6. Hayes, op.cit., 1970, Vol.I, p.168, no.257, Vol.II, pl.384 (where dated to the early 1760s). 7. Hayes, op.cit., 1970, Vol.I, p.168, under no.258. 8. Hayes, op.cit., 1970, Vol.I, p.168, under no.258. According to Hayes, the painting by Barker was sold anonymously at auction in London, Christie’s, 17 April 1964, lot 43, although it does not appear in the catalogue of that sale. No.15 Johan Tobias Sergel 1. The present sheet belonged to the artist’s son, Johan Gustav Sergel (1792-1858). Although his father had hoped he would follow in his footsteps and become an artist, and gave him drawing lessons, Johan Gustav seems to have preferred farming, and eventually settled at Spånga säteri in Ärla in Södermanland, on the southeast coast of Sweden. 2. Among these was Sir William Hamilton in Naples, who described Sergel to the Comte d’Angiviller as ‘not only the foremost sculptor now working in the whole world but…also the greatest since the days of Michelangelo.’; Magnus Olausson, ‘The Launching of Johan Tobias Sergel in Sweden’, Nationalmuseum Bulletin, 1990, p.83. 3. As one scholar, writing in 1943, noted, ‘Sergel the draughtsman must not be wholly eclipsed by Sergel the sculptor. His spontaneously improvised drawings help to complete the picture of the great Swedish sculptor.’; Oscar Antonsson, ‘Johan Tobias Sergel’, The Burlington Magazine, December 1943, p.296. 4. Ibid., p.293. 5. Josephson, op.cit., p.63, fig.56. No.16 Giovanni Battista Piranesi 1. The French marchand-amateur Jacques Petithory (1929-1992) dealt in Old Master drawings from a stall at the Marché aux Puces in Paris from the mid-1950s onwards. At his death in 1992 Petithory (or Petit-Hory) left much of his interesting and eclectic collection of mainly Italian and French drawings, numbering 186 sheets, together with paintings, sculptures, ceramics and other objets d’art, to the Musée Bonnat (now the Musée Bonnat-Helleu) in Bayonne. 2. Hylton Thomas, The Drawings of Giovanni Battista Piranesi, New York, 1954, p.15. 3. David Rosand, ‘Col Sporcar Si Trova: Piranesi Draws’, in Sarah E. Lawrence, ed., Piranesi as Designer, exhibition catalogue, New York and Haarlem, 2007-2008, p.139. 4. Thomas, op.cit., pp.25-26. No.17 Franz Anton Maulbertsch 1. Thomas DaCosta Kaufmann, Painterly Enlightenment: The Art of Franz Anton Maulbertsch, 1724-1796, Chapel Hill, 2005, p.24. 2. Klára Garas, ‘Maulbertsch [Maulpertsch], Franz Anton’, in Jane Turner, ed., The Dictionary of Art, London, 1996, Vol.20, p.855. 3. In terms of preparing his compositions, Maulbertsch appears to have worked through oil sketches, or directly on the painted surface, rather than with a large number of preliminary studies. When the contents of the artist’s house were sold, the year after his death, no drawings by him were noted in the accompanying inventory, although some sheets by fellow artists were listed. Among the handful of drawings by Maulbertsch today in public collections are examples in the Harvard University Art Museums in Cambridge, MA, the Albertina in Vienna, the Metropolitan Museum of Art in New York, the Biblioteka Zaklad Narodowy im. Ossolinskich in Wroclaw, and elsewhere. 4. Klára Garas, Franz Anton Maulbertsch 1724-1796, Vienna, 1960, p.224, no.313, pl.CXCV, fig.259. 5. Garas, ibid., p.216, no.219, pl.CXXXIV, fig.190; Klára Garas, Franz Anton Maulbertsch: Leben und Werk, Salzburg, 1974, p.66, fig.44; Klára Garas, ‘Franz Anton Maulbertsch in Ungarn’, in Langenargen, Museum Langenargen am Bodensee, Franz Anton Maulbertsch und sein Kreis in Ungarn, exhibition catalogue, 1984, p.34, fig.21. No.18 Adrian Zingg 1. Thomas DaCosta Kaufmann, Central European Drawings 1680-1800: A Selection from American Collections, exhibition catalogue, Princeton and Santa Barbara, 1989-1990, p.268, under no.102. 2. Inv. 15004; Maren Gröning and Marie Luise Sternath, Die deutschen und Schweizer Zeichnungen des späten 18. Jahrhunderts, Vienna, 1997, p.291, no.994; Sabine Weisheit-Possél, Adrian Zingg (1734-1816): Landschaftsgraphik zwischen Aufklärung und Romantik, Berlin, 2010, p.239, fig.84. The drawing, in pen and brown ink and brown wash, measures 492 x 645 mm. and is signed and inscribed ‘A. Zingg ad Nat dl.’
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