Sebastiano Conca

Sale, London, Sotheby's, 26 March 1970, lot 48, purchased by Ralph Holland

Newcastle, 1974, no. 101, reproduced pl. XXX;
London, 1975, no. 67;
Newcastle, 1982, no. 82 , reproduced pl. XIV A

Clifford, 1974, p. 354, reproduced p. 359, fig. 100;
G. C. Sestieri, 'Sebastiano Conca', Il conoscitore di stampe, 33-34, 1976, p. 84, reproduced p. 86, fig. 9;
Sebastiano Conca, exhib. cat., Gaeta, Palazzo De Vio, 1981, p. 124, reproduced fig. 17c;
L. Mochi Onori, Galleria Nazionale d'arte antica di palazzo Barberini, Dipinti del 700, Rome 2007, p. 86, under no. 94

Hinged in few places on the old mount. Some defects in the paper resulting in a few creases slightly visible near the margins. Overall quite fresh and in good condition.
"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 important finished study by Conca is preparatory for one of the twelve oval paintings in the central nave of the Basilica of San Giovanni in Laterano, Rome.  The commission was given in 1718 by Clement XI Albani (1700-1721) to the most celebrated painters of the time, including Luti, Trevisani, Odazzi, Garzi, Nasini, Chiari and Benefial.  Two bozzetti by Conca, now in the Galleria Nazionale d'Arte antica, Palazzo Barberini, are also related to this project.  One is particularly close to the Holland drawing (fig. 1) while the other appears to be an alternative discarded solution.¹  In the bozzetto closest to the present sheet, the angel is leaning on a book and pointing at a cross in the sky, while the prophet holds a scroll.  As noted by Giancarlo Sestieri in the 1981 exhibition catalogue (op. cit.), in the preparatory stage for this important commission Conca seems to have worked in a much more vibrant style compared to the final canvas.  In fact, all the painters involved in the commission had to adapt to a similar Marattesque formula.  Such finished studies in red chalk by Conca are very rare.

1.  Inv. no. 2496; L. Mochi Onori, op. cit., p.86