Pier Francesco Mola

Paul and Helen Bernat (bears their collector's mark, not in Lugt),
by whom sold, New York, Christie's, 11 January 1994, lot 257, where bought by the present owner

Unframed. Laid down on an old mount. On the rock, two small splashes of brown ink and below, what appears to be tiny stains of blue tempera or oil (visible in the catalogue). Very minor surface dirt , particularly at the lower margin. Overall, the drawing is fresh and in quite good condition. The pen and ink and chalk appear stronger than the image in the catalogue.
"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 magnificent example of Mola's draughtsmanship does not appear to be connected to any surviving work by the artist.  Although the composition still reflects his Bolognese training and the influence of Albani, this drawing must date to around the late 1650s, closer to the time of his decoration of the Palazzo Pamphilj in Valmontone.  It appears more freely drawn and less classical than, for instance, the handsome red chalk study for Bacchus and Ariadne in the Teylers Museum, one of the preparatory drawings for a fresco in Palazzo Costaguti in Rome, datable circa 1650.¹

Mola came to Rome at the age of four with his father Giovanni Battista Mola, architect, stuccoist and topographical writer, who was appointed architect to the Camera Apostolica.  Little is known of Pier Francesco's early training.  According to the biographers G.B. Passeri and Lione Pascoli, he was first apprenticed in Rome to the bottega of Cavalier d'Arpino.  Both biographers write of his stay in Bologna and his working for Albani, and of his stay in Venice, perhaps associated with Francesco Ruschi.  Mola's paintings of the 1650s and 1660s contain many references to Venetian art and reflect good knowledge of the work of Titian.  Mola returned to Rome in 1647 and was employed by the Marchese Luigi Costaguti, his first patron in Rome.

The subject of the present drawing, taken from Virgil's Aeneid (Book I, 315-319), is the moment when Venus appears in disguise, to encourage the downcast Aeneas after a terrible storm had driven his fleet onto the Libyan coast, and to reassure him that his journey will end safely.  Mola evokes perfectly the 'smooth strand' with woods above, described by Virgil, and also effortlessly brings to life the author's description of the goddess: 'her silken hair waves lightly in the breeze, no courtly robe impedes her native ease, each limb unfetter'd glides with grace along'.  The Pamphilj family claimed to be descended from Aeneas, therefore it is tempting to link this project with a Pamphilj commission.  Subjects for the ceiling of the Stanza dell'Aria, in the Palazzo Valmontone, commissioned from Mola in 1658 by Prince Camillo Pamphilj, were also taken from the Aeneid, but the shape of the ceiling compartments are clearly different, as can be seen from the surviving related drawing at Chatsworth.²

A tribute to the distinguished collectors Paul and Helen Bernat, previous owners of this drawing, is included in the catalogue of the 1994 Christie's sale.

1.  R. Cocke, Pier Francesco Mola, Oxford 1972, p. 57, no. 46, figs. 39-40
2. Pier Francesco Mola, 1612-1666, exhib. cat., Lugano, Museo Cantonale d'Arte, et al., 1989-1990, p. 243, no. III.35