Giovanni Battista Franco, called il Semolei Venice 1510 - 1561

Framed. The condition is problematic: there are various small holes, most of which have been repaired with paper patches on the verso. There is also an area of damage at the centre of the left edge, also repaired on the verso, where the paper has become slightly discoloured. The paper is foxed and yellowed, and in some restricted areas the ink has oxidised slightly. There are remains of some folds and the paper surface is somewhat uneven.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

This previously unattributed drawing is a cartoon for a section of Battista Franco's panel painting, Christ among the Doctors (fig. 1).  The panel is one of a polyptych of fourteen panels painted between September 1547 and January 1548 for the main altar of Osimo Cathedral.  Franco was contracted to execute eleven panels representing scenes from the Life of Christ and the Miracle of Bolsena, and three panels of Saints Peter and Paul, and the Risen Christ.  The panels remained on the main altar of the Cathedral until circa 1734-40, when Cardinal Giacomo Lanfredini replaced them with a marble altarpiece.  They are now in the Museo Diocesano, the former Baptistry.¹  Our drawing shows a part of the panel to the right of centre, with a pair of elders looking upwards, engaged in discussion with the young Christ, and others contemplating His words. The curved edge of the dias on which He is seated may be seen to the right, and the outstretched fingers of His right hand are also visible, just above the centre of the right edge.

We are indebted to Dr Anne Varick Lauder for confirming the attribution to Battista Franco and for providing us with information on the polyptych.

1. See A. Varick Lauder, Battista Franco: His Life and Work with Catalogue Raisonné, Ph.D Dissertation, Cambridge 2004, p. 795, cat. no. 24 PA, fig. 335