Jacopo Amigoni Naples 1682 - 1752 Madrid

The catalogue illustration is quite faithful to the painting. The canvas has a relatively old relining which still holds. The paint surface has been rather pressed in the relining and there is a tight craquelure pattern throughout: the paint is rather dry and is about to lift in certain areas (a couple of losses and flakes can be seen) and needs stabilisation. The paint surface is dirty and the varnish discoloured. The figures of Zephyr, Flora and the two main putti lower left are nicely preserved and have survived almost intact. Under ultra-violet light restoration is visible in the following areas: an area of retouchings 18cm. high running parallel to the left edge, to the left of the putti, where paint has lifted in the past; a repaired damage below Zephyr's left foot (8cm. in height); two smaller damages to the right of Zephyr's outstretched arm; further retouchings along the right edge and in an area below the fountain centre right; as well as some more scattered retouchings visible throughout (particularly in the background areas). Further older restoration may be visible after cleaning (e.g. upper right around the putti or in the sky upper left) but this is not visible under ultra-violet light, through the present varnish layer. On the whole the painting is reasonably well preserved and will greatly benefit from cleaning. The old carved and gilt wood frame is particularly fine: it is in good condition overall, with some losses and damages along the outer edges, particularly along the bottom (see catalogue illustration).
"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."

Amigoni was born in Naples but arrived in Venice at a young age. He was one of the leading exponents of the Venetian Rococo style and gained a reputation as a gifted painter throughout the whole of Europe. Like his slightly elder contemporaries Sebastiano Ricci and Giovanni Antonio Pellegrini, he was drawn to the rich patronage of North and Western Europe and travelled extensively to Germany, France, England and Spain. Very few of Amigoni's paintings are dated or firmly documented and it is therefore difficult to establish a chronology within his œuvre. The size of this canvas and the English inscription on the reverse of the stretcher would both indicate that this picture was painted during Amigoni's English sojourn, that is between 1729 and 1739.

A popular subject throughout the 18th century, 'Flora and Zephyr' was a theme to which Amigoni returned on several occasions throughout his career. This particular composition is not known in any other version and has echoes of Sebastiano Ricci, Giulio Carpioni and Giambattista Tiepolo. The painting is comparable to another representation of the subject, executed as a pendant to Venus and Adonis, which is also datable to Amigoni's English period and was formerly at Brownsover Hall in Rugby (now at the Metropolitan Museum of Art, New York).¹  The Metropolitan pictures are on a much larger scale (213.3 by 147.5 cm.) but include the same flying putti and arcadian landscape settings, and their figures share the same refined elegance as those represented here.

The subject is taken from Ovid's Fasti (5:193-214) and regales how the beautiful nymph Chloris was pursued and then ravished by Zephyr (the God of the west wind), whereupon she became Flora (the Goddess of Spring). Making amends for his violence, Zephyr married here and they lived in happy arcadian simplicity.

'I enjoy perpetual spring: the season's always bright,
The trees have leaves: the ground is always green.
I've a fruitful garden in the fields that were my dower,
Fanned by the breeze, and watered by a flowing spring.
My husband stocked it with flowers, richly,
And said: "Goddess, be mistress of the flowers'
(Ovid, Fasti)

1.  A. Scarpa Sonino, Jacopo Amigoni, Soncino 1994, pp. 80-83, cat. nos. 10 and 11, reproduced in colour.