View full screen - View 1 of Lot 167. MARCANTONIO FRANCESCHINI | GOATHERD PLAYING HIS PIPE WITH THREE BOYS PLAYING AND TWO GIRLS LISTENING.
167

MARCANTONIO FRANCESCHINI | GOATHERD PLAYING HIS PIPE WITH THREE BOYS PLAYING AND TWO GIRLS LISTENING

Estimate:

150,000

to
- 250,000 USD

Property from a Distinguished Private collection, Washington, D.C.

MARCANTONIO FRANCESCHINI | GOATHERD PLAYING HIS PIPE WITH THREE BOYS PLAYING AND TWO GIRLS LISTENING

MARCANTONIO FRANCESCHINI | GOATHERD PLAYING HIS PIPE WITH THREE BOYS PLAYING AND TWO GIRLS LISTENING

Estimate:

150,000

to
- 250,000 USD

Property from a Distinguished Private Collection, Washington, D.C.

MARCANTONIO FRANCESCHINI

Bologna 1648 - 1729

GOATHERD PLAYING HIS PIPE WITH THREE BOYS PLAYING AND TWO GIRLS LISTENING


oil on canvas

43¼by 51⅛in.; 110 by 130 cm.

The following condition report has been provided by Simon Parkes of Simon Parkes Art Conservation, Inc. 502 East 74th St. New York, NY 212-734-3920, simonparkes@msn.com, an independent restorer who is not an employee of Sotheby's.


This work is in very good condition overall. It seems to be painted on three pieces of canvas joined horizontally. The first join is 2 inches above the head of the flautist, and the second running through the grass beneath the figures. There is possibly a third join about 1 ½ inches from the bottom edge. Although the texture and cracking to the paint layers on these separate pieces of canvas is markedly different, the entre picture is period to the artist. The canvas has a European glue lining. The canvas joins are slightly visible, but it is not recommended that the be lining reversed.

Retouches have been added fairly consistently across the joins above and beneath the figures. The possible canvas join along the bottom edge shows no retouches. There are only a few isolated spots of retouching in the foreground. In the trees beneath the mountains on the right, there is a restored upside-down L-shaped break, measuring about 2 by 1 inches, along with a few other isolated retouches. There are very few retouches in the trees, except to the left of the head of the flautist, where some thinness has been retouched. The blue in the lower sky has weakened slightly over time, which has attracted some retouches.


"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."


Balbi collection, Genoa, 18th century;

Balbi di Piovera, Castello di Piovera, by 1956;

Transferred through family alliance to Palazzo Odescalchi, Rome;

Edoardo Testori, Milan;

Private collection, USA;

With Simon Dickinson, Ltd., New York and London;

From whom acquired, 1993.

Richard, Abbé de Saint-Non, Description Historique et Critique de l'Italie, Paris 1766-69, vol. I, p. 131;

N. Cochin, Voyage d'Italie, Losanna 1773, vol. III, p. 281 ("...autre dessus de porte, de Franceschini");

C.G. Ratti, Istruzione di Quanto Puó Vedersi di Piú Bello in Genova, Genoa 1780, p. 189 ("Palazzo del Signor Francesco M. Balbi, sopraporta del Franceschini, il quadro pastorale...");

O. Kurz, Bolognese Drawings at Windsor Castle, London 1955, cat. no. 239, reproduced figs. 44-45;

D.C. Miller, Marcantonio Franceschini, Turin 2001, pp. 34-38, 278, 409-11, cat. no. 174, reproduced pp. 34 fig. S22, 278.