- Museum number
Sketchbook bound in vellum with a flap, enclosed in a leather box with gold tooling, with new endpapers, containing 145 leaves numbered in manuscript (including 3 blank), with sketches mostly on the recto, some also on the verso, with figure studies (sometimes several to a leaf) in a wide variety of postures and occupations, mostly with emphasis on costume, and other subjects; including soldiers, a mendicant, mythological subjects, statues, figures playing music, reading, drinking, carrying loads, beating drums, also horse-drawn vehicles, townscapes, architectural details. 1749 (?)
Most sketches in black chalk sometimes touched with red chalk; others in red chalk, graphite or pen and black ink with grey wash
- Production date
Height: 194 millimetres
Width: 132 millimetres (covers)
- Curator's comments
- A number of drawings of musicians in the album are related to Pannini's painting of a concert held at the Teatro Argentina in Rome to celebrate the marriage of the dauphin in 1747. The painting was commissioned by Cardinal Frédéric Jérôme de La Rochefoucauld, the French ambassador to the Holy See (1745-47) and is now in the Musée du Louvre, Paris (1992 exhib. cat., no. 4). Each study is analysed with references to the related paintings (which variously date 1739-59) in the monograph by Arisi.
As Bent Sørensen has pointed out (email 23 October 2007) the inscription on the flyleaf written by the artist records his borrowing from Rochefoucauld's successor as the French ambassador to the Holy See, Louis Jules Mancini-Mazarini, duc de Nivernais (1716-98 [ambassador 1749-52]), a copy of Antoine Desgodets 'Les Edifices Antiques de Rome dessinés et mesurés très exactement' published in 1682. At the same time he also borrowed a small painting by François Boucher who had been in Rome from 1728-31. A Ghezzi portrait of the duc de Nivernais is in the BM, 1859,0806.95.
Viola's article (cited below) notes that this album was among the works in Francesco Pannini's studio at his death. It was described in Francesco's inventory as 'Una cartella di studj di Disegni Originali stimati scudi quattro' and it was taken, along with the vast majority of Francesco's drawings, by his nephew Enrico.
Lit.: E. Croft-Murray, 'A Sketchbook of Giovanni Paolo Pannini in the British Museum', "Old Master Drawings", XI, 1937, pp. 61-5; F. Arisi, 'Gian Paolo Panini', Piacenza, 1961, pp. 261-71; M. Kiene, 'Musique, peinture et fête', "Revue de l'Art", LXXXVIII, pp. 21-30, figs 5-9, 11-13; idem, in exhib. cat., Paris, Musée du Louvre, 'Panini', 1992, figs 6-21, 23-26; B. Sørensen, 'Panini and Ghezzi: the portraits in the Louvre "Musical performance at the Teatro Argentina"', 'The Burlington Magazine', CXLIV, August 2002, p. 467, n. 6; M.C. Viola, 'L'inventario di Francesco Pannini: Dipinti, disegni e contorni nello studio di Palazzo Moroni', in "Rivista dell'Istituto Nazionale di Archeologia e Storia dell' Arte", 35, 2012, pp. 199-223.
- Not on display
- Exhibition history
1972, BM, 'The Art of Drawing', No. 272 (127v and 128r)
- Acquisition date
- Acquisition notes
- The album was recorded in Francesco Pannini's inventory at his death and was chosen from among his effects by his nephew Enrico. See Curator's Comment for details.
- Prints and Drawings
- Registration number