- 230
Francesco Solimena
bidding is closed
Description
- Francesco Solimena
- an allegory of Winter, a bozzetto
oil on canvas, in an 18th century carved and gilt wood frame
Provenance
In the collection of the family of the present owner since at least the early 19th century.
Condition
"The following condition report has been provided by Henry Gentle, an independent restorer who is not an employee of Sotheby's.
The canvas is lined and the paint layer is raised but secure, there are 3cm wide additions to the left and right edges and restored losses to the bottom edge. There is a scattering of restorations across the surface and visible abrasions to the shadows. Blanching to the background is detectable. The figures are in a good condition and the highlights are well preserved, the paint texture retained. Pale shrinkage cracks to the darker areas are distracting. The varnish is discoloured and degraded and its removal would improve the tonality.
Offered in a carved gilt wood frame, in good condition."
"This lot is offered for sale subject to Sotheby's Conditions of Business, which are available on request and printed in Sotheby's sale catalogues. The independent reports contained in this document are provided for prospective bidders' information only and without warranty by Sotheby's or the Seller."
"This lot is offered for sale subject to Sotheby's Conditions of Business, which are available on request and printed in Sotheby's sale catalogues. The independent reports contained in this document are provided for prospective bidders' information only and without warranty by Sotheby's or the Seller."
Catalogue Note
We are grateful to Prof. Nicola Spinosa for pointing out that this is the bozzetto for Solimena's depiction of Winter from the fresco cycle of the Four Seasons painted soon after 1730 for the house of Matteo Angelo Ferrante, which was in fact located in Palazzo Solimena. A preparatory drawing is in a Neapolitan private collection (see fig. 1; also reproduced in F. Bologna, Francesco Solimena, Naples 1959, p. 267, fig. 196).