Carlo Maratta

Iolo A. Williams;
Acquired in 1941, in exchange for a drawing by Artaud

Hinged to the mount at the upper margin. There are a few repaired tears and small holes, small repaired hole at the lower right corner and another diagonal tear just near the lower right corner, another small tear at the lower margin towards the left corner and a small repaired hole at the right margin in the centre. The sheet is relatively free from staining - there are a few light yellow/brown stains. Red chalk still strong.
"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 is one of a number of caricatural drawings in the collection, a genre that greatly appealed to Paul Oppé.  Here Maratta depicts eight different caricature studies of men, all in profile and all sporting different types of hats, including several in cardinal's hats.  Another sheet of comparable studies, Caricature of a Pope and Six Cardinals, very close to this in style, with similar hatching and bold use of outlines, is in the British Museum.¹   The British Museum sheet bears an anecdotal inscription on the back of the mount, in the hand of its former owner, Jonathan Richardson, senior: Carlo had a Mistress which some of the Jesuit Cardinals persuaded the Pope to cause to/be driven from him; in Revenge he Caricatura'd 'em all.²  Whether there is any truth in this jovial tale remains uncertain but Maratta clearly enjoyed portraying members of the clergy and accentuating their features for his own amusement.  A number of Maratta's caricatures were popularised through engravings executed by Arthur Pond in 1742.

1. N. Turner, Italian Drawings in the Department of Prints and Drawings in The British Museum: Roman Baroque Drawings c.1620 to c. 1700, London 1999, p. 141, no. 198, reproduced, pl. 198

2. Ibid.