Drawing, executed in pen and brown ink with grey wash, 240 × 394 mm.
A drawing from Cassiano dal Pozzo’s “Museo Cartaceo”, recording alternative schemes for the decoration of a room approximately 61 feet in length with four, irregularly spaced rectangular windows, precisely matching the Salone di Costantino in the Lateran Palace built by Sixtus V in 1585-1589. The project shown was not executed and the room was decorated later by others. The sheet was exhibited in Rome in 2000 and in Biella in 2001-2002 with an attribution to Cherubino Alberti. The editors of the volumes devoted to architectural and topographical drawings from the Paper Museum commissioned and collected by Cassiano dal Pozzo, have catalogued it as “Late Sixteenth-century Italian” (The Paper Museum of Cassiano dal Pozzo: a catalogue raisonné. Series A, Antiquities and architecture; pt. 10: Renaissance and later architecture and ornament, by Paul Davies and David Hemsoll, [London] 2013, II, pp.410-411 no. 153, reproduced).
It is now apparent that Cassiano collected avidly both “artistic” and “documentary” drawings made before the birth of the Paper Museum. The sources of these drawings are unknown; it is supposed that some were purchased; some received as gifts from Cassiano’s numerous correspondents, and that others entered the Paper Museum by bequest. These drawings extended the encyclopaedic range of the Paper Museum and it is speculated that they were acquired to assist the education of the “giovani ben intendenti del disegno” whom Cassiano employed.
The Tuscan origin of the Alberti family and their use of quadratura perspective were major recommendations to Cassiano dal Pozzo and he owned many works by them, including at least four drawings by Cherubino and two paintings by his younger brother Giovanni (1558-1601). During the 1630s, Cassiano commissioned for his “Museo Cartaceo” a set of copies of drawings of architectural fragments by their father, Alberto Alberti (1526-1598). He employed a relation, Pierfrancesco Alberti (1584-1638), to make line drawings and diagrams for his projected publication of Leonardo’s Trattato della Pittura.
Drawing, executed in pencil, pen and brown ink with wash, 293 × 225 mm.
This drawing of an unusually elaborate early Imperial altar or statue base was commissioned by Cassiano dal Pozzo (1588-1657) for his celebrated “Museo Cartaceo”. Although better-known as a specialist in natural history, the draughtsman Vincenzo Leonardi also supplied Cassiano with drawings after the antique. In 1625, he was the only artist to accompany Cassiano on a legation led by Cardinal Francesco Barberini to France, where he documented for Cassiano objects of botanical, ornithological, geological, and archaeological interest. The altar recorded on our sheet is identified with one now in the Musée des Beaux-Arts at Lyon; it is speculated that it was already in France in 1625, and was drawn by Leonardi on this trip. Two other aspects of the altar by the same hand and also from the “Museo Cartaceo” are in the so-called “Franks volumes” at the British Museum (volume I, folios 150-151). Our drawing was exhibited in Rome together with other drawings and paintings from the Dal Pozzo collections (Galleria nazionale d’arte antica, Palazzo Barberini, 29 September-26 November 2000) and also in Biella (Museo del territorio Biellese, 16 December 2001-16 March 2002).
Drawing, executed in pen and brown ink and brown wash over black chalk, laid to Stirling-Maxwell album sheet of wove paper, 128 × 288 mm.
This drawing of a panel relief showing maidens draping a candelabrum (‘Nuptiale Festum’) was commissioned by Cassiano dal Pozzo (1588-1657) for his ‘Museo Cartaceo’, and later passed through the collections of Pope Clement XI, his nephew Cardinal Alessandro Albani, King George III, and the antiquary Sir William Stirling-Maxwell. In the early sixteenth century, the marble relief was located in the atrium of Old St. Peter’s in Rome; after 1617, it was installed with its pendant relief of five female figures dancing (‘Nuptiales Choreae’) above opposite doors in the Salone of the Casino of Cardinal Scipione Borghese, on the Pincian hill. Its fame grew steadily and was assured by its inclusion (again with its pendant) in Perrier’s Icones (1645) and in Bartoli and Bellori’s Admiranda romanarum antiquitatum (1693). In 1807, the relief and its pendant were sold to Napoleon Bonaparte and sent to Paris; since 1817, both have been displayed in the Louvre.
The sheet was exhibited in 2001 (I segreti di un collezionista: le straordinarie raccolte di Cassiano dal Pozzo 1588-1657, catalogue of an exhibition held at the Museo del territorio Biellese, Biella, from 16 December 2001-16 March 2002, edited by Francesco Solinas, Roma: Edizioni De Luca, 2001, p.230 no. 140, with reproduction).
Drawing, executed with the point of the brush in black wash, heightened with white, 360 × 307 mm.
Two drawings, uniformly executed in pen and dark brown ink and brown wash over black chalk, laid to Stirling-Maxwell album sheets of wove paper, 408 × 272 mm and 407 × 267 mm. Uniformly framed.
These decorative drawings were extracted in 1990 from one of the two albums of “Drawings by Italian Old Masters. Sculpture” assembled circa 1871 by the Scottish antiquary Sir William Stirling Maxwell. The two albums contained mostly drawings commissioned by Cassiano dal Pozzo (1588-1637) for his celebrated “Museo Cartaceo”, a corpus of drawings of antiquities in Rome. After Cassiano’s death, the “Museo Cartaceo” was augmented by his younger brother, Carlo Antonio dal Pozzo, then by Cardinal Alessandro Albani, who incorporated drawings inherited from his uncle, Pope Clement XI, including a hoard accumulated by the artist Carlo Maratti. While our two drawings might have been introduced into the “Museo Cartaceo” by Carlo Antonio, before ill health brought his collecting to a halt in 1685, it is more likely that they were executed in the eighteenth century, and were added by Cardinal Albani. Both vases are drawn in mirror image of the originals, suggesting that they could be preparatory drawing for an unrealised suite of large-format engravings of Roman antiquities (they do not correspond to any known prints).
This atlas of manuscript plans (frontispiece and thirty-three drawings in pencil, ink, and wash) is one of a set of eight oblong folio volumes comprising a complete survey of the estates in County Kildare, Ireland, of James FitzGerald (1722-1773), 20th Earl of Kildare and 1st Duke of Leinster. The eight volumes came to light in November 1963, when the set was offered for sale as separate lots in a Sotheby’s auction. The atlases of the manors of manors of Athy (1756) and Kildare (1757) afterwards migrated into the Library of Trinity College Dublin; Castledermot (1758) into the National Library of Ireland; Woodstock (1756) into the British Library; Maynooth (1757) into Cambridge University Library; and Graney (1758) into the British Art Center of Yale University. Until recently, the atlas of the manor of Kilkea (1760) here offered for sale could not be located; the atlas of the manor of Rathangan (1760) is still lost.
The identities of the draughtsmen who collaborated to produce the eight volumes of the Kildare estate survey are not all known. In the entire set of 170 plans, only one frontispiece and three cartouches are signed. That signed frontispiece is a virtuoso drawing by Hugh Douglas Hamilton (1740-1808), who went on to become ‘one of the finest painters ever to come out of Ireland’ (Crookshank & Glin). Hamilton’s “little masterpiece” occurs in the atlas of the manor of Kilkea, here offered for sale. The three signed cartouches also appear in the Kilkea atlas. They contain views of local houses and landscape and were drawn by an Irish surveyor, Matthew Wren. The unsigned map decoration in the Kilkea atlas is here divided between Hamilton (twenty-seven sheets) and Wren (three sheets).
Drawing, executed in pen and brown ink over black chalk, laid down on 19th-century mount, inscribed on the mount Maura Tasia and 5 W L 48, 135 × 347 mm.
The old attribution on the mount to Mauro Tesi is confirmed by similarities to a drawing published by Richard Wunder in 1965 (Ann Arbor, University of Michigan Museum of Art, 1960/2.20). Both sheets are executed in the same manner in Tesi’s distinctive pen style, and are strongly reminiscent of Stefano della Bella’s ornament prints. The Michigan drawing, in fact, carried an attribution to Della Bella before Wunder associated it with etchings by Tesi in imitation of prints by Della Bella. Comparable drawings by Tesi of decorative friezes incorporating masks and satyr’s heads, garlands, and infants, are in Rome, Geneva, Sammlung Schloss Fachsenfeld, Venice, and New York; some were etched by Clemente Nicoli, others apparently by the artist himself. Mauro Tesi, who died at the age of 36, had taught himself by copying the drawings of the great Bolognese masters of the previous century, Agostino Mitelli and Angelo Michele Colonna. All kinds of ornament interested him, but soon a natural predisposition towards architectural decoration asserted itself.
Our drawing was extracted in 1990 from an album (“Drawings by Old Italian Masters. Sculpture”) assembled circa 1871 by Sir William Stirling-Maxwell, 9th Baronet, of Pollok (1818-1878). The two albums contained mostly drawings commissioned by Cassiano dal Pozzo (1588-1637) for his celebrated “Museo Cartaceo”. After Cassiano’s death, the “Museo Cartaceo” was augmented by his younger brother, Carlo Antonio dal Pozzo, then by Cardinal Alessandro Albani, who incorporated drawings inherited from his uncle, Pope Clement XI, including a hoard accumulated by the artist Carlo Maratti. This drawing most probably is a sheet introduced to the corpus by Cardinal Albani, whose collection was sold in 1762 to James Adam as agent for George III. About 1000 drawings were appropriated by the Royal Librarian, Richard Dalton (1715-1791), and came onto the market at Dalton’s deceased sale (11-19 May 1791), passing thereafter through the collections of several antiquaries, eventually into the possession of Stirling Maxwell.
An interior view of the “Temple des Arts”, a monument honouring Painting, Sculpture, and Architecture on a triangular plan, where each one of the arts has a temple connected to the central one of Taste. “It is hard to prove the exact function of Dumont’s sanctuary, but it may have been conceived as a building for discussions on the arts of painting, sculpture and architecture, a kind of academy of fine arts” (Marcin Fabiański).