- 291
Giovanni Battista Foggini
Estimate
8,000 - 12,000 GBP
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Description
- Giovanni Battista Foggini
- Recto: Three studies for Tullia Driving her Chariot over the Body of her Father Servius Tullius;Verso: Another study for the same composition, an architectural study, a plan and staircase
- Pen and brown ink and grey wash over black chalk (recto and verso);
bears numbering in brown ink, verso (partially obscured): 6..
Provenance
Possibly Henry St. John, 1st Viscount Bolingbroke (1678-1751);
with Alister Mathews, Bournemouth, from whom purchased, 1964 (as Giovanni Paolo Schor)
with Alister Mathews, Bournemouth, from whom purchased, 1964 (as Giovanni Paolo Schor)
Exhibited
Newcastle, 1964, no. 47 (as Giovanni Paolo Schor);
Newcastle, 1974, no. 89, reproduced pl. XXX;
London, 1975, no. 59;
Newcastle, 1982, no. 72, reproduced pl. XVIII B
Newcastle, 1974, no. 89, reproduced pl. XXX;
London, 1975, no. 59;
Newcastle, 1982, no. 72, reproduced pl. XVIII B
Literature
Vitzthum, 1965, p. 177, reproduced pl. 38a;
Edinburgh, The Merchants' Hall, Italian 17th Century Drawings from British Private Collections, 1972, under no. 49;
K. d'Alburquerque, 'The Partial Reconstruction of Two Sketchbooks by Giovanni Battista Foggini,' Master Drawings, XLIX, no. 1, 2011, p. 73 and p. 90, B19, reproduced fig. 59
Edinburgh, The Merchants' Hall, Italian 17th Century Drawings from British Private Collections, 1972, under no. 49;
K. d'Alburquerque, 'The Partial Reconstruction of Two Sketchbooks by Giovanni Battista Foggini,' Master Drawings, XLIX, no. 1, 2011, p. 73 and p. 90, B19, reproduced fig. 59
Condition
Window mounted. A loss right corner and a bit of the right margin, about 3 cm. Some surface dirt especially at the bottom margin and upper right corner. Otherwise very good and fresh.
"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."
"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."
Catalogue Note
The attribution to Foggini was first made by Walter Vitzthum who also noted the connection with a fully developed composition of the same subject in the Uffizi.1 More recently Kira d'Alburquerque, in her informative article in Master Drawings, has explored and reconstructed two Foggini sketchbooks (A and B), containing a variety of studies from sculpture, to palace interiors, ephemeral decorations and more, which fully illustrate the quantity of projects he undertook in his capacity as sculptor and court architect of Cosimo III, Medici (1642-1723). D'Alburquerque includes the present sheet in sketchbook B, containing twenty sheets, which she suggests must have been dismembered at least by 1887 when the Victoria and Albert Museum acquired their two Foggini sheets. The information regarding the old provenance from Henry Bolingbroke (1678-1751), mentioned by Vitzthum (loc. cit.) must have come from Alister Mathews, who seems to have had more than one page from the same sketchbook. Kira d'Alburquerque says that this sketchbook was probably the last to be compiled by the artist when he was already in his seventies, and the one cited by the biographer Baldinucci.2
The only sketchbook by Foggini to have survived more or less intact is his so-called Giornale, now in the Uffizi, containing 148 drawings datable to 1713-1717, published by Lucia Monaci.3
1. Inv. no. 11773; W. Vitzthum, op. cit., pl. 40
2. For detailed information, see K. d'Alburquerque, op. cit.
3. L. Monaci, Disegni di Giovanni Battista Foggini, exhib. cat., Florence, Gabinetto Disegni e Stampe degli Uffizi, 1977