Francesco Morandini, called Il Poppi

Knowles sale (information from the Oppé inventory);
purchased from Hans Calmann, London, 8 September 1943 (£ 9.10)

Laid down on a 17th or early 18th century mount. The bottom right and left corner missing and a very small loss to the upper right corner. There is another tiny loss near the lower left corner on the margin. All of these are visible in the catalogue image. There is some staining at the top and at the bottom. These stains are more evident in the catalogue. There is a tiny blue stain on the right hand side, on the roof of the last building. The ink of the original drawing is slightly lighter and more golden- brown. Some rubbing towards the lower margin and at the centre. Overall the drawing is in good condition and the image 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."

This handsome sheet shows one of the views outside Rome most favoured by artists of every period, the temple of Vesta in Tivoli, seen from the hill that faces the famous cascades. Beautifully drawn and closely observed, the skilful draughtsman of the present sheet emphasizes with a delicate and vivacious touch the intricate balance between rocks, shrubs and lush foliage, below the majestic classical ruins of Tivoli. 

The Oppé sheet is unmistakably by the same hand as a pen and ink drawing, also a view of Tivoli, in a private collection (fig. 1), which is conveniently signed in pen and ink: Francesco Morandini.¹  The signature, cleverly concealed within the foliage on the upper section of a rock to the left of the composition, is in the same ink as the rest of the drawing, leaving no doubt as to its authenticity.  The existence of this signed sheet, so unusual in the sixteenth century, amplifies our knowledge of the relationship between two fascinating and important personalities in the artistic entourage of Giorgio Vasari: Francesco Morandini, called il Poppi, the draughtsman of the present sheet, and his contemporary Giovanni Battista Naldini (1537-1591), to whom both this drawing and its signed companion have in recent times been attributed.²  In her informative and pioneering essay on the subject, published in 2012, Catherine Monbeig Goguel emphasized the closeness of their formation while under the protection of Don Vincenzo Borghini, rightly arguing that the ‘pratica del disegno’ of the two artists, while in the 'Accademia del Disegno', actually had much more in common than might be apparent from studying each personality individually.³  In the light of this, and taking into account the previously undetected signature, she revised her earlier attribution to Naldini of the private collection View of Tivoli, in favour of one to Morandini.  We are grateful to Catherine Monbeig Goguel for confirming that both drawings are by the same hand and for endorsing the attribution of the present sheet to Morandini.⁴

The Oppé drawing can also be compared to another very similar but wider view of the temple of Vesta, taken from the same viewpoint, on the recto of a double-sided sheet in the Uffizi.⁵  Yet although these two drawings at first glance appear very close stylistically, not least because both depict exactly the same view, on closer examination they are actually quite differently drawn, and the Uffizi sheet is surely the work of Naldini.  Both are executed in the same media, pure pen and ink, but overall the style of Morandini appears more vibrant and fluent.  His description of the rocks and the buildings seems more articulated and better understood, the contours are clearer and the forms more readable.  The parallel strokes which indicate the area of shadows, are neatly and precisely drawn.  Morandini shows much more variety in his penmanship and in the pressure used, resulting in lines that vary considerably in thickness.  The lower section of the sheet, strongly and boldly defined, gives way in the upper section to more delicate and pictorial handling, with which Morandini achieves a subtle definition and refinement, especially when focusing on the description of the foliage and shrubs that are interspersed among a variety of rocks.  The perspective and geometric forms of the ruined buildings and the classical temple are skilfully rendered, and dramatically emphasized by the wild nature below.  Naldini’s composition, in contrast, is slightly larger and less narrow, and generally less detailed.  Interestingly, it bears an old attribution to Baccio Bandinelli.

Paul Oppé bought this drawing as ‘Italo–Flemish’, but I.Q. van Regteren Altena subsequently suggested an attribution to Muziano.  Before the more recent attribution to Naldini, the name of Morandini had already been proposed, and the relationship noted with the abovementioned signed drawing, which was first sold at Sotheby’s in 1954.

Shortly after his arrival in Florence, Morandini, a very gifted and promising artist, was introduced to Vincenzo Borghini, the prior of the Ospedale degli Innocenti, and became one of his protégés.  He received artistic training from Vasari, joining the group of gifted assistants who collaborated, under Vasari’s direction, on the renovation of Palazzo Vecchio for Duke Cosimo de’Medici (see also lot 207).  Clearly, Morandini felt great affinity with Naldini, another of Borghini’s favourite artist, with whom he studied and worked.  His exquisite and precious style of painting is exemplified in his contribution to the decoration of the Studiolo of Francesco de’ Medici, in Palazzo Vecchio, the two panels representing the Canon Foundry and Alexander giving Campaspe to Apelles.  Morandini was elected a member of the Accademia del Disegno in 1574.

^1. Sold twice at Sotheby’s, London, in both cases as F. Morandi, il Poppi: 2 June 1954, lot 35 and 4 July 1975, lot 42 

^2. L'Oeil et la Passion. Dessins italiens de la Rennaissance, exhib. cat., Caen, Musée des Beaux-Arts, 2011, pp. 130-131, no. 36, reproduced

^3. C. Monbeig Goguel, ‘Alcune novità per Francesco Morandini detto il Poppi disegnatore e un’apertura per Giovanni Battista Naldini,’ Annali Aretini, XX, Arezzo 2012, pp. 87-92

^4. Telephone conversation of 11 May 2016

^5. Florence, Uffizi, inv. no. 53 P, recto; see C. Thiem, Das Römische Reisesskizzenbuch des Florentiners Giovanni Battista Naldini 1560/61, Stuttgart 2002, pp. 68-69, no. 17, reproduced