Francesco Fernandi, called Imperiali

Pierre-Jean Mariette (L.2097),
his sale, Paris, 1775-6, probably part of lot 449, 'Trois Sujets divers aux crayons noir & blanc..';
Comte Moriz von Fries (L.2903);
Mrs. Maud Strauss,
by whose Executors sold, London, Christie's, 29 March 1966, lot 161, purchased by Ralph Holland

Laid down on original Mariette mount. There is some brown staining, more noticeable at the lower left margin, another lighter stain upper right corner and a smaller one at upper margin in the centre of sheet. Chalk remains fresh and strong.
"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."

Francesco Ferdinandi, better known as Imperiali, was born in Milan and trained under Carlo Vimercati, before spending time in Palermo (a period about which very little is known or documented).  It is thought that he arrived in Rome around 1705 and it was there that he gained popularity among British artists visiting Rome, including Alexander Clerk, Allan Ramsay and William Mosman, to whom he became an artistic mentor.  He was also Batoni's teacher and advisor.  Anthony Clark describes Imperiali as being 'important in the transformation of the late Baroque into the neo-Classical.'  Clark's article sheds more light on his commissions and status as an artist.¹  Ralph Holland's notes indicate that the Earl of Wemyss owns a Crucifixionby Imperiali, suggesting that the groups of figures in the present sheet may be studies for that composition.

The present drawing was owned by the renowned 18th-century Parisian collector Pierre-Jean Mariette, whose name is held in the highest esteem by all museums and collectors.  Sue Welsh Reed aptly writes: 'A man of greater knowledge than of wealth, Mariette's collection was that of a scholar.'²  An important aspect of his collecting was the making of his own decorative mounts, his distinctive blue being often emulated by later collectors.  The present drawing is still on his well-preserved mount with his attribution.

1.   A. Clark, 'Imperiali', The Burlington Magazine, CVI, May 1964, p. 226-33
2.  S. Welsh Reed, 'The Mariette Sale Catalogue', La Vente Mariette, Le catalogue illustré par Gabriel de Saint-Aubin, Milan 2011, p. 39