Aniello Falcone

Download image: 
Aniello Falcone
1607-1656
Portrait of Masaniello
ca. 1647
Red chalk, with white chalk, on laid paper.
8 7/8 x 6 3/4 inches (224 x 170 mm)
Purchased by Pierpont Morgan (1837-1913) in 1909.
I, 107

Download verso image: 
Inscription: 

In pen and brown ink in an old hand [probably Resta's] at lower center, Ritratto di Masaniello; on verso of lining in the same hand, Questo ritratto di Massanielo / è fatto di mano d'Andrea [Andrea crossed out] Aniello / falcone Napolitano che fù maestro di Sal.v [superscript v] Rosa, / e de batteglisti Napolitani del suo tempo, / come d'Andrea Coppola, di Pepe Piscopo, / d'Andrea de Lione, di Ciccio Napolitano delle / battaglie, e studiato dal P. Coxtere diemita [?] detto / il P. Borgognone delle battaglie, anche da / M. Angelo delle battaglie, che in qual tempo / era in Napoli, e dipinse il Mercato con li / primi [?] moti di quella gran revoluzione; quadro / suplissimo[?] in genere suo [in genere suo in superscript] che hà il M Card Spada figli del M. Illmo [mo in superscript] / Horatio; è questo è ritratto simigliantissimo, / ___ Aniello falcone era in Napoli nella / revoluzione. Era questo disegno in un / libro di disegni ch'io comperi l'anno 1683 / in Napoli da Andrea di Lione deneq[ui]to [?], a mi / disse, che il d.o [o in superscript] libro era del duca di Tarsia / vecchio. [illegible signature of one or two cursive letters]; numbered in pencil in a later hand at upper left, 1448.

Provenance: 
Ferrante Spinelli, Principe di Tarsia; Andrea di Lione; from whom purchased in Naples in 1683 by Padre Sebastiano Resta (see Lugt S. 2992a); Sir Thomas H. Crawley-Boevey; his sale, Christie's, London, 30 July 1877 (according to Fairfax Murray); Charles Fairfax Murray (1849-1919), London and Florence; from whom purchased through Galerie Alexandre Imbert, Rome, in 1909 by Pierpont Morgan (1837-1913), New York (no mark; see Lugt 1509); his son, J. P. Morgan, Jr. (1867-1943), New York.
Bibliography: 

Fairfax Murray, I, no. 107, repr.; II, Introduction, p. 2-3, pl. 68
F. Saxl, "The Battle Scene without a Hero, Aniello Falcone and His Patrons," Journal of the Warburg and Courtauld Institutes 3 (1939-1940): 84, pl. 15b
N. Ivanoff, I Disegni italiani del seicento. Scuola veneta, lombarda, ligure, napoletana. Venice, [1959], p. 130
W. Vitzhum, "Neapolitan Seicento Drawings in Florida," Burlington Magazine 103 (196): 314
W. Vitzhum," Le Dessin baroque á Naples," L'Oeil no. 97 (1963): 46
F. Stampfle and J. Bean, Drawings from New York Collections, II: The Seventeenth Century in Italy. New York, 1967, p. 57
A. Blunt, "A Frescoed Ceiling by Aniello Falcone," Burlington Magazine 111 (April 1969): 214-15
A. Alabiso, "Aniello Falcone's frescoes in the villa of Gaspar Roomer of Barra," Burlington Magazine 131 (January 1989): 35, fig. 50
J. Kromm, The art of frenzy: public madness in the visual culture of Europe, 1500-1850. London, 2002, p. 61, fig. 2.12

Notes: 

Padre Sebastiano Resta (1635-1714), who once owned this drawing, was convinced that it was a portrait of Tommaso Aniello (1620-1647), known as Masaniello, a fisherman from Amalfi who led a revolt against the Spanish governor of Naples in 1647. The inscription on the bottom of the sheet is in Resta's hand. The sitter's pose, however, bears an uncanny likeness to a red chalk study by Leonardo da Vinci, now at the Museum of Fine Arts in Budapest, for one of the figures in the unfinished Battle of Anghiari. The nature of this drawing thus remains a matter of surmise. -- Exhibition Label, from "Life Lines: Portrait Drawings from Dürer to Picasso."
Formerly attributed to Stefano della Bella.

Associated names: 

Della Bella, Stefano, 1610-1664, Formerly attributed to.
Lione, Andrea di, 1610-1685, former owner.
Resta, Sebastiano, former owner.
Crawley-Boevey, Thomas H., former owner.
Murray, Charles Fairfax, 1849-1919, former owner.
Morgan, J. P. (John Pierpont), 1867-1943, former owner.

Artist page: 
School: 
Century: 
Classification: 
Department: