Antonio Balestra

With Hal O'Nians, London, 1966;
Private collection, London;
Dr. Thompson, Winchester, Hampshire, by whom sold ('The Property of Dr. Thompson of Winchester'), London, Sotheby's, 8 July 1999, lot 208.

E. Martini, La Pittura del Settecento veneto, Udine 1981, p. 472, footnote 40, reproduced fig. 394 (as Antonio Balestra);
L. Ghio & E. Baccheschi, Antonio Balestra, Bergamo 1989, p. 219, cat. no. 121 (without dimensions), reproduced p. 284, fig. 3 (under 'attributed works').

The colours are slightly less contrasted than in the illustration. The canvas is unlined but has been mounted onto a new stretcher. The painting has been cleaned and restored quite recently. The paint surface is generally in good condition though Venus’ blue drapery has oxidised and Mercury’s brown drapery also. Discoloured retouchings are visible in the folds of Venus’ blue drapery, especially centre left and above Apollo’s head. Further retouchings occur on the folds of the brown drapery lower centre, but the figures are for the most part intact. Inspection under UV shows only minor retouching in Venus and Apollo’s hair, as well as in the lower right corner. Overall the painting’s condition is good, largely due to the canvas being unlined, and the picture could be hung as is. The frame is made of gilt plaster: the gilding has rubbed off in places but the frame is generally sound.
"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."

Ghio and Bacchieschi (see Literature) only knew this painting from photographs and therefore wrongly listed it under 'attributed works' in their monograph on the artist. Although a chronology is difficult to establish in Balestra's oeuvre, the painting's style is entirely consistent with his works of the 1710s; a date also suggested by Martini who noted Balestra's recourse to Amigoni and Pellegrini at this time.¹  The picture may be compared to the pair of mythological paintings in the Castle at Melník (Prague), one of which - the Diana, Mercury and Cupid - is particularly close iconographically to the present work.²

1. Another painting of similar date is described by Martini as being 'di fattura morbida e dolce quasi amigoniana' (see Martini, under Literature, p. 472, footnote 39) and of another picture he notes that Balestra 'dimostra chiari riflessi dell'arte del Pellegrini' (op. cit., p. 472, footnote 40).
2. See Ghio & Baccheschi, under Literature, p. 198, cat. no. 36, reproduced p. 254, figs. 3 and 4.