Baldassare Franceschini, called Il Volterrano

Sale, London, Sotheby's, Drawings by Baldassare Franceschini, 3 July 1980, lot 56 (catalogue by Charles McCorquodale), to Boerner;
with C.G. Boerner, Düsseldorf, from whom bought by the present owner in 1991

 

C. McCorquodale, 'Some unpublished works by Baldassare Franceschini il Volterrano', in Paradigma, 5, 1983, p. 70, fig. 67;
M.C. Fabbri in Il seicento fiorentino, exhib. cat., Florence, Palazzo Strozzi, 1987, p. 414, under no. 1.230;
V. Birke and J. Kertész, Die Italienischen Zeichnungen der Albertina, Vienna 1997, vol. IV, p. 2288, under inv. no. 23924

Unframed. Window mounted. Traces at the centre of the sheet of lines where the paper was hung to dry when it was made, also visible in the catalogue. Six or seven oil stains and three smaller grey ink spots across the sheet which must have happened in the artist's studio. Slight surface dirt. Overall, the drawing appears to be in reasonable condition, the chalk and paper quite strong, darker 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 very attractive study is characteristic of Volterrano's style in its strong, quick definition of form and in the very charming and feminine figure types and the sentiment they convey.  It seems to be preparatory for a Mystic Marriage of St. Catherine acquired in 1985 by the Cassa di Risparmio e Depositi di Prato (fig. 1).  Baldinucci records two paintings of this subject by Volterrano, one executed for the Marchese Mattias Maria Bartolommei and the other for the Grand Duchess Vittoria della Rovere.  Fabbri believes the Prato painting, because of its high quality, must be the one painted for the Grand Duchess.  He remarks upon the strong influence of Correggio and suggests a dating to the late 1650s.¹  McCorquodale was inclined to date the drawing to the 1670s on stylistic grounds and to relate it to the Bartolommei version.  What does, however, seems clear is that the present study and the following lot are connected to the Prato painting, whatever its provenance. 

Two other drawings of the subject are known, one in the Uffizi (inv. no. 3204S) and one, an upright composition, in the Albertina (inv. no. 23924).  McCorquodale also mentions a bozzetto in a private collection,² and another painting, smaller in size and differing in some details from the Parma painting, was sold New York, Christie's, 15 June 1977, lot 77.

1. Fabbri, loc. cit.
2. McCorquodale, op. cit., 1980, p. 45