Francesco Solimena

Said to be from the collection of the Marchese San Angelo, Villa San Angelo, Pollenatrocchia, Naples, since the mid 18th century;
With Falanga, Milan, by 1962;
George Encil, Vienna and the Bahamas.

Naples, Castel Sant. Elmo, Napoli negli anni del Viceregno Austriaco, 1993-4, no. 29.

M. Causa Picone, Disegni della Società Napoletana di Storia Patria, Naples 1974, p. 181 under nos. 1416 and 1417;
M. Causa Picone in Civiltà del '700 a Napoli 1734-199, exhibition catalogue, Naples 1979, vol. I, pp. 380-1, no. 208;
R. Causa in Experience and Adventures of a Collector, Paris 1989, pp. 116-9.

The canvas has a recent relining which has somewhat flattened the paint surface and a recent effective revarnish which shows that the paint surface is secure and overall in good condition. This revarnish impedes thorough inspection under UV light although some scattered old retouching work is just about discernable and two areas of more recent retouching are visible upper right running across God's torso and lower right in the background. Offered in a carved gilt and black painted wood and plaster frame in good condition overall.
"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."

The decorative scheme recorded in this bozzetto, perhaps a design for the decoration of a cupola, appears not to have been recorded and may never have been realised.  Two related drawings connected with the same scheme, with more concentrated designs than the painted work, are in the Società Napoletana di Storia Patria (see fig. 1). Causa Picone suggests that this is a late work, dating from the 1730s and compares it to another bozzetto depicting the Glory of San Filippo Neri  today in the Ashmolean Museum, Oxford.

Fig. 1: The Assumption of the Virgin, black chalk on paper, 270 by 422 mm., Naples, Società Napoletano di Storia Patria, inv. no. 11769.