shows the Saint in two very different positions. That on the left relates to three paintings3 all dateables to 1610-1615 and five drawings; that on the right, to the painting at Scheissheim4 of the same date. ( GG )
actual size
GIOVANNI MAURO DELLA ROVERE Milano c. 1575 - 1640
Giovanni Mauro della Rovere was born in Milan around 1575. His brothers, Giovanni Battista and Marco, were also painters, and each was known by the nickname il Fiamminghino (the little Flemish man), as their father was born in Antwerp. Giovanni Mauro was trained in the Milanese late Mannerist tradition of Giovanni Paolo Lomazzo and Giovan Ambrogio Figino. His mature work was influenced by the exuberant example of Gaudenzio Ferrari. He had a talent for portraying narrative episodes from the lives of saints, subjects that were considerable popular because they aptly responded to the Counter Reformation views of Cardinal Federico Borromeo in Lombardy. Giovanni Mauro received major decorative commissions in that area, as well as in others that expounded the new Tridentine dogmas. He frequently collaborated with his brothers, with the result that their hands are often hard to distinguish. Mauro worked mostly in Lombardy and died in Milan around 1640. He was buried in the oratory of San Cipriano.
3. The Fall of Jericho Pen and brown ink on light green paper heightened with white Inscribed on the verso in pencil “Stradano “ 354 x 362 mm Provenance: Venice, private collection; Florence, private collection This is a very fine example of Mauro’s work. The characterization of the faces is typical of his drawings especially those at the left of this sheet. A very similar work, both in size, shape and medium, depicting The fall of Simon Magnus was shown by Katrin Bellinger in her exhibition of Master Drawings in 19901. The Fall of Jericho: Having crossed the Jordan, the Israelites found themselves before the walls of the city of Jericho, which they besieged. The Lord appeared to Joshua and told him how the city might be taken. Each day, for six days, the Israelites marched silently once around the walls of the city, bearing with them the Ark of the Covenant. On the seventh day, following the Lord’s command, they circled the city seven times: “And it came to pass at the seventh time, when the priests blew with the trumpets, Joshua said unto the people, Shout; for the Lord hath given you the city. So the people shouted when the priests blew with the trumpets: and it came to pass, when the people heard the sound of the trumpet, and the people shouted with a great shout, that the wall fell down flat, so that people went up into the city, every man straight before him, and they took the city” (Joshua 6: 16ff.). ( GG )
GIOVANNI FRANCESCO BARBIERI called GUERCINO Cento 1591 - Bologna 1666
Giovanni Francesco Barbieri, known generally as Il Guercino a nickname meaning “the little squinter”. This squint it is recorded, developed suddenly from a shock he received while in the care of his nurse. He is one of the seventeenth centuries greatest painters and draughtsman with an enormous output that has come down to us to enjoy. Only Rembrant was his peer in Europe. Largely self-taught he was strongly influenced in his native Cento by Ludovico Carracci’s altarpiece of 1591 of The Holy Family with St. Francis and Donors painted for the Capuchins. From this derives Guercino’s dramatic use of contrasting light effects which typify his early work in Bologna for Cardinal Ludovisi (1617-1618), followed by his commissions for the papal legate in Ferrara, Cardinal Serra (1619-1620) and culminating in his early masterpiece St. William of Aquitaine receiving the Habit for the Bolognese Church of St. Gregorio. At the time of Guercino’s arrival in Bologna, Ludovico Carracci was an old man, and the artistic milieu was clearly dominated by Guido Reni. After the accession of Gregory XV Ludovisi to the papal throne in 1621, Guercino was called to Rome to execute two important commissions, the enormous St. Petronilla altarpiece for St. Peter’s and the fresco The Chariot of Aurora in the loggia of the Palazzo Ludovisi. This was in its illusionistic treatment of the subject, in complete contrast to Reni’s Aurora painted a decade earlier. With the Pope’s early death in 1623 Guercino returned to Cento where he conducted an active career assisted by his family, only transferring to Bologna at Reni’s death in 1642. On his return from Rome there began signs of a pronounced metamorphosis in his work, the tonality becoming lighter and the compositions increasingly more classical. A parallel change, as might be expected, occurs in Guercino’s drawing style. In his early drawings we find the frequent use of oiled black chalk which had been employed by the young Annibale, Pietro Faccini, and Jacopo Cavedone, but he also used red chalck and gradually this came to predominate. He adopted Ludovico’s pen and wash technique exploiting it to the maximum degree of contrast but later applying it more subtly. This luminosity of his wash drawings anticipates Venetian eighteenth-century drawings. Guercino adhered to the Carracci tradition of drawing from the model, as is evident in his chalk figure studies, but he was also a brilliant caricaturist and capable of distorting the human form to comic ends. He had an original landscape style. It is quite clear from the abundance of his drawings, particularly in the last two categories, that he drew for amusement.
4. A hilly landscape with many travelers on a winding road leading to a fortress. Three travelers in the centre foreground. Dateable to c. 1630-1640 Pen and brown ink and wash 230 x 310 mm Provenance: Venice, private collection Guercino made a fairly large number of landscape drawings in this somewhat precise style. They are almost impossible to date as none can be connected to any of his paintings or frescoes. Nicholas Turner in his 1991 exhibition catalogue1 does tentatively suggest that earlier works are more dramatic and broader in execution, with greater chiaroscuro contrast while later ones concentrate more on space and structure. The present sheet may be compared with some of the drawings at Windsor: Turner, op. cit., 177-182, as well as the Landscape with a church on a hill in a private collection2 that are possibly from the 1630’s/40’s. (JS)
GUGLIELMO CACCIA called MONCALVO Montabone di Acqui 1568 - Moncalvo 1625
Moncalvo, so called from his long residence there began his career in Milan where he worked in several churches. Then went to Pavia where he did the same and where he was given the freedom of the city. He also worked in Novara, Vercelli, Casale and Alessandria as well as in castles and villas of the local countryside. He was celebrated for his graceful design and delicate colours. His output both in drawing and painting was great, and when living at Monferrino opened a school in drawing and painting. Married, he had two gifted daughters who became artists and worked close to his style. It is recorded that in order to distinguish the difference the younger, Francesca, adopted the symbol of a small bird and the elder, Ursula a flower.
5. A child breaking a stick against his knee Pen and brown ink. The lower right corner missing and made up 125 x 120 mm Provenance: Venice, private collection; Florence, private collection
The attribution is traditional and is typical of his style. Drawn in the same way as a vast number of his extant of wich there are many. It is maybe a study for a marriage of Mary and Joseph. There are many drawings by him in the Royal Library at Turin. ( GG )
actual size
PIER LEONE GHEZZI Rome 1674 - 1755
Little is known of the paths of study undertaken by the artist over the span of his long career, but his artistic education undoubtedly reflects the dictates of classical culture of an academic stamp, with particular reference to the art of Carlo Maratta1. In 1705 he was himself admitted to the Accademia and in 1716 was appointed under-secretary, rapidly becoming a leading figure on the Roman artistic scene of the first half of the eighteenth century. Ghezzi rapidly achieved success, partly as a result of influential connections with Pope Albani (Clement XI) or with powerful patrons including the governor of Rome, later Cardinal Alessandro Falconieri, for whose mansions he executed numerous decorations. Subsequently he also approached the most influential figures on the French cultural and political scene. From 1720 to 1740, in parallel with the numerous excavation campaigns that involved many collectors of the time, the artist devoted himself to the execution of antiquarian drawings, which he considered to be an authentic and significant testimony of the past2. Between 1710 and 1753 he created illustrations for books of sundry content, especially volumes celebrating Pope Clement XI. Simultaneously with this graphic production, he also executed paintings, particularly of a religious character, and portraits. Ghezzi enjoyed prestigious commissions right up to the end of his career. Despite his numerous commitments, from 1738 he devoted himself almost exclusively to archaeology and caricatures, drawings that over the years he organised and personally bound into several volumes. His famous caricatures are a direct illustration of the figures – representing the most diverse social and cultural milieus – whom the artist frequented in these years. One of the most important and complete collections of Ghezzi’s drawings is conserved in the Biblioteca Apostolica Vaticana: these volumes contain over one thousand five hundred caricature portraits collected by the artist himself under the title Mondo nuovo. Even today the fame of Pier Leone Ghezzi, both at home and abroad, is bound up as it was during his lifetime with the numerous caricatures that he executed throughout his life: they total around 4,000, most of them in pen and brown ink. In addition to the eight volumes held at the Biblioteca Vaticana, other drawings are to be found in various sites – museums, libraries and private collections, both in Italy and abroad3.
6. Caricature of Monsieur Le Bailly de Longeron, the Count of Nancy and the Marquis of Castellano Dateable 1727-30 Pen and brown ink on paper 321 x 225 mm On the verso at lower left the legend in brown ink: Messrs Les Bailly de Longeron, Cte. de Neuvy/et marq de castellane. Provenance: Richard Neville Neville (1717-1795); his heir the second baron Braybrooke thence by descent to The Rt. Hon. Lord Braybrooke, his Sale, Sotheby’s 10 Dec. 1979, lot. 10. Richard Neville Neville was under-secretrary of state for the sauthern department ofForeign Office from 1748-51. In 1762 he became secretary to the British Embassy in Paris and was active in the conclusion of the treaty of peace with France, and was in Paris until October 1763: The present drawing comes from the first volume that had a Roman binding indicating that is contents were already bound when bought in Paris by Richard Neville Neville
Bibliography: Antonella Pampaloni, Sotheby’s, Caricature drawings by Pier Leone Ghezzi, London 10 December 1979, p. 15. The caricature follows the compositional layout characteristic of the drawings of Pier Leone Ghezzi. Of the three men portrayed full figure two – in this case placed on the right – are shown frontally, while the third – positioned on the left – is shown from the rear. The line of the horizon is marked in the background, while the figures stand on a ground of sketched parallel lines with their shadows indicated by darker hatching. The man shown from the back is the Count of Nancy, while portrayed facing forwards holding a glass in his hand is the Marquis of Castellano. In one of the caricatures of the Ottoboniano Codex (Cod. 3117 f. 90)4, which shows a man full-figure holding a glass in his hand and in the act of toasting, we read that the Count arrived in Rome in the company of the Prior of Orleans and left the city on 30 June 1727; Ghezzi met the French nobleman at lunch at the residence of Cardinal of Polignac. In the next folio of the same Codex (Cod. 3117, f. 91) it is again noted that the Marquis went to Rome with the Grand Prior of Orleans as a guest of the Cardinal of Polignac and left again on 30 July 1727. We also read that the artist met him “at lunch with His Eminence the Cardinal, and that at lunch he was wearing this same Camisole garment”5, probably the same ‘camisole’ or chemise in which he is portrayed in the drawing under examination here. Ghezzi’s caricatures are marked by the use of a decisive and marked stroke; the artist succeeds in creating images of intense vitality largely through a very detailed rendering of the facial features, the expressions and the clothes. The physiognomy of the three figures shown here has been altered for the purpose of humour, but without exaggerating or excessively accentuating the features. In effect, no distinctly satirical intention can be discerned in the figures and the society that Ghezzi sets on stage (a tendency which was instead to prevail in nineteenth-century caricature). The caricature presented here was originally part of one of two volumes belonging to Lord Braybrooke – an exponent of an aristocratic English dynasty – which were subsequently dismembered and sold at auction at Sotheby’s in London6. This illustrates the major international interest in Ghezzi’s work that has survived over the years. As specified in the Sotheby’s auction catalogue of 1979, the albums of caricatures belonging to Lord Braybrooke can be dated between 1720 and 1730, and consequently the drawing examined here can be placed more precisely after the arrival in Rome of the Count of Nancy and the Marquis of Castellano, and hence between 1727 and 1730. ( CC )
MARCO RICCI
Belluno 1676 - Venice 1730
Painter and etcher. He was the nephew and pupil of Sebastiano Ricci, with whom he collaborated in the painting of landscapes in Florence in 1706-07 and numerous occasions thereafter. He probably went to Rome and also to Milan, where an encounter with Magnasco was of particular importance. From 1708 to 1710 he worked in England as a scenographer together with Pellegrini, and again from 1712 to 1716 with Sebastiano Ricci. On his return trip to Venice, passing through Flanders and The Low Countries, he visited Paris. Marco Ricci renewed Venetian landscape painting just as Sebastiano Ricci had renewed also history painting. Essential to Marco’s art was the example of Titian, with whom he had in common the direct visual experience of the landscape of the region of Cadore. Also important was the influence of the works of Salvator Rosa, Dughet, and Pieter Mulier (Tempesta); as well as Luca Carlevaris’ VenetianRoman topographical views and paintings of ruins. In his romantic landscapes Marco Ricci was the precursor of Piranesi. Ricci began to etch in 1723, but more numerous are the etchings made by others after his designs. Giuseppe Zais was his pupil and direct follower, and Zuccarelli, Canaletto, and Guardi all felt his influence. The grater part of his drawings, about three hundred, are at Windsor. Like the Windsor collection of Sebastiano’s drawings they came from Joseph Smith, the English Consul in Venice.
7. Capriccio of Roman ruins Dateable to 1720’s Pen, brown ink and wash. 142 x 195 mm Provenance: Italico Brass, Venice; Venice private collection; Florence private collection. Exhibited: Bassano del Grappa, Marco Ricci, 1964, p.158 and 159, no. 165 reproduced; Groningen, Pictura, 18 c. Eeuwse Venetiaanse Tekeningen, 24 Mei – 4 Juli, 1964, no. 76 p.39, reproduced XV, and the same exhibition and catalogue, Rotterdam, Museum Boymans – van Beuningen, 29 Juli – 13 September, 1964 Literature: G.M. Pilo, Otto nuove acqueforte ed altre aggiunte grafiche a Marco Ricci, in Arte Veneta, XV, pp. 166 seg.
As Prof. Pilo noted in his Arte Veneta article, this drawing, probably a page from a sketchbook, has elements used in his painting in a private collection, Geneva, by Marco and Sebastiano1. This painting is generally dated to the last years of Marco’s life, 1729. We would imagine the present work to be earlier and no doubt Marco has gone back to his sketchbook and used the elements in the right-half of this drawing for the Geneva picture. ( GG )
actual size
FRANCESCO ZUCCARELLI
Pitigliano (Florence) 1702 - Florence 1788
Painter and draughtsman. He was probably trained in Florence and Rome, under Paolo Anesi, where he also studied the 17th century landscape painters, particularly Claude Lorrain, as well as later artists such as Locatelli and Panini. He moved to Venice circa 1730, where he was influenced by Sebastiano Ricci to such a degree that he is sometimes considered to have been his pupil. In Venice he was an immediate success, enjoying the patronage of, among others, Marshal Schulenburg, Consul Smith and Count Algarotti, who recommended him to the Elector of Saxony. Zuccarelli excelled as a landscape painter, although he also painted religious, historical and mythological compositions. He sometimes collaborated with other artists, including Bernardo Bellotto and Antonio Visentini. In 1746 he made some prints using both etching and engraving in J. Wagner’s workshop in Venice, where Visentini was also employed. Encouraged by Consul Smith, Zuccarelli spent the years 1752-62 in London, returning in 1765. In London he was great success, and was invited to exhibit at the Free Society and Society of Artists. In 1768 he was a founder member of the Royal Academy of Arts, London. By 1771 he was again in Venice when he was elected President of the Venetian Academy.
8. An extensive landscape with travellers arriving at a wall, a townand mountins in a distance Drawn with the point of the brush in brown washes and white. Laid down on an eighteenth-century mount. 310 x 448 mm Provenance: Venice, Private Collection In complete contrast to the naturalism of Marco Ricci, Zuccarelli’s handling of the Venetian landscape - he was Tuscan by birth but Venetian by upbringing - shows a distinct tendency to the idyllic with an Arcadian flavor. Zuccarelli’s Arcadian landscapes, of which this is a fine and typical example, had great success with his Italian and English patrons. As in this finished drawing, a work of art in its own right, Zuccarelli depicts well-behaved peasants in an ideal world, delightful weather, blue sky and always without the horror of brigands or even insects. His unvarying style makes it difficult to date his prolific output. Similar paintings to this exist and are reproduced in Federica Spadotto’s book, see plates 63 and 2211. The drawing is characterized by a well-structured composition that exploits the progressive overlap of levels toward the shaded horizon. The contemporary tone of the scene is better emphasized by the presence of an elegant lady and some riding gentlemen on the right side of the drawing. Whereas, the central male figure, who stands next to a well, seems drawn by a mythological repertory. This choice suggests the Roman direct ancestry of the artist, who sojourned in Rome during the first years of his artistic education until he moved to Venice. ( GG )
FRANCESCO FONTEBASSO Venice 1707 - Venice 1769
According to contemporary sources he was a pupil of Sebastiano Ricci. Rodolfo Pallucchini characterized him as one of the most notable among the painters of the second rank in eighteenth century Venice. In 1728, at the age of 21, he was in Rome where he won a prestigious prize at the Accademia di S. Luca. On his return to Venice he stopped for some time in Bologna. His experience of Roman and Bolognese art, combined with the influence of Sebastiano Ricci are the main components of his style. Marina Magrini’s 1 survey of his life and work notes that there is little evidence of any real influence of Tiepolo in Fontebasso’s style but that his working patterns were similar; he was mainly active as a decorator of palaces in Venice and elsewhere. As Tiepolo went to Wurzburg so Fontebasso enjoyed an exciting trip in 1761 to St. Petersburg at a similar point in his career. But whereas Tiepolo’s masterpiece survives Fontebasso’s work was mostly destroyed by a fire in the Winter Palace. Returning to Venice at the end of 1762. His most important surviving decorative paintings in Venice are in the Palazzo Contarini at San Benedetto. He was elected President of the Academy in 1768 and died the following year.
9. A male nude, possibly Hercules, seated in a cloud Pen and brown ink. Inscribed by the “Reliable hand” in brown ink Francesco Fontebasso Venez. lower left; on the verso in brown and black ink Coll of Dr. Ed. Riggall; Ws; Fontebasso Fi. Hercules fecit 253 x 170 mm Provenance: The Reliable Venetian Hand (Lugt 3005c); William Sharp (Lugt 2650); Dr. Edward Riggal; London, Christies’, II April 1978 lot 73 reproduced plate 52; Venice private collection; Florence private collection. There are many drawings of this type by Fontebasso with effective bold zigzag style and the usual rather clumsy large hands and feet. The present study, probably down for a large sheet of figures studies would have served as a model for a figure in one of his paintings or frescoes. It has not been possible to connect it with an extant work as is the case of most of his single figure studies. The Reliable Venetian Hand 2 who inscribed this study with Fontebasso’s name is still unknown. We now probably know of almost two hundred drawings from this source who was still accumulating drawings between 1770-1780 but the collection, it would seem, must have been dispersed before the end of that century. ( GG )
GIUSEPPE ZAIS
Forno di Canale, Belluno 1709 - Treviso 1784
Giuseppe Zais’s name was entered in the guild register of Venetian painters from 1748-1768. He was a landscape painter, much influenced by Marco Ricci. There are two landscapes in oil, of about 1730 of his in the Accademia gallery, Venice. He later turned to Francesco Zuccarelli for guidance and it appears that he became his pupil. So close do his drawings and paintings of landscape come to his masters work that they are often confused. Although his battle scenes are few he is recorded as having had guidance in painting them from Francesco Simonini whom he imitated with success. He died at Treviso quite poverty-stricken and almost forgotten in 1784.
10. 10. A capriccio river landscape with five figures in the foreground, classical ruins, a farm house and a view of the façade of the Hospital of S. Giovanni e Paolo, Venice Dateable c. 1745 Pen and brown ink and gray and black wash. 310 x 420 mm Signed lower left in brown ink Zais inv: a Deli. And again in brown ink Zais. On the backing in brown ink Scuola Veneta. Zais Giuseppe Veneziano nato 1710 M. 1784 scolare e emulo dello Zuccarelli Provenance: Venice, Private Collection; Florence private collection.
The use of wash and the way the figures are executed are unmistakably that of Zais. This type of capriccio must have been fashionable in the late 1740’s, rustic landscapes with famous buildings, not classical, inserted out of their true context. There are four splendid canvas’s of this type by Zuccarelli and Antonio Visentini in a private collection, see Federica Spadotto’s book of 2007 on Zuccarelli pages 242 and 245 ff. ( GG )
GIANDOMENICO TIEPOLO Venice 1727 - Venice 1804
Son of Giambattista Tiepolo, under whom he studied. Accompanied his father to Wurzburg (1750-53) and assisted him there and in the decoration of the Villa Valmarana near Vicenza (1757) and later at Madrid (1762-70). By the mid 1750’s he was considered a distinguished artist in his own right. In 1761 he is documented as being a member of the Fraglia dei Pittori (Painters Guild) and in 1780 was elected President of the Venetian Academy. After the death of his father in Madrid (1770) he returned to Venice where he develop his own intuitive style which produced several brilliantly original series of drawings often numbering more than a hundred on a single theme.
11. A Centaur and a Nymph going hunting 11. Dateable after 1755 Pen and brown ink and brown wash 195 x 276 mm Signed lower right: Dom. Tiepolo f. Provenance: Venice, Private Collection. We know of approximately 140 of these very attractive drawings of Centaurs, Fauns, female Fauns and Satyrs. Most of the series were published by Jean Cailleux1 in 1974, who divided them into groups and sub-groups. This drawing and the following two, all unpublished, where the protagonists are alone, belong to his first sub-group, Cailleux 1974 nos. 11-18. In this delightful sheet the centaur carrying a young lady, is seen from behind setting of on a hunting trip with his quiver full of arrows and the nymph holding a spear. The idyllic landscape was no doubt inspired by the surrounding Venetian countryside where the Tiepolo’s house, the Villa Zianigo, was situated. ( GG )
12. 12. Satyrs fighting Dateable after 1771 Pen and brown ink and brown wash 192 x 275 mm Signed lower right: Dom. Tiepolo f. Provenance: Ch. Andre’ his sale 19th May 1911 lot.117; Sale Paris 5th December 1929 lot. 6 (in both sale sold with pendent); Private Collection, Hamden, Conn. USA; Venice Private Collection, Florence private collection. Literature: Jean Cailleux, Centaurs, fauns, female fauns and satyrs among the drawings of Domenico Tiepolo, Burlington Magazine no.31, June 1974, supplement, p. XXVII. No. 95. Satyr and fauns belong to Greek mythology. Half human and half beast, companions of Pan and Dionysus, they have pointed ears, small horns growing out of the forehead and feet covered with hair. In the foreground of this animated drawing we see four satyrs fighting. Probably over the female faun who tries to stop them. A dog barks in the left foreground. This scene, as others from the series, would seem to me to be part of a story perhaps invented by Domenico himself. ( GG )
13. 13. A Nymph carried off by a galloping Centaur Dateable after 1755 Pen and brown ink, brown wash 185 x 272 mm Signed lower right: Dom. Tiepolo Provenance: Venice, Private Collection; Florence private collection. How very different this is in atmosphere from the previous sheet. Here Domenico shows a speeding galloping centaur holding tightly in his arms an attractive long-haired nymph who seems to me to be more or less consenting. As I have already pointed out2 many of these drawings of a centaur abducting a nymph have been given the title Nessus and Dejanira, however, the series seems to me to be very loosely based on this myth as none depicted Hercules. ( GG )
14. 14. A Centaur about to abduct a young girl Dateable after 1755 Pen and brown ink, brown wash 190 x 270 mm Signed lower left: Dom. Tiepolo f. Provenance: Venice, Private Collection. In this sheet a young centaur, armed with a quiver, has dropped his club to abduct a young maiden who seems to be on her way back to her village. The landscape is again typical of the Venetian countryside. The drawing has a beautiful breadth of execution depicting the evening sun that convinced Cailleux3 that they are earlier than other groups and should be dated about 1755, after his return from Wurzburg. ( GG )
15. 15. The Baptism of Christ Dateable 1758-60 Pen and brown ink and grey wash. Signed in brown ink lower left: Dom. Tiepolo f and numbered upper left: 77 290 x 200 mm Provenance: Possibly with the artist Francesco Guardi (died 1793) Giandomenico’s uncle; Horace Walpole (died 1797); Probably a French private collection, November 1845; An unknown English auction house, n.d. lot 589; The Rt. Hon. The Earl of Beauchamp, D.L., J.P., his sale, Christies, London, 15 June 1965, lot. 14; Venice, private collection. About forty of this group can now be counted. Thirteen of them are at Stuttgart (Byam Shaw, 1962, pp. 33-34)4. This one appeared in the important album from the Walpole and Beauchamp collections, sold Christie’s June 15, 1965. Originally, however,there may have been a hundred or more as some of them have the familiar old numbering of the series at the upper left, as high as 86, 89, 98. Domenico hardly ever repeats himself in pose or composition. Knox (1983, p. 96)5 discusses a drawing in the Muscarelle Museum of Art at the College of William and Mary where Domenico introduces Giambattista’s figure of God the Father, a new departure in the treatment of this theme, and when coupled with the baptism in the frescoed tondo in the centre of the vault of the choir in the church of S. Giovanni Battista at Meolo painted by Domenico in 1758, suggests to Knox a date for these drawings of circa 1758-60, although the date he proposed (Stuttgart 1970) of circa 1770 cannot be ruled out. ( GG )
UBALDO GANDOLFI (San Matteo della Decima, Bologna 1728 - Ravenna 1781) Donatella Biagi Maino
Born in the province of Bologna, Gandolfi moved to the city when he was a teenager and was apprenticed in the workshop of Ercole Graziani while also attending the courses at the Accademia Clementina di Pittura, Scultura e Architettura, a prestigious school renowned throughout Europe. Particularly important were the courses held by Ercole Lelli, who also introduced him to the practice of sculpture. His first trials already illustrate the leaning of his culture, based on the models of local tradition – the Carracci. Guido Reni, Guercino, Giuseppe Maria Crespi – as far as the compositional inventions are concerned, and his attention to contemporary Venetian painting, from which he borrowed the sense of bright, warm, sensuous colour. Gifted with an extraordinary talent underpinned by a keenly cultivated culture, he was able to indulge his propensity towards a warmly sensual painting of great empathy in sumptuous altarpieces, majestic mythological scenes and frescoes of ample scope. Having joined the ranks of the fully-fledged Academicians of the Clementina in 1760, from the middle of the decade he produced outstanding masterpieces in the sacred field, such as the Medicina altarpiece with Christ in glory with saints, dated 1766, the Stigmata of Saint Francis now at the Brera (1768), the paintings of Vigorso (1773, Saints Mark, Sebastian and Anthony Abbot), of Castelbolognese (Madonna and Child with Saints, 1775) and the solemn Saint Cajetan of Thiene receiving the Child Jesus from Our Lady, now in the Pinacoteca di Cento, where the second Annunciation painted by him is also conserved. The latter is a tribute to Guercino, in the same way as the paintings just mentioned referred, albeit with the most cultured updating, referred to Ludovico Carracci and to Reni. At the same time he also gave life to dazzling profane compositions, the paintings of the Gonfaloniere showing Diana and Endymion and Andromeda and Perseus, and the series previously belonging to the Marescalchi now divided between several collections (North Carolina Museum and private collections). This was a response as erudite as it was personal to the new neoclassical lexicon, which Ubaldo was not only familiar with but actually made known in his homeland. Despite this he opted not to accept its premises, preferring to remain true to a painting reared on the natural, an expression of the full sentiment of faith and of knowledge. His character studies would call for separate mention, being of a quite unique concreteness and pictorial quality, unrivalled by contemporary European art. Finally there are the mural paintings, a genre which he practised from the very early 1760s right up to the end of his life: it was in fact while he was painting the cupola of San Vitale in Ravenna that he contracted the fatal disease that led to his death. Still in the full flush of his inventive vigour, he would otherwise have been able to leave us other great masterpieces such as the Scenes from the Life of Hercules, painted on the ceilings of Palazzo Malvezzi Cà Granda, now the premises of the Vice Chancellor’s Office of the University, or the wonderful paintings made for San His fame, diminished by his premature death although already confirmed by the eulogy of Anton Raphael Mengs, has been revived in recent decades as a result of new discoveries and astute studies which have measured his art against that of his contemporaries, with whom Ubaldo was perfectly on a par.
16. 16. Bust of a child with his head turned downwards, to the left Oil on paper glued to canvas 230 x 300 mm Provenance: Venice private collection; Florence private collection. A poignantly tender image of childhood, this exquisite painting - rapidly sketched and rendered through the soft and sensuous matter of translucent paint – is fruit of the confident talent of the Bolognese painter Ubaldo Gandolfi, one of the leading figures in the pictorial culture of late eighteenth-century Italy. For the most immediate comparison, see the Bust of nude child 1 which was part of the collection of Count Gregorio Casali Bentivoglio Paleotti, a good friend and a passionate collector of the works of his comrade, an alla prima study of an infant in all the enchanting softness of childhood, which was at the Bologna show of 1935 and in that of 1979. In both, the critics who have dealt with them - Longhi2 first and later Volpe3 - have stressed Gandolfi’s singular aptitude for the expression of the affections and the mental freedom so clearly demonstrated by the results achieved in this typically eighteenth-century genre, that of the naturalistic study, and they can certainly be numbered among the most authentic and vital of the period in Europe. The face of this little boy, with his long eyelashes and pink cheeks and the soft flesh of childhood, is of such expressive immediacy as to lead us to suppose that it was inspired by a model considerably dear to him, in line with that poetics of the affections of which he was a master. In the numerous studies from nature that were commissioned from him by collectors, enthusiasts and friends, and which at times he painted simply for himself, he succeeded in conveying a tangible and authentic humanity, the pictorial response to the tenets of a philosophy that set man and his destiny at the centre of history and of the world. The intense poetry of this exquisite painting is far from inspiring philosophical considerations, such is the felicity of the pose and the rendering, but it does indicate Gandolfi’s desire to match in magnificent painting the mobility and nobility of the human countenance and its different expressions with an almost enlightened understanding in the prevalence of the objective data in the study of the real.
17. 17. Grotesque head Pen, brown ink, sepia watercolour on paper 106 x 91 mm Provenance: Venice private collection; Florence private collection. This small drawing, a playful mythological image seen in the light of the most witty irony, is a felicitous proof of the graphic skill of Ubaldo Gandolfi, an excellent draughtsman, as noted by Anton Raphael Mengs during a visit to the Accademia Clementina di Pittura in Bologna. Considering Mengs’ stature, this consolidated the fame of the still youthful artist, not yet maestro, who throughout his not lengthy career revealed a great fertility in the invention of playful and mocking images. Like his brother Gaetano, he too tried his hand at the grotesque, a diversion that was greatly in vogue at his time, almost a revival in the time of Lavater of the studies of Giovan Battista della Porta, with results of indubitable quality in terms of the confidence of the concept and the execution. The particular inventive approach of this head also leads us to recall the projects which both he and Gaetano designed for their other Academician brother, Rinaldo Gandolfi, who was a bombardier and a founder for the State and for whom they designed small sculptures to be cast in bronze as decorations for cannon, doors and furnishings, even though a copy of this particular caprice would be more than a rarity.
actual size
GAETANO GANDOLFI
(San Matteo della Decima 1734 - Bologna 1802) Donatella Biagi Maino
This artist enjoyed great renown in his own times, as borne out by the evidence of Luigi Lanzi and even better documented by the commissions that he received from all over Europe. From England – where the king George III was a passionate collector of his drawings – France, Russia, in the person of Youssupov, Austria and beyond. At the beginning of the nineteenth century his fame had even reached the United States, as recorded by his son Mauro in his report of his journey to the Americas. This just appreciation, too long overlooked, was due to the quality of Gaetano Gandolfi’s art, the reality of which has recently been subjected to critical appraisal and hence revalued after lengthy neglect. He composed dazzling fresco paintings for the temples and mansions of his native city, Bologna, mythological stories of sensuous beauty for international collectors and solemn compositions for the churches. From his youth, after the years of study spent at the Accademia Clementina, the art academy of the prestigious Bolognese Istituto delle Scienze, and his sojourn in Venice in 1760, where he became familiar with Venetian painting and the models of the great Tiepolo, he painted luminous altarpieces of warm poetic inspiration and fabulous inventions from Ovid, Homer and the Latin culture. He also painted portraits of the family – himself, his wife, his little son Mauro, who was also to become a painter – and those who were close to him, the apprentices in his workshop and his friends, in which his studies of the human countenance were to lead to outstanding results. In the 1770s the ardour of a painting of light and sentiment was muted in the quest for a response to the new demands of the Catholic religion, undermined by the numerous attacks on the truth of the Word made flesh. Thus he started to paint austere works of an intensely concrete sentiment such as the Porto San Giorgio altarpiece, the superb result of a painting that was increasingly refined in invention and style, or the magnificent painting of the Blessed Vernagalli founds the Foundling Hospital executed for the Duomo of Pisa, dating to the following decade, which illustrates the artist’s interest in the finest contemporary painting, and his decision not to go with tide of fashion but rather to go against the stream pursuing a different model of painting, which in its harking back to the art of the past keeps open the main road of Italian culture. And then there were also extraordinary profane fables, sweet Madonnas and wonderful portraits, including a Self Portrait – that of the Pinacoteca di Bologna – of the most absolute mental freedom. His The Death of Socrates, dated 1782 (Cassa di Risparmio Collections), lauded in all the journals, provided inspiration for others, including a Frenchman of quite diverse repute. In the Miracle of Leonardo da Porto Maurizio, the saint that he had known in his youth during the years of the pontificate of Benedict XIV which made such a mark on him, he portrayed a cruel and threatening humanity which renders account of the nature of the times, in what was by then the last decade of the century. Up to the very last his profound poetic vein continued to yield exquisite images – the Apelles and Campaspe and the Alexander and Diogenes which belonged to the Sonnino Castelfranco – and austere interpretations of the Gospel story such as The Communion of the Apostles of Budrio, which taught so much to the painters who came later.
18. 18. Study of hands Red pencil on paper 339 x 255 mm Provenance: Venice private collection; Florence private collection. This marvellous study of hands is to be attributed without hesitation to the graphic catalogue of Gaetano Gandolfi, by whom there are numerous similar trials in sanguine, pencil and charcoal, training the hand and the stroke in the constant and uninterrupted exercise of talent. It is well known that, even when he already had a consolidated reputation as a painter, Gandolfi – with humility and and in a full awareness of the validity of the old command to “try and try again” – would practice alongside his own pupils in the study sessions at the Accademia Clementina that he had attended as a boy and now ran as a teacher. Every gesture, pose and movement to be executed in his magnificent paintings was measured by him with the yardstick of the natural and the greatest possible realism. See, for example, the famous study of hands of staggering quality that appears in the Brera folio alongside the drawing of the face of an angel.1 Gaetano had, moreover, illustrious precedents to measure against and a model of life to conform to. In fact the drawings of Annibale Carracci with studies of hands, feet and parts of the face are known through engravings, and it is certain that an album like that published in France by De Poilly,2 which reproduced and divulged the inventions of the predecessor so esteemed by Gandolfi, was to be found either within the Accademia itself or among the select collections of prints and drawings that circulated in the cultivated milieu of Bologna among the friends and commissioners of Gandolfi, never sated with knowledge.
Italian School, late XVIII Century
Previously given to Canova but certainly not from his pen, recently due to the scholarship and the eye of Adriano Cera the present drawing was attributed to Ubaldo Gandolfi; Julien Stock is also in agreement. It should be compared with the drawing in a Bolognese private collection of the Crucifixion. This work is also very mannered and its penmanship is closely related to this. It is reproduced in Prisco Bagni’s book on I Gandolfi, 1992, pl. 538. That drawing is a preliminary study for a painting in the Church of Corpus Domini, Bologna, and can be dated to 1769. Today, Donatella Biagi Maino who wrote the entries to the Gandolfi works in this catalogue, does not agree with this attribution.
( GG )
19. 19. Two river-gods arguing over a naked Nymph Dateable circa 1769 Pen and brown ink and wash over graphite. Inscribed in graphite lower right: Canova. 375 x 225 mm Provenance: Venice, Private Collection; Florence private collection.
GIUSEPPE BERNARDINO BISON Palmanova (Udine) 1762 - Milan 1844
Giuseppe Bernardino Bison was a productive and original artist and draughtsman who specialized in decorative projects. Arrived in Venice in 1777. It was in this city that he established two important contacts: Anton Maria Zanetti the younger, a noted historian of Venetian art, and Antonio Mauro, a scenographer. Bison attended the Accademia di Belle Arti in Venice, was awarded a prize for his drawings from the nude, and met such established older artists as Pietro Longhi, Francesco Guardi, Francesco Zuccarelli, and Giandomenico Tiepolo. Between 1787 and 1793 he worked in Ferrara and Padua. His frescoes were much in demand in the Trentino area, and from 1807 to 1831 he made Trieste his permanent residence, producing domestic decoration for the Casa Belloni and the Palazzo Carciotti there. He painted backdrops for the theatre in Gorizia, and at some point designed four sets for Mozart’s Don Giovanni, which had premiered in Prague in 1787. Remarkable in his versatility, he painted winter and genre scenes, rural landscapes, historical events, imaginary scenes, biblical subjects, and wall decorations. He was elected an associate of the Accademia di Belle Arti in Venice in 1824. In 1831 he moved to Milan, which by then had surpassed Venice as a cultural mecca. Although his career extended well into the nineteenth century, he remained in the graceful and engaging tradition of the eighteenth century, investing even his religious subjects with light-hearted theatricality. During his years in Trieste he experienced artistic crosscurrents from both the Venetian and Bavarian Rococo, and his work retains the flavour of both.
20. 20. View of the Palazzo Ducale in Venice Dateable c. 1828 Gouache on paper 332 x 440 mm Provenance: Venice, private collection. The view illustrates how the rules of perspective are reproduced with the utmost rigour, clearly referring back to the model of Canaletto around which Bison’s own training had pivoted. However, the element which distances the work from the Venetian eighteenth-century tradition is the subtle vein of intimacy that emerges in the composition, where each figure is frozen in his or her gesture: children running, people strolling and chatting in the square or lingering on the quayside. This indicates that the artist was also interested in grasping realistic images of everyday life, going beyond the pure reproduction of the veduta; the figures portrayed in fashionable nineteenth-century dress indicate the intention to underscore the new bourgeois reality of Venice. As a result, in addition to the clarity of the architectural details, in the composition space is also devoted to contemporary sketches of everyday reality. ( CC )
21. 21. Design for decoration Dateable between 1807-1831 Pen, pencil and brown ink on white paper Numbered at lower right: 3255 129 x 302 mm Provenance: Florence, private collection. The drawing shows a design for decoration and represents one of Bison’s numerous graphic exercises. In this case, as in others1, the absence of a correspondence with specific fresco cycles illustrates an attention paid to inventive inspiration rather than to the individual objective. The composition is marked by a rhythmic arrangement of festoons, grotesques, nymphs or victories, elements that indicate the debt to models not only of classical taste but also derived from a Michelangelo-type mannerism, as emerges above all in the female figure set in the centre of the sheet. The legacy of Bison’s late-Tiepolo formation again emerges distinctly; in fact the classicism is only hinted at, while what still comes clearly to the surface is the swift, open and mobile stroke. In the catalogue of the exhibition held in Udine in 1997 Giuseppe Bernardino Bison pittore e disegnatore, a series of six sheets bearing designs for decorations is traced to the artist’s Trieste period, dating to the early years of the nineteenth century, when Bison was principally engaged in decorative enterprises for local commissioners. In both form and content, the drawing in question reveals particular affinities with the design for decoration no. 51b2 in the aforementioned book, so that I believe that it can be comprised within the same context and attributed the same dating. ( CC )
22. 22. Landscape with wooden bridge and waterfall Dateable between 1790 - 1820 Gouache on card 169 x 278 mm Provenance: Florence, private collection. In his landscapes Bison was attracted not only by the natural environment but also by the humblest figures of rural life, such as the peasants, wayfarers, fishermen or shepherds. The gouache shown here portrays shepherds as they are crossing a wooden bridge over a waterfall with their flocks, while on the right a peasant is shown sitting upon a crag. The figures are set within a striking landscape which dominates the composition; the mountain forms the backdrop to a vision that seems almost drawn from life. The luminous harmony of the shades is softened in atmospheres rendered pale by effect of the broad brushstrokes that stand out in clear patches of impasto. In the works executed in later years the artist moves towards an evident control of the relations of colour and a denser hatching, arriving at a greater firmness in the rendering of the drawing. This alteration of technique leads one to credit, as specified in the catalogue of the exhibition Giuseppe Bernardino Bison pittore e disegnatore apropos works analogous to that in question: “[...] that these works fully represent the early phase of Bison’s style, to be circumscribed between the last decade of the eighteenth and the early years of the following century”;3 for which reason I would refer this Landscape with wooden bridge and waterfall to the same period. ( CC )
CARLO GRUBACS Venice 1802 - 1878
Carlo Grubacs was born in Venice to Stella Cattelani and Giovanni Battista, whose family originated from Perasto, in Montenegro. He began his artistic training as a youth in 1818, when he was admitted to the painting school run by Teodoro Matteini at the Accademia di Belle Arti in Venice. He soon directed his pictorial skill towards the creation of perspective views of a neo-eighteenth-century flavour, becoming one of the finest interpreters of this genre. During his career the artist continued to participate at numerous exhibitions, including those organised by the SocietĂ Veneta Promotrice di Belle Arti and the Florence Expo of 1871. Grubacs already enjoyed considerable artistic acclaim during his own lifetime and his fame spread rapidly, even abroad. Today several of his works are conserved in prestigious European museums such as the Kestner Museum in Hanover and the Stadtmuseum in Oldenburg.
22. 23. View of Palazzo Rezzonico, Venice Gouache on paper 217 x 268 mm On the verso at top left the legend in brown ink: Palazzo Rezzonico e volta di Canale; numbered on the right: 277 2/ I Provenance: Venice, private collection; Florence, private collection.
24. View of the Grand Canal towards the Salute, Venice Gouache on paper 218 x 269 mm signed lower right “C. Grubax�. On the verso at top left the legend in brown ink: Canale Grande verso la Salute; numbered on the right: 277 o/I
2
Provenance: Venice, private collection; Florence, private collection.
25. View of Santa Marta, Venice Gouache on paper 217 x 268 mm On the verso at top left the legend in brown ink: Palazzo Rezzonico e volta di Canale; numbered on the right: 277 2/ I Provenance: Venice, private collection; Florence, private collection.
2
26. View of Quintavalle and San Pietro di Castello, Venice Gouache on paper 218 x 269 mm On the verso at top left the legend in brown ink: Canale Grande verso la Salute; numbered on the right: 277 o/I Provenance: Venice, private collection; Florence, private collection. (CC)
23
24
25
26
Notes LUCA CAMBIASO 1. See, Bertina Suida Manning and William Suida, Luca Cambiaso la vita le opere, 1958, Tav. LXXXI, fig. 132 JACOPO PALMA IL GIOVANE 1. Philip Cottrell, The artistic parentage of Palma Giovane, Burlington Magazine, May 2002 2. Stefania Mason Rinaldi, Palma il Giovane L’opera completa, 1984 3. S. Mason Rinaldi, 1984 No. 462 S. Mason Rinaldi, 1984 No. 476 S. Mason Rinaldi, 1984 No. 511 S. Mason Rinaldi, An exhibition of Old Master Drawings by Jacopo Palma il Giovane, from the collection of Antonio Maria Zanetti the Elder (Venice 1679-1767 Venice) at Baskett and Day, December 1986 S. Mason Rinaldi, 1986, No. 80 S. Mason Rinaldi, 1986, No. 81 S. Mason Rinaldi, 1986, No. 85 S. Mason Rinaldi, 1986, No. 86 Sotheby’s New York 28-1-98, No. 64 4. S. Mason Rinaldi, 1984, No.505 GIOVANNI MAURO DELLA ROVERE 1. London, Katrin Bellinger at Harari and Johns, “Master `Drawings”, 1990, No 13 reproduced GIOVANNI FRANCESCO BARBIERI called GUERCINO 1. Nichoals Turner and Carol Plazzotta, Drawing by Guercino from British Collection, The British Museum, 1991 2. Prisco Bagni, Il Guercino e il suo falsario, I disegni di paesaggio, 1985, No. 6 PIER LEONE GHEZZI 1. The famous painter Carlo Maratta, originating from the Marches like the Ghezzi family, was a great friend of Pier Leone’s father Giuseppe, he too an artist. 2. The largest number of Ghezzi’s drawings of antiquities is to be found in the Ottoboniani Latini Codices 3100-3109, conserved in the Biblioteca Apostolica Vaticana. 3. In Italy numerous drawings are to be found in Rome, in the Gabinetto Nazionale delle Stampe, the Gabinetto Comunale delle Stampe, the Biblioteca Vallicelliana and the Biblioteca Hertziana; in Florence at the Uffizi; in Fossombrone in the
Museo Civico. Abroad, several caricatures are conserved in Paris at the Biblioteca Nazionale and in the Louvre; at the Hermitage in St. Petersburg; in London in the Prints and Drawings Department of the British Museum; at the Albertina in Vienna; in Berlin in the Kupferstichkabinett; in New York in the Pierpont Morgan Library, the Public Library and the Metropolitan Museum. 4. The numerous caricatures (totalling 1,392) in the Codice Ottoboniano, conserved at the Biblioteca Apostolica Vaticana, all bear descriptive inscriptions in the lower part of each folio. This feature makes them an authentic memoir in which the images and words are inseparable. Recently Maria Cristina Dorati da Empoli has published an accurate transcription of the precious pieces of information accompanying the drawings, see M.C. Dorati da Empoli, Pier Leone Ghezzi. Un protagonista del Settecento romano, Roma, Gangemi Editore, 2008, pp. 169 - 326. 5. Ibid. 6. The original albums, including that purchased by Count BrĂźhl, Prime Minister to the King of Poland, the three volumes of the Duke of Wellington (belonging to Charles of Bourbon and later to Giuseppe Bonaparte, when he became King of Spain) and two volumes belonging to Lord Braybrooke dating to 1720-1730 (with 152 caricatures of English and French personages) found their way in to the antiques market. Almost all have been dismembered and sold at auction as separate sheets starting from 1971. MARCO RICCI 1. A. Scarpa Sonino, Marco Ricci, 1991, cat. 0 42 p. 340; and A. Scarpa, Sebastiano Ricci, 2006, under no. 165, p.201 the painting only reproduced p. 619. FRANCESCO ZUCCARELLI 1. Federica Spadotto, Francesco Zuccarelli, Milano, 2007. FRANCESCO FONTEBASSO 1. M. Magrini, Francesco Fontebasso, Vicenza 1988. 2. A. Bettagno, Disegni di una collezione veneziana del Settecento, Fondazione Giorgio Cini, 1966, and also Terence Mullaly, review of above Burlington Magazine, January 1967. GIANDOMENICO TIEPOLO 1. Jean Cailleux, Centaurs, fauns, female fauns and satyrs among the drawings of Domenico Tiepolo, Burlington Magazine, June 1974. 2. A Private Collection of Venetian Old Master Drawing, Part One, Paris 2010. 3. Jean Cailleux, Centaurs, fauns, female fauns, and satyrs among the drawing of Domenico Tiepolo, Burlington Magazine no.31, June 1974. 4. J. Byam Shaw, The drawings of Domenico Tiepolo, London, 1962. 5. G. Knox, The Baptism of Christ by Domenico Tiepolo, in Eighteenth Century Life, vol. VIII, no. 23, May 1983.
UBALDO GANDOLFI 1. D. Biagi Maino, Ubaldo Gandolfi, Torino, 1995, p. 275. 2. Mostra del Settecento bolognese, catalogue edited by R. Longhi and G. Zucchini, Bologna 1935, p. 56. 3. C. Volpe, in L’arte del Settecento Emiliano. La pittura. L’Accademia Clementina, catalogue of the exhibition, Bologna 1979, p. 103. GAETANO GANDOLFI 1. See in D. Biagi Maino, Gaetano Gandolfi, Torino, 1995, tav. XXXIII. 2. D. Biagi Maino, Entre la France et l’Italia, académie ou académisme? Un album de portraits gravés et ses conséquences, in «La Revue des musées de France. Revue du Louvre», (à paraître) GIUSEPPE BERNARDINO BISON 1. Cf. G. Bergamini, F. Magani and G. Pavanello (editors), Giuseppe Bernardino Bison pittore e disegnatore, catalogue of the exhibition (Udine, Chiesa di San Francesco, 24 October 1997 - 15 February 1998), Milano, Skira, 1997. 2. Ivi, p. 172. 3. G. Bergamini, F. Magani and G. Pavanello (editors), Giuseppe Bernardino Bison pittore e disegnatore, catalogue of the exhibition, Udine 1997, p. 206.