Giovanni Battista Foggini (Florence 1652-1725)
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Giovanni Battista Foggini (Florence 1652-1725)

The Fall of Phaeton

Giovanni Battista Foggini (Florence 1652-1725)
The Fall of Phaeton
with inscription ‘C. Procaccini del.’ (verso)
black chalk, pen and brown ink, brown wash heightened with white on light brown paper
7 3/8 x 10 5/8 in. (18.9 x 27.2 cm)
with Charles Albert de Burlet (1882-1956), Basel (L. 4261), and by descent to his widow (according to the Landolt typescript catalogue).
Anonymous sale; Galerie Koller, Zurich, 14-16 November 1994, lot 199 (as Bolognese School, 16th Century), where acquired by Robert Landolt.
Zurich, Graphische Sammlung ETH, Zwiegespräch mit Zeichnungen. Werke des 15. bis 18. Jahrhunderts aus der Sammlung Robert Landolt, 2013-2014, no. 15, ill. (as Andrea Procaccini; catalogue entry by M. Matile).
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Stijn Alsteens
Stijn Alsteens

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Lot Essay

Despite a previous attribution to Camillo Procaccini (on the verso), this drawing a characteristic and outstanding example of the drawing style of the Florentine sculptor Giovanni Battista Foggini. The drawing is the final design for one of a series of four lost bronze reliefs made by Foggini and exhibited by him at the Santissima Annunziata in 1724, of which wax casts survive at the Museo dell’Opificio delle Pietre Dure, Florence, and the (now sadly closed) Museo Richard-Ginori della Manifattura di Doccia, Sesto Fiorentino (K. Lankheit, Die Modellsammlung der Porzellanmanufaktur Doccia. Ein Dokument italienischer Barockplastik, Munich, Bruckmann, 1982, pl. 57; for the reliefs, see J. Montagu in Gli ultimi Medici. Il tardo barocco a Firenze, 1670-1743, exhib. cat., Detroit, Institute of Arts, and Florence, Palazzo Pitti, 1974, p. 66, under no. 29). For a similarly finished drawing of unknown location for the relief of the Battle of the Centaurs and the Lapiths, see K. d’Alburquerque, ‘Sculture e scultori tardo-barocchi fiorentini: Disegni della collezione Gabburri e di altre collezioni settecentesche’, Proporzioni, XI-XII, 2010-2011, pp. 120-121, fig. 124.

We are grateful to Kira d’Alburquerque for her assistance in cataloguing this drawing.

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