Sisto Badalocchio

Jean-Baptiste-Florentin-Gabriel de Mayran Marquis de Lagoy (L.1710);
Charles Greville (L.549);
Earl of Warwick (L.2600)

Laid down. There are a number of holes throughout the sheet. Two prominent clusters in the upper left and right corners of the sheet. Another more prominent hole is located in the sitter's ear lobe. A small piece of paper has been added to the sitter's forehead, just near the hairline, most probably to cover a small loss in the sheet. There are also a number of stains scattered throughout as well as surface dirt. There are losses to the chalk in certains areas and it also looks as though the surface has been rubbed (separate to the stumping applied). There is a repaired tear at the left margin in the centre. The red chalk remains fairly strong and image still powerful despite the condition issues.
"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."

It has not been possible to identify the sitter in this portrait.  Stylistically it closely resembles some red chalk portraits which are often associated with the work of Annibale Carracci, who seems to have favoured the use of red chalk for his portraits of the 1580s.¹ Here, however, the overall softer tone and the extensive use of stumping, creating a sfumato effect, is much closer to Sisto Badolocchio's graphic style.  Badolocchio first trained under Agostino Carracci and later with Annibale and there is no doubt that there is a strong Carraccesque quality in the handling of this portrait and its overall effect.  For an example of Badalocchio's technique, see his study for a Madonna and Child in the Albertina, Vienna.²

1. See for instance the Portrait of Baldassare Aloisi, called Galanino, Berlin, Staatliche Museen, inv. no. kdz 5873
2. M. Pirondini, Sisto Badalocchio, Reggio Emilia 2004, p. 23, reproduced