Felice Giani (San Sebastiano Curone 1758-1823 Rome)

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A COLLECTION OF DRAWINGS BY FELICE GIANI AND HIS CIRCLE The following seventeen lots come from a portfolio of drawings gathered in the 19th Century, and inherited by descent to the present owner. The majority of the drawings can be dated to Giani's stay in Paris in 1812-13, during which time he executed a number of important commissions, most notably the decoration of the Villa Aldini at Montmorency. The remainder of the drawings can be connected with Giani's most important pupil, close friend and sole heir, the Austrian Michael Köck. We are grateful to Anna Ottani Cavina for confirming the attributions to Giani and Köck, and for her kind assistance in cataloguing the drawings. References are to Dr Ottani Cavina's Felice Giani (1758-1823) e la cultura di fine secolo, Milan, 1999.

Felice Giani (San Sebastiano Curone 1758-1823 Rome)

The garden of the Villa Aldini at Montmorency, with a view of Paris in the distance

细节

Felice Giani (San Sebastiano Curone 1758-1823 Rome)
The garden of the Villa Aldini at Montmorency, with a view of Paris in the distance
inscribed 'Parco di S E Aldini in Montmoransi, con la veduta di Parigi' and numbered '3' in the lower border, and with inscription 'Gianni' and numbering '5' (crossed out, recto)
black chalk, pen and brown ink, brown wash
19¼ x 26¾ in. (490 x 682 mm.)

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拍品专文

Giani was closely associated with the French authorities in Italy, partly owing to his early enthusiasm for the ideals of the French Revolution, and he was involved in several notable commissions such as the triumphal arch celebrating Napoleon's entry into Bologna in 1805 and the decoration of the Imperial apartments at the Quirinal Palace in Rome in 1812. Later in that year he was in Paris to decorate the villa of his patron Count Antonio Aldini, who in 1805 had been appointed Secretary of State to the Kingdom of Italy. The villa had been lavishly rebuilt by Aldini, and was surrounded by a park fashionably arranged all'Inglese with lakes and romantic vistas, a setting which seems particularly to have inspired Giani's elaborate fresco cycle. Unfortunately Aldini did not survive the downfall of Napoleon, and his house was burnt by Prussian troops in 1815, A. Ottani Cavina, op. cit., pp. 531-535