Sebastiano Conca (Gaeta 1680-1764 Naples) The Holy Family with Saints Anne and Joachim 31 x 27 cm. (12 1/8 x 10½ in.)

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Lot 13
Sebastiano Conca
(Gaeta 1680-1764 Naples)
The Holy Family with Saints Anne and Joachim 31 x 27 cm. (12 1/8 x 10½ in.)

Sold for £ 21,600 (US$ 28,639) inc. premium
Sebastiano Conca (Gaeta 1680-1764 Naples)
The Holy Family with Saints Anne and Joachim
oil on copper
31 x 27 cm. (12 1/8 x 10½ in.)

Footnotes

  • PROVENANCE:
    The collection of the Duchess of Carrizzaro (according to a label on the reverse)
    With Agnew's, London, circa 1970-1975
    The Bernard-Smith collection (according to a label on the reverse)

    As one of the most successful and celebrated painters working in Rome in the first half of the eighteenth century, Sebastiano Conca, born in Naples, was a young pupil of Luca Giordano and later Francesco Solimena. He entered Solimena's studio in Naples in circa 1693 and was to assist the master in the frescoed decoration of the Abbey of Montecassino. In 1706-7 Conca moved to Rome where he was inspired by Michaelangelo, Raphael and the Carracci, and it was in this period that he moved away from the style of his Neapolitan master and adopted a greater classicism indebted to Carlo Maratta. Conca was commissioned to paint large scale decorations for palazzi in Rome, as well as large altarpieces for churches such as the Vision of Saint Dominic in San Clemente, and, of course, smaller devotional pictures for Cardinals and the noble Roman families. In 1725 the Duke of Parma gave Conca a studio in the Palazzo Farnese where he was to establish his Accademia del Nudo, which attracted many followers from Spain, France and Germany. The most outstanding pupils to attend the academy were Pompeo Girolamo Batoni, Corrado Giaquinto and Anton Raphael Mengs, and the print makers Johann Jakob Frey and Giuseppe Vasi. Between the years 1730 and circa 1752 Conca was at his height and his output was prodigious, with his altarpieces being sent to Turin, Pisa, Palermo, Messina and Spoleto. Commissions for smaller easel paintings were unceasing, being collected by Roman patrons as well as by passing travellers who were to take them back to England, France, Spain and Germany. From 1729 to 1732 Conca was the Principe of the Accademia di San Luca, a post he also held later between 1739 to 1742. From circa 1752 to the time of his death, Conca returned to his native Naples, possibly due to the decline in commissions on the election of Pope Benedict XIV, but more likely because of the growing competition of a new generation of painters who were making his style appear too mannered and Baroque.

    The present lot can be dated to Conca's early to mid Roman period when he was clearly influenced by Carlo Maratta and can be compared to the Madonna del Divino Amore, of circa 1732 in San Bartolomeo, Rome (see Exhibition catalogue Sebastiano Conca, Gaeta, October 1981, no 59.).
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