Pier Francesco Mola

Pier Francesco Mola (Coldrerio 1612–1666 Rome) Mercury and Argus in a landscape, oil on slate, oval, 31 x 41.5 cm, framed Provenance: European private collection Literature: C. Benocci, “Mercurio e Argo: una nuova attribuzione a Pier Francesco Mola”, in: Strenna dei Romanisti, 71.2010, pp. 61-72; F. Petrucci, Pier Francesco Mola (1612–1666). Materia e colore nella pittura del ‘600, Rome 2012, cat. no. B25, p. 292 The present painting is a recent addition to the oeuvre of Pier Francesco Mola and is from his early period. First published by Carla Benocci (see literature), it has been included in the catalogue raisonné of the artist by Francesco Petrucci (see literature). According to Benocci and Petrucci the painting can be dated to 1640-1645. During the years 1633–1640 and 1641–1647 Mola travelled widely in northern Italy; he may have been in Bologna in the studio of Francesco Albani between 1638-1640 and in Venice in 1644. The present work, together with other small cabinet paintings by the artist, displays the result of his contact with Venetian and Bolognese painting. The landscape setting and the figures are influenced by the Bolognese classicism of the Carracci school: in particular, the figure of Mercury is based on the Polifemo painted by Annibale Carracci in the Farnese Gallery in Rome. Mola painted others works of the same subject, that can be compared to the present painting. The landscape in the canvas, today on loan at the City Museum and Art Gallery of Birmingham (from the collection of Sir Denis Mahon), dated by Richard Cocke to the same period (1640-1645), is similar to that of the present painting, though the figures are different (see R. Cocke, Pier Francesco Mola Oxford, 1972, n° 16). The composition is also comparable to Mercury and Argus in Berlin, Staatliche Museen (oil on canvs, 61x54 cm), where the landscape is more elaborated (see R. Cocke, cit., n.°2). The closest composition can be seen in an etching by Mola where the two figures are similarly placed in “contrapposto” (Londra, British Museum, inv. N. 1874-8-8-813). According to Petrucci, the use of slate as a support is “a rare evidence of Mola’’’’s inclination to adopt, as well as canvas, supports as copper, slate, marble or panel”. Painting on slate was first introduced in Rome by Sebastiano del Piombo, and was widely used in the 17th century, particularly by genre painters and for small exquisite cabinet painting. The gleaming dark background was especially well suited to nocturnal scenes or, as in the present painting, to experimental chiaroscuro effects.

Pier Francesco Mola (Coldrerio 1612-1666 Rome) Saint Peter oil on canvas, laid down on board 49.7 x 39.7cm (19 9/16 x 15 5/8in). Estimate: £8,000 - 12,000, € 9,300 - 14,000 Request Condition Report LITERATURE: F. Petrucci, 'Il Mercante di Venezia e altri dipinti del Mola', Studi di Storia dell'Arte , 18 (Perugia, 2007), pp. 289-298, ill. p. 296 The present painting will be included by Francesco Petrucci in his forthcoming publication on Pier Francesco Mola. He has suggested that the model for this Saint Peter , could be the same as that used for Mola's Barbary Pirate , now in the Musée du Louvre, Paris. The inventory drawn up on the artist's death does mention 'Un san Pietro tela da testa cop.a'.

LOT 203 PIER FRANCESCO MOLA COLDRERIO 1612 - 1666 ROME THE REST ON THE FLIGHT INTO EGYPT oil on original canvas 25,000—35,000 GBP measurements note 37.5 by 47.5 cm.; 14 3/4 by 18 5/8 in. Possibly Julienne, Paris;Possibly by whom sold, Paris, Rémy, 20 March-22 May 1767, lot 12,with its pendant, Erminia Guarding her Flock;I.E. Winterbottom,By whom sold, London, Sotheby's, 13 November 1963, lot 17 to Luccafor £260;Private Collection, Milan. P. Cocke, Pier Francesco Mola, Oxford 1972, p. 50, cat. no. 25,reproduced plate 26.

Pier Francesco Mola (Coldrerio 1612-1666Rome) Saint Peter oil on canvas, laid down on board 49.7 x 39.7cm (19 9/16 x 155/8in). View Condition Report Footnote: LITERATURE: F Petrucci, 'Il Mercante di Venezia e altri dipinti del Mola', Studi di Storia dell'Arte , 18 (Perugia 2007), pp. 289-298,ill. p. 296 The present painting will be included by Francesco Petrucci in hisforthcoming publication on Pier Francesco Mola. He has suggestedthat the model for this Saint Peter , could be the same asthat used for Mola's Barbary Pirate , now in the Musée duLouvre, Paris. The inventory drawn up on the artist's death does mention 'Un sanPietro tela da testa cop.a'.

LOT 29 PIER FRANCESCO MOLA COLDRERIO 1612 - 1666 ROME A SIBYL 60,000—80,000 GBP measurements measurements note 75 by 59 cm.; 29 1/2 by 23 1/4 in. Description oil on canvas, unlined PROVENANCE Possibly in the collection of the Principe Cybo duca di Massa, in whose 18th-century inventory a painting of similar subject is listed: "Una Sibilla Tiburtina del Mola mezza figura 35" (Archivio di Stato di Roma, Fondo Cybo); Anonymous sale, Artcurial, Briest, Poulain & Tajan, 2 February 2009, lot 29 (as Circle of Pier Francesco Mola). CATALOGUE NOTE Although active for much of his life in Rome, Mola travelled extensively to northern Italy, visiting Bologna, Lucca and Venice amongst other cities, in 1633-40 and 1641-47. After 1647, the period from which this painting probably dates, Mola's paintings demonstrate a deep understanding of the works of Titian, the Bassano and Guercino. The influence of the latter is certainly present in this Sibyl and she is also reminiscent of Carlo Saraceni, whose works Mola must have seen in both Venice and Rome. Female figures, particularly young women, are extremely rare in Mola's oeuvre and this painting of a single female figure would appear to have been executed per se . On account of the painting's subject and dimensions it could be identifiable with "Una Sibilla Tiburtina del Mola mezza figura 35" listed in the 18th-century inventory of the collection of the Principe Cybo duca di Massa (Archivio di Stato di Roma, Fondo Cybo).1 Although the inventory is undated and the Principe not actually named, he is likely to be Alderano, Duca di Massa, Principe di Carrara (1690-1731), who married Ricciarda di Gonzaga-Novellare in 1715. The Sibyl is similar in handling to Mola's sketch of a Head of a Young Woman in the Palazzo Doria Pamphilj, Rome, which is thought to be preparatory for the figure of Hagar in his Angel appearing to Hagar and Ishmael in the Galleria Colonna, Rome.2 Both those works have been dated to the 1650s on grounds of style and a similar date of execution might be considered plausible for the present work. The attribution to Mola was first proposed by Dott. Riccardo Lattuada and has been independently endorsed by Dr. Erich Schleier and Dott. Francesco Petrucci, both on the basis of photographs. Dott. Petrucci plans to include the painting in his forthcoming catalogue raisonné on Pier Francesco Mola's works, due to be published by Bozzi Editore in 2011. 1. Information very kindly provided by Dott. Francesco Petrucci. 2. R. Cocke, Pier Francesco Mola , Oxford 1972, p. 58, cat. no. 48, reproduced plate 94, and p. 55, cat. no. 42, reproduced plate 93 respectively. The former is reproduced in colour in Pier Francesco Mola 1612-1666, exhibition catalogue, Lugano, Cantonale d'Arte, 23 September - 9 November 1989; Rome, Musei Capitolini, 3 December 1989 - 31 January 1990, p. 189.