Domenico Fiasella

F.A. Driver,
by whom sold, London, Sotheby's, 27 May 1965, lot 188 (as G. Seghers), purchased by Joan Buzas (later Mrs. Holland) as a gift for Ralph Holland

Newcastle, 1974, no. 54

M. Newcome Schleier, 'Drawings and Paintings by Domenico Fiasella,' Paragone, XLVI, May- July 1995, p. 45, reproduced pl. 44

There are some signs of minor surface dirt throughout the sheet and some light brown stains to the left and bottom edge. There is a small pin prick hole to the lower right corner and two repaired tears; one to the upper right corner and the other to the lower centre. The medium itself is still fresh and vibrant throughout.
"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."

Only a small number of drawings have been given to Fiasella, but this sheet previously attributed to Seghers is typical of his style and compares well to a drawing in red chalk and grey and red wash in the Hessisches Landesmuseum, Darmstadt, representing the Education of the Virgin.¹

The composition may represent Paradise and shows the Trinity enthroned with the Virgin, St. John the Baptist, St. Peter, St. Lawrence, St. Paul and others.  Fiasella has surrounded the figure of Christ with emblems of the four Evangelists.  Mary Newcome Schleier suggested this drawing should be dated stylistically to the 1620s.  She also noted that its composition and subject resemble Bernardo Strozzi's Paradise, frescoed for the Doria in 1620-23, on the choir vault in the Genoese church of San Domenico, now destroyed.²

1. See R. Bacou, 'Dessins du Musée de Darmstadt,' Revue du Louvre et des Musées de France, no. 1, 1971, p. 304, reproduced 
2 . See the bozzetto in the Museo dell'Accademia Ligustica di Belle Arti, Genoa; C. Manzitti, Bernardo Strozzi, Turin 2013, p. 120, no. 102, reproduced