Giovanni Battista Tiepolo

Probably Count Algarotti-Corniani, Venice;
sold by him in 1852, to Edward Cheney, of Badger Hall, Shropshire;
by descent to his nephew, Col. Alfred Capel-Cure;
his sale, London, Sotheby's, 29 April 1885, in lot 1042;
with Messrs. B.T. Batsford, London;
by whom sold, London, Christie's, 14 July 1914, in lot 49, for £120, to Parsons;
Dan Fellows Platt (L.750a) 

Poughkeepsie, New York, Vassar College and New York, Wildenstein and Co., Inc, Centennial Loan Exhibition, 1961, cat. no. 56, reproduced;
Phoenix, Arizona, Art Museum (according to a sticker on the back)

 

Stuck down at bottom corners to Platt's mount. At top corners are two pieces of modern paper tape. Some crinkling top and bottom, but paper in good condition and ink also. Some small spots at centre of figure. Bottom left corner slightly dirty, probably the effect of glue.
"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 drawing came from a group of similar studies by Giambattista originally bound in an album titled Sole figure per soffitti which was broken up around 1918 by the dealer Parsons.  The American collector Dan Fellows Platt bought quite a number of the studies from Parsons in 1922, many of which he bequeathed to the Princeton Art Museum.¹  Lugt records that the mark, L.750a, was applied to the drawings by Platt's widow.

Around 180 of these studies are known, in public and private collections, many of which bear numbers like the present example.  George Knox dates them late in Giambattista's career, circa 1758.  They seem to have been done for their own sake, although of course they are a logical outcome of his extensive work as a painter of ceiling frescoes.

1.  See F. Gibbons, Catalogue of Italian Drawings in the Art Museum, Princeton University, Princeton 1977, vol. 1, p. 189ff