Giovanni Antonio Sogliani

Charles Molinier (L.2917)

Le dessin à Florence au temps de Michel-Ange, exhib. cat., Paris, École national supérieure des beaux-arts, 2009, and Ajaccio, Musée Fesch, 2010, p. 41, under cat. no. 6, recto and verso reproduced, pp. 40-41, figs. 1-2

Recto: some traces of glue coming through from the verso at the edges of the 4 margins, especially at the bottom one and some light scattered foxing. A small crease at the top to the right and a few at the bottom . The verso is stained by previous traces of glue. The remains of a paper hinge to the left corner and some paper to the left margin. A few small brown stains in the upper part and light yellow stains at the bottom. The chalk on recto and verso is in good condition.
"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 can be closely related to several other drawings by Sogliani, and especially to the double-sided sheet in the École des Beaux-Arts, Paris, which has been dated by Chris Fisher to the early 1520s (see Literature).  In both drawings the subjects of the recto and the verso do not relate to the same project, while the rectos show full-length figures which are stylistically very similar.  Emmanuelle Brugerolles suggests in her entry on the Paris drawing that the young men, who are holding dishes, could be intended for a banqueting scene, possibly a Marriage at Cana.  The figures seen here on the verso could relate to the same project, although this is impossible to confirm on the basis of surviving works by Sogliani.

Both sheets of paper have been reused, and pricked with different figures of the resurrected Christ.  This can be explained by the fact that paper in the sixteenth century was expensive and artists, if necessary, did reuse it for different purposes.  The verso of the Paris drawing, a draped seated male with a standing female figure in the background, is close to two studies by Sogliani of similar figures in the Gabinetto Disegni e Stampe della Farnesina, Rome.¹  Both of those pages have also been reused and pricked.  Chris Fisher has associated the pricked image on the Paris drawing, a Resurrected Christ holding a cross, with a chalk study by Sogliani of the same subject in the Uffizi.  The contours of the Uffizi Christ are pricked for transfer.²  Most probably all these drawings date from the same moment.  Vasari records that Sogliani was involved in designing ecclesiastical garments, so it is very probable that the pricked figures in all these drawings relate to such projects.³

1. Inv. nos. FC 130528, FC 130529

2. Inv. no. 213F.  See Literature, op. cit., p. 41; p. 137, note 5; for a reproduction of the drawing, see A. Petrioli Tofani, Inventario Disegni di figura. 1, Florence 1991, p. 95, no. 213 F

3. G. Vasari, Le Vite de' più eccellenti pittori, scultori, ed architettori, scritte da M. Giorgio Vasari, ed. G. Milanesi, Florence 1880, vol. V, p. 129