Giovanni Franceso Grimaldi

Padre Sebastiano Resta;
Giovanni Matteo Marchetti, Bishop of Arezzo, 1698;
thence by descent to Chevalier Marchetti de Pistoia, 1704;
John, Lord Somers (L.2981, bears his number in pen and brown ink:  h:109);
Jonathan Richardson Sr. (L.2184);
Earl Spencer (L.1531);
with Basket and Day Ltd., London, Exhibition of Drawings, 1973, no. 8, reproduced (as Domenichino);
Mr. and Mrs. Christian Aall, until 1999

The Burlington Magazine (under Current and Forthcoming Exhibitions), vol. CXVI, January, 1974, pp. 52-3, fig. 78 (as Domenichino);
N. Turner, Roman Baroque Drawings, ...in the British Museum, London 1999, p. 95, under no. 144 (58)

 

Window mounted. Overall in very good condition. There is a small brown stain at the upper left margin. The lower right corner appears to have been made-up, or repaired at some stage. Otherwise sheet in good condition and the medium remains strong and vibrant.
"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."

This handsome sheet highlights Grimaldi's aptitude for landscape drawing, the man playing the pipe lending charm and character to the scene.  It is one of three known versions of this composition.  One in the British Museum bears an inscription on the verso: Grimaldi, & etched by him¹, and our sheet may also have been intended to be etched.  A copy by Michel Corneille of the British Museum's drawing is in the Louvre (inv. no. F 9925592; Recueil Jabach).  The other known version of this compostion was on the Italian art market.² 

The former attribution to Domenichino is easily understood, as Grimaldi was very much influenced by that artist's style, often copying motifs from him as well as from the Carracci.  This is, however, an exceptional work by the artist, as its illustrious provenance reflects.  Born in Bologna, Grimaldi absorbed the landscape tradition of Annibale Carracci and his followers.  He worked on a number of important decorative projects whilst in Rome and was comissioned by Cardinal Mazarin in 1648 to decorate his palace.  He was a member of the Accademia di San Luca and was elected its Principal in 1666.

1. N. Turner, loc. cit.

2. Giorgio Neerman, Rome, Il paesaggio italiano nel disegno dal xvi al xviii secolo, 1974, no. 15