Jacopo Amigoni

With Colnaghi, London (according to Witt Library mount);
Acquired by the late owner circa 1970.

The tones of the painting are a fraction more muted and a shade pinker than they appear in the catalogue illustration. The canvas has been relined. The paint surface is secure and in good condition, retaining much of its original impasto under an old, dirty varnish. Inspection under UV light reveals some scattered minor retouchings, most notably along the right margin, lower right under the putti and in the lower half of the left margin. There are also some very minor strenghtenings to Euterpe's upper left arm and to the right of Apollo in his cloak. Offered in a carved gilt wood frame 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 recently rediscovered painting of the Crowning of Homer exemplifies Amigoni's lightness of touch and soft pastel colouring. Having arrived in Venice from Naples while still young, Amigoni soon adapted to the pastoral and luminous style of Venetian eighteenth-century painting. He became one of the chief exponents of the Venetian Rococo and his success and popularity meant that his services were sought throughout Europe, particularly in England, Germany, France and Spain.

Amigoni rarely dated his paintings and few of them are securely documented so a clear chronology is difficult to establish, particularly as his style changed little over the years. However, in its handling of the drapery, cloud and landscape, the present picture should be compared to a painting of Flora and Zephyr from Amigoni's English sojourn (1729-39).¹

The scene depicts Homer, the blind Greek poet who wrote the Odyssey and the Iliad, being crowned with a laurel wreath; an award for achievement in the arts, by the god Apollo, the patron of poetry. To the left can be seen Euterpe, the Muse of poetry.


1. Flora and Zephyr, sold in these Rooms, 5 December 2007, lot 62, for £140,000.