Ottavio Maria Leoni

Sale, Amsterdam, F. Muller, 20 November 1882 (according to pencil note, verso; that sale was of drawings from the collections of J.C. Robinson and the Marquis de Chennevières but neither of their marks are on the drawing);
Adalbert, Freiherr von Lanna (L.2773);
his sale, Stuttgart, Gutekunst, 6-11 May 1910, lot 342;
Kunsthalle, Bremen (L.292);
With Galerie Katrin Bellinger, Munich; acquired in 2000

 

Laid down on Japan paper. Slight foxing scattered around the sheet. A small old repair on the verso where there is a pin point hole, the sheet was once glued around the edges, glue on the edges is only visible on the verso.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

This drawing relates to a well-known and extensive series of portrait drawings made by Leoni in Rome during the first three decades of the seventeenth century.  The series is referred to by Pierre-Jean Mariette¹, who says that it consisted of about 400 portraits and had once belonged to Prince Borghese.  Many, but not all, of these portraits are inscribed on the recto with serial numbers and precise dates, and some are, like the present example, inscribed on the verso with the name of the sitter.

Donna Agnese Argotti del Carretto, Marchesa di Grana (also known as "Dona Ines"), was the mistress of Vincenzo Gonzaga of Mantua (1562-1612), the mycenas who was patron to many authors, musicians and artists, including both Monteverdi and Rubens.  The Marchesa was apparently a colourful figure, who established her own flourishing cultural circle, and even had a volume of madrigals dedicated to her by Giaches de Wert.  

Although the drawing bears the stamp of the Kunsthalle, Bremen, that institution has kindly confirmed that they have consulted their records, which they believe to be complete, and that the drawing appears never in fact to have been entered into any of the museum's inventories nor to have formed part of the collections.

1. Abecedario, ed. Ph. de Chennevières-Pointel and A. de Montaglion, III, pp. 179-89