Annibale Carracci (1628-1719), Follower of.
Pan and Syrinx
Black chalk, brown wash, on laid paper affixed onto card support with pencil attribution to 'Carlo Cignani' by an English hand, the drawing 254 x 313 mm (10 x 12 1/4 in), the support 398 x 532 mm (15 3/4 x 20 7/8 in), some small losses to extremities, light surface dirt and toning (unframed)

Provenance:
Unidentified English collector [pencil inscription to support], numbered in brown ink verso '166'
Anonymous sale; acquired by the great-great-grandfather of the present owner (late 19th century);
Thence by family descent

⁂ An as yet unidentified but powerful and fluid black chalk study, worked up with brush and brown wash. While traditionally given to Cignani, the muscular form of the figures and the dynamic expression of movement, suggest an artist active slightly earlier, possibly working in the orbit of the Carracci Academy.

In Metamorphoses, Ovid tells of how Pan chased the nymph Syrinx to a river, where she prayed for rescue. As he reached her, she was transformed into reeds. Realizing he grasped only hollow stalks, Pan released a sorrowful breath that passed through the reeds producing a haunting melody. Captivated by the sound, he bound the reeds together into a set of pipes, preserving in music the presence of the nymph he could never possess.