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Lot Essay
The present drawing is related to the musicians on the left of Confortini's finished watercolour of the Concert in the Uffizi, Il Seicento Fiorentino, no. 2.214, pl. XXIX.
A number of drawings related to the compostion are known: a study, with numerous differences from the Uffizi sheet, is in the Weimar print room (K.E. Maison, op. cit., fig. 74); a red chalk study for the figure on the far right of the Weimar composition was sold in these Rooms, 1 July 1986, lot 76, illustrated; a drawing formerly in the Geiger Collection (later sold in these Rooms, 12 December 1978, lot 26 illustrated), is very close to the finished composition (W. Vitzthum, Confortini at Edinburgh, The Burlington Magazine, 1970, CXII, fig. 50). A copy after the Uffizi drawing is in the National Gallery of Scotland, K. Andrews, Catalogue of Italian Drawings, Cambridge, 1968, no. 312, illustrated.
The very sketchy figure in the centre of the present drawing, which is absent from the Uffizi watercolour, corresponds to the seated figure to the left of the musicians in the Weimar and Geiger studies.
A number of drawings related to the compostion are known: a study, with numerous differences from the Uffizi sheet, is in the Weimar print room (K.E. Maison, op. cit., fig. 74); a red chalk study for the figure on the far right of the Weimar composition was sold in these Rooms, 1 July 1986, lot 76, illustrated; a drawing formerly in the Geiger Collection (later sold in these Rooms, 12 December 1978, lot 26 illustrated), is very close to the finished composition (W. Vitzthum, Confortini at Edinburgh, The Burlington Magazine, 1970, CXII, fig. 50). A copy after the Uffizi drawing is in the National Gallery of Scotland, K. Andrews, Catalogue of Italian Drawings, Cambridge, 1968, no. 312, illustrated.
The very sketchy figure in the centre of the present drawing, which is absent from the Uffizi watercolour, corresponds to the seated figure to the left of the musicians in the Weimar and Geiger studies.