Pietro Faccini

The following condition report has been provided by Caroline Corrigan, an independent restorer who is not an employee of Sotheby's. 17-25 rue Charles Graindorge, 93170 Bagnolet, Tel: 33 (0)1 43 63 25 44, Email : caroline.corrigan@wanadoo.fr The four corners cut and made up. A diagonal tear from the upper left corner, down to the drapery. Two other little tears below the drapery, on the corner of the stone. Four small losses at the lower edge. Another small tear at the upper part of the right thigh. A number of small faults in the paper. The remains of a diagonal fold across the lower left corner.
"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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Cette étude de nu est un bel exemple de la période de Pietro Faccini alors qu'il emprunte un style proche de celui de son maître, Annibale Carracci. Bien que le modelé soit quelque peu accentué, les formes sont toujours modérées et échappent à toute déformation en comparaison d'autres dessins de ce type, lorsque son style devient plus original (comme décrit par Malvasia ci-dessous). De plus, les volumes sont définis par des lignes puissantes, et le sfumato de la sanguine crée un réel contraste entre les zones d'ombre et de lumière.

Le dessin que nous présentons semble avoir été réalisé d'après nature, et bien que l'artiste puisse avoir eu un saint Jean-Baptiste à l'esprit au moment de son exécution, les académies de ce genre sont souvent des exercices personnels, en dehors de tout projet précis. Les études d'hommes nus de Faccini étaient bien connues et fort appréciées des collectionneurs. Le biographe Carlo Cesare Malvasia remarque qu'il y avait plusieurs exemples de nus par Faccini dans toutes les grandes collections de son temps, parmi lesquelles la collection du Cardinal Leopoldo de' Medici. Il note également la forte influence de, Annibale: 'tanto disegnò dal nudo, che infiniti si vedono di que' suoi modelli in tutte le piú famose raccolte, fra le quali quella del serenissimo  sig. Principe Cardinal Leopoldo, presso il quale sonsene ridotte le centinaia, alle volte così guizzanti così svolazzanti  e quel ch'è più, così facili e franchi che sembrano del suo maestro [Annibale Carracci], come per di sua mano molti tutto il di si vedono.'¹

Nous remercions Aidan Weston-Lewis de nous avoir confirmé l'attribution de ce dessin à Pietro Faccini sur la base d'une photographie.

1. Voir C.C. Malvasia,  Felsina Pittrice, Vite dei Pittori Bolognesi,  Bologne 1971, p. 330.


A SEATED MALE NUDE

Red chalk heightened with traces of white chalk

This handsome study of a youth is a good example of the period when Faccini is closest to the graphic style of his master, Annibale Carracci.  Although the modelling is somewhat accentuated, the forms are still restrained and not distorted as in other known drawings of this type, where his style becomes more eccentric (as described by Malvasia below).  Futhermore, the volumes are well defined by strong lines and the sfumato of the red chalk creates contrasting areas of light and shadow. 

The study appears to be drawn from life and whilst it could have been executed with a St John the Baptist in mind, academies such as these are generally personal exercises, unconnected to a specific project.  Faccini's male nude studies were traditionally well-known and appreciated by collectors.  The biographer Carlo Cesare Malvasia notes that there were examples of Faccini's nudes in all the most  famous collections of his time, including that of Cardinal Leopoldo de' Medici. He also stresses the strong influence of Annibale: 'tanto disegnò dal nudo, che infiniti si vedono di que' suoi modelli in tutte le piú famose raccolte, fra le quali quella del serenissimo  sig. Principe Cardinal Leopoldo, presso il quale sonsene ridotte le centinaia, alle volte così guizzanti così svolazzanti  e quel ch'è più, così facili e franchi che sembrano del suo maestro [Annibale Carracci], come per di sua mano molti tutto il di si vedono'.¹

We are grateful to Aidan Weston-Lewis for having endorsed the attribution of the present drawing to Pietro Faccini on the basis of a photograph.

1. See, C.C. Malvasia, Felsina Pittrice, Vite dei Pittori Bolognesi, ed. Bologna 1971, p. 330.