Marcantonio Franceschini

Marchesa Elisabetta Pieri-Nerli, given by her in March 1895 to Alfred C. de Lafontaine;
sale, London, Sotheby's, 7 July 1966, lot 113

Edinburgh, Italian 17th Century Drawings from British Private Collections, 1972, no. 51, reproduced fig. 51;
Newcastle upon Tyne, Hatton Gallery, Italian and Other Drawings, 1500-1800, 1974, no. 88, reproduced pl. XXIX

D.C. Miller, Marcantonio Franceschini and the Liechtensteins, Cambridge 1991, p. 81, under no. 15, reproduced pl. 51

Laid down. Overall the condition is good and the pen and ink and grey wash very fresh A few tiny holes; at the top right corner, one on the right margin, one bottom left of the sheet and three or four others scattered among the figures, not very visable. Some slight surface dirt around the margins.
"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 handsome finished study by the Bolognese Marcantonio Franceschini is a final drawing for the entire composition of the painting in the Liechtenstein Garden Palace, Vienna.  The drawing was first published when exhibited in 1972 at the Edinburgh Festival.  The painting was commissioned by Prince Johann Adam of Liechtenstein in 1692, as part of a series of works for the Garden Palace which were completed in 1699.  The painting, originally intended as part of the decoration of a room on the first floor dedicated to Venus, was subsequently cut and extended at the bottom and is now in the Festsaal where it serves as a sopraporta (fig. 1).

Two further sheets, in red chalk, from Franceschini's sketchbook in Genoa, can be related to this composition.¹  These show the artist concentrating on separate studies for the figures of Venus and two nymphs within the composition, including sketches of hands and feet.  According to Dwight Miller this type of study was done from life ' ..with the intention of authenticating naturalness and accuracy of articulation.' ²  A few similarly finished compositional studies related to the same series of paintings are in public and private collections.³  These are executed in the same media as the present sheet.

The mythological subject originally derives from Ovid's Metamorphoses.  However, according to Miller, it is likely that Franceschini drew his inspiration from Giambattista Marino's poem, Adone, written in 1623.  Franceschini has chosen the moment where Venus first encounters the sleeping Adonis, and immediately falls in love with him.

1.  Genoa, Gabinetto Comunale dei disegni e delle stampe;  D.C. Miller, Marcantonio Franceschini, Turin 2001, p. 295, nos. 4881, 4898, for images of both see: idem., Marcantonio Franceschini and the Liechtensteins, pls. 49-50

2.  D.C. Miller, Marcantonio Franceschini and the Liechtensteins, p. 47

3.  See for instance: The Death of Adonis and Diana Hunting, Windsor Castle, inv. nos. RL3759 and RL3767; O. Kurz, Bolognese Drawings of the XVII & XVIII Centuries...at Windsor Castle, London 1955, p. 105, no. 229, reproduced fig. 43; no. 230