Attribué à Raffaello Motta, dit Raffaellino da Reggio

Charles Rogers (L. 624)

The following condition report has been provided by Caroline Corrigan, 17-25 rue Charles Graindorge, 93170 Bagnolet, Tel: 33 (0)1 43 63 25 44, Email : caroline.corrigan@wanadoo.fr, an independent restorer who is not an employee of Sotheby's. Drawn in pen and brown ink and wash on cream laid paper, slightly dusty. Generally in good condition. A small repaired tear in the lower margin of the sheet. A small hole at the level of the hand of the right-hand figure, and a tiny crack on a line of brown ink in the study of the tree to the right.
"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."

Selon Baglione, Raffaellino quitta son village natal de Codemondo, près de Reggio Emilia, pour s'installer à Rome sous le pontificat de Grégoire XIII (1572-85), mais d'autres sources contemporaines situent son arrivée avant cette date. Van Mander écrit à ce sujet que Raffaellino était encore enfant lorsqu'il vint à Rome et rejoignit l'atelier de Federico Zuccaro après avoir été formé auprès de 'certains peintres'. Baglione fait également état de la relation entre les deux artistes, bien que le style de Raffaellino soit plus proche du frère de Federico, Taddeo, comme l'ont observé Gere et Pouncey.¹

Le dessin que nous présentons est certainement étroitement lié à une décoration à fresque, mais il ne semble cependant pas rappeler une oeuvre connue de Raffaellino. Les souvenirs d'une partie de son oeuvre et de son travail de collaboration doivent en effet être perdus, comme cela arrivait souvent à l'époque, car seuls les noms des maîtres en charge du projet étaient mentionnés dans les paiements.  Le sujet étant profane, il est tentant de penser que le dessin ait pu être réalisé alors qu'il participait à la décoration du Palais Farnèse de Caprarola où, en 1574, il travaillait auprès de Giovanni de' Vecchi dans la Sala del Mappamondo.

1. Voir J. A. Gere and Ph. Pouncey, Italian Drawings in the Department of Prints and Drawings in the British Museum, Artists working in Rome, c.1550 to c.1640, Londres 1983, vol. I, p. 145.


THE FLAYING OF MARSYAS

Pen and brown ink and brown wash, over black chalk;
bears numbering and inscription in brown ink on the mount: 300; Cesare d'Arpino.; Il castigo di Marzia.; Collez^e. Esdaile.

According to Baglione, Raffaellino came to Rome from his native village of Codemondo, near Reggio Emilia, under the pontificate of Gregory XIII (1572-85), but other contemporary sources suggest that he could have arrived even earlier.  In fact, van Mander writes that Raffaellino was still a boy when he came to the city and, after working with 'certain painters', he attached himself to Federico Zuccaro.  Baglione also mentions this association although, as observed by Gere and Pouncey, Raffaellino's style is closer to that of Federico's brother Taddeo.¹  

While the present study certainly relates to a fresco decoration, it does not seem to be connected to a known work by Raffaellino.  However, evidence for a number of his works and collaborations must surely be lost, as often in this period payments are only recorded to the main masters encharged with the project.  As the subject is profane, it is tempting to think that it could have been drawn in relation to the decorative scheme for the Palazzo Farnese at Caprarola where Raffaelino worked alongside Giovanni de' Vecchi in 1574 in the Sala del Mappamondo.

1. See J. A. Gere and Ph. Pouncey, Italian Drawings in the Department of Prints and Drawings in the British Museum, Artists working in Rome, c.1550 to c.1640, London 1983, vol. I, p. 145.