Francesco de Mura

In the collection of the family of the present owner since at least the early 19th century.

"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, the paint surface stable but raised in places. The right hand edge is an addition and the left hand and top edges have been significantly restored. There are pin-prick losses of paint detectable across the surface, some of these have been retouched out, many of these appear clumsy and excessive. There is little abrasion to the more delicate passages and the majority of the paint is in good condition with the texture and impasto well preserved. Removal of the varnish would improve the tonality. Offered in an 18thC carved and gilt wood frame, with some damages."
"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."

We are grateful to Prof. Nicola Spinosa for pointing out that the present work is likely to be a modello for the fresco of the now-destroyed Allegory of Ceres and Sebeto which De Mura painted in 1738 together with an Allegory of Peace and Abundance for the Royal Palace in Naples. The work was executed to mark the marriage of Charles of Borbon (later Charles III of Spain) to Maria Amalia of Saxony. However, it is also possible that the work is a modello for an Allegory of Summer (also now destroyed).  This latter was also painted in 1738 but this time on canvas, along with other allegories of the seasons.¹

The modelli for both works were sent to Spain prior to the execution of the final paintings in order to gain the approval of Charles' mother, Elisabetta Farnese of Parma, wife of Philip V of Spain.

Another signed and dated autograph modello of the present composition, of similar dimensions, is listed as being in Spain by 1774 and is now in the Palacio de la Granja, near Segovia. Professor Spinosa has suggested that the present work is a version carried out independently by de Mura for a Spanish collector.

1. See N. Spinosa, La pittura napoletana del Settecento, vol. I, Naples 1986, p. 156, cat. no. 249; and N. Spinosa, in Civiltá del '700 a Napoli, exhibition catalogue, vol. I, Florence 1979, p. 202, cat. no. 95.