Francesco Solimena

With Louis Meier, London, from whom purchased, 1954

Newcastle, 1964, no. 61;
London, 1975, no. 64
Newcastle, 1982, no. 74;
Naples, Museo di Capodimonte, Civiltà del Seicento a Napoli, 1984, vol. II, p. 131, no. 3.80b, reproduced

A. Catello, 'Un Progetto di Solimena per una statua d'argento,' Angelo e Francesco Solimena, due culture a confronto, Atti del Convegno sui Solimena, Naples 1994, p. 102, reproduced p. 105;
M. Causa Picone, 'Per Francesco Solimena disegnatore,' op. cit., Naples 1994, p. 108;
E. Catello and C. Catello, Sculture in Argento. Nel Sei e Settecento a Napoli, Naples 2000, p. 44, reproduced fig. 17,b

Hinged in a few places on the modern mount . Paper slightly buckled. Slight surface dirt. Chalk fresh.
"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."

See note to lot xxx.  This second fascinating and rare study by Solimena for a silver bust bears a traditional, and fully justified, attribution to the artist.  It cannot, however, be associated with any existing sculpture and is certainly not related to the silver bust of this Saint in the Chapel of San Gennaro in the Duomo of Naples, the original of which dated from 1625 (now replaced by a 19th-century version by Crescenzo Murolo.¹)

The present study was, like the drawing of St. Anthony Abbot (lot xxx), probably executed at the very begining of the 18th century.  As described in the note for that lot, Solimena's involvement in such sculptural projects is well documented.  Although many of the silver 'arredi' in churches were destroyed between the end of the 18th and the beginning of the 19th century, these statues were exempted, being objects of high devotion for the population.  In later centuries, though, many were stolen, or damaged and then restored or remodeled.

1.  F. Strazzullo, La Real Cappella del Tesoro di San Gennaro, Naples 1978, p. 165