Costume of an envoy of the States of Venice, by Francesco Galimberti

9 7/8’’x 7 5/8’’ (250 x 193 mm), framed 14 ¾’’ x 11 3/8’’ (37.5 x 29 cm)

Titled, presumably by the artist, "Abiti nevo con fiube in cambio delli gala[...]" in black chalk, and inscribed [...]alimberti and "clothing of the envoys of the cities of the States of Venice" by another hand, in pen.

Provenance: unidentified mark on the right (Lugt 5163); anonymous collector’s mark (Lugt 3038) on the left

We thank Mrs. Bo?ena Anna Kowalczyk who suggested the attribution to Francesco Galimberti based on a photograph of the artwork.

This engaging drawing, finely executed in black and red chalks, depicts a Venetian diplomat in his 'new clothes'. Probably intended for engraving, this drawing is a touching testimony to the work of Francesco Galimberti, an artist active in Venice at the end of the 18th century, and a reminder of the pomp of the Venetian Republic in its twilight years.

1. Francesco Galimberti, a little-known Venetian painter and engraver
Information about the life and work of Francesco Galimberti is rather scarce. According to De Boni (1840), he was born in Venice in 1755; and Moschini (ca. 1830, p. 140) mentions him among the disciples of Gian Battista Tiepolo. His known works, however, do not confirm a particular influence of the great Venetian master; in an attempt to break with the tradition of Venetian painting, they could rather be compared with those of Pietro Longhi.

Two portraits of Marcantonio Michiel, one of his main patrons, survive today: one is in the Ca' Rezzonico and the other in a private Italian collection.

In addition to his work as a painter and portraitist, Galimberti, who was also an engraver, is best known today for the many drawings he made for engravings. Around 1778 he made a lasting connection with the engraver Giovanni De Pian (b. 1764), who engraved most of his works, such as the portrait of General Suvorov painted by Galimberti in 1794. Galimberti provided his partner with drawings that the latter translated into engravings. They thus participated together in the publication of the Fasti veneziani in 1796-1797, where De Pian reproduced three drawings supplied by Galimberti. From May to October 1797, they worked together to support the short-lived democratic government that governed the city. The end of Venetian independence led them to take refuge in Vienna where they continued their collaboration until De Pian's death in 1800.

2. Description and related artwork

An elegantly dressed man, depicted in three-quarter view, wears French breeches and a long coat with a richly embroidered edge from which emerges the hilt of a sword carried on his left flank. He is quite youthful in appearance. He has a long, finely curled wig and holds a pair of gloves in his right hand.

The interior in which our model is standing is briefly described: a floor made of large stone slabs, a window on his left partly obscured by a curtain, a few steps in front of the window, a dado running along the wall. This elegant sobriety focuses the viewer's attention on the figure, whose clothes, as described in detail in the instructions, are in fact the real subject of this drawing: the costume of a Venetian Ambassador.

A very similar drawing, also executed in red and black chalks, depicting a Spanish lady, this time in a courtyard is currently in the New York art market.

It is possible that Galimberti was planning to publish a collection of costumes, but we have not found any evidence of engravings based on these works.

3. Framing

This drawing is presented in an antique gilded wooden stick frame.

Main bibliographical references :
G.A. Moschini, Dell'incisione in Venezia (1830 circa), Venezia s.d. (1924), ad indicem
F. De Boni, Biografia di artisti, Venezia 1840, p. 397