Francesco Solimena

Sale, London, Christie's, 6 July 1977, lot 27 (as Circle of Carlo Maratta), purchased by Ralph Holland

Newcastle, 1982, no. 75, reproduced pl. XVII A;
Naples, Museo di Capodimonte, Civiltà del Seicento a Napoli, 1984, vol. II, p. 131, no. 3.80a, reproduced

Clifford, 1974, p. 354;
A. Catello, 'Un Progetto di Solimena per una statua d'argento,' Angelo e Francesco Solimena, due culture a confronto, Atti del Convegno sui Solimena, Naples 1994, p. 102, reproduced p. 105;
M. Causa Picone, 'Per Francesco Solimena disegnatore,' Angelo e Francesco Solimena, due culture a confronto, Atti del Convegno sui Solimena, Naples 1994, p. 108;
E. Catello and C. Catello, Sculture in Argento. Nel Sei e Settecento a Napoli, Naples 2000, p. 44, reproduced fig. 17a

Hinged in a few places with new hinges on a paper backing. Paper seems to be cut only on the right edge the rest of margins slightly irregular. Very slight surface dirt. A tiny light brown spot to the top of the right margin. Slight buckling of the paper to the left edge near the margin at the height of the Saint's arm. The drawing is overall fresh, paper blue, and in quite good condition.
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The attribution to Solimena was first suggested by Ralph Holland who bought the drawing as Circle of Maratta, an artist whose style was very influential on the Neapolitan painter.  This impressive sheet, together with the study for the S. Francesco di Paola (lot... ), are among the only three known drawings by Solimena which relate to silver busts.  The third is most probably a later study, in pen and ink and wash, for a St. Matthew and the Angel, which was sold on the art market in Milan.¹ 

Solimena's involvement with silversmiths and sculptors is well documented.  De' Dominici gives an elaborate and quite detailed account of him as a draughtsman, praising his talent and his involvement also in designing architectural projects and executing modelli in terracotta and wax.²  In his 1742 account of the painter's life he wrote: 'Nel modellare ha avuto pochi pari, e fin dalla sua giovinezza vi applicò con la direzione del celebre Lorenzo Vaccaro, che gli sole fare i modelli di que' gruppi, ch'egli avea dipingere, come nella di lui vita abbiam detto....Sicchè dunque la stessa creta ha più volte ricevuto vita dalle sue mani, facendola con dolce iganno degli occhi, sembrar viva in quelle immagine, ch'ei modellava, laonde parea nato non men per essere un gran pittore, che un eccellente scultore: come apparisce da tanti gessi, e modelli fatti da lui per eseguire in argento, in bronzo, o in marmo....' ³  

As noted by Angela Catello (see Literature) and previously discussed by Ferdinando Bologna in his monograph on the artist, a change occurs in Solimena's style at the beginning of the century, moving to a more solid and sculptural mode.  This is easily detectable in both of the Holland studies, but especially in the present one which is a more finished work.  As first noted by Bologna, the style of Solimena was highly influential on the work of his contemporary sculptors, and this is proved by the fact that he was providing the drawings and often supervising the execution of their works, sometimes even in his own house.  Angela Catello stresses Solimena's involvement in a number of important projects related to sculpture, such as the altar in the church of Donnaregina (1701) and the unfinished project for the main altar of the Certosa of San Martino (1703).⁴

A dating to the beginning of the century for the present sheet, also proposed at the time of the Naples exhibition of 1984, is still convincing.  Interestingly in 1706 Solimena was involved in the execution of the main altar of the Chapel of San Gennaro, in the Duomo of Naples.  Although it cannot be proven, it is possible that he provided drawings, as did Domenico Antonio Vaccaro, for the silver bust of St. Anthony Abbot (1707)⁵, one of the very similar silver and bronze gilded busts of the fifty-two patrons of Naples, which embellished the extraordinary chapel. The original sculpture of St. Anthony Abbot, executed by several silversmiths, was either remade or totally remodelled around 1850-60 by Domenico Ferraro.⁶

The degree of finish of the present sheet and its size, as well as the use of blue paper which is quite unusual in Solimena's oeuvre, could suggest that it was a presentation drawing.

We are grateful to Angela Catello for providing information on this and the following lot.

1.  A. Catello, op. cit., p. 102, reproduced
2.  B. De' Dominici, Vite de' Pittori Scultori, ed Architetti napoletani, Naples 1742, vol. III, pp. 619-621
3.  Ibid., p. 620-621
4.  E. Catello - C. Catello, op. cit., p. 44
5.  F. Strazzullo, La Real Cappella del Tesoro di San Gennaro, Naples 1978, p. 167
6.  G.G. Borrelli, 'Domenico Antonio Vaccaro autore di modelli per argentieri,' Antologia di belle Arti, 1984, nos. 21-22, 127-135