Studio of Marcantonio Franceschini (XVIII), Workshop af - Primavera With Classical Figures

Artist: Studio Of Marcantonio Franchceshini (Italian) (1648 -1729)

Title:- Primavera with classical figures

Period. Circa 1718

Medium: Oil on canvas

Provenance: From a good UK private collection.
Based on composition, this is a studio variant of the commission for Victor Amadeus I of Savoy, 3rd Prince of Carignano, dated 1716. Likely held in a private Italian or European collection prior to acquisition within the UK.

Overall size with the carved Italian 18th century frame is 87cm x 79cm and the painting measured at 73cm x 60.5cm


Style & Movement:- Late Baroque / Bolognese Classicism

• Subject & Composition

An allegorical representation of Spring featuring seven figures. A central female personification of Primavera is being crowned with a floral wreath by a putto, while a young man reclines beside her. To the left, a child brings flowers, and to the right, a secondary group of figures rests in a lush landscape with a distant villa.

The composition focuses on the theme of fertility and seasonal renewal.


Historical Significance

This work is a significant example of the dissemination of Franceschini's designs through his active workshop. It reflects the refined, academic classicism that dominated Bolognese art in the early 18th century, emphasising grace and balanced composition over the more turbulent high Baroque style.

The picture offered relates to Marcantonio Franceschini's Primavera in the Pinacoteca of Bologna. The Bologna painting was commissioned as part of a group representing the Four Seasons in March 1716 by Victor Amadeus I of Savoy, 3rd Prince of Carignano (1640-1741).

The central group of Primavera crowned by a putto and in conversation with a young man occurs in both the picture offered here, and in the Bologna version. The Bologna picture however, has nine figures, where this one has seven, and although his drapery is different, the central man is the only figure in the same pose in both pictures.

We think the painting was likely composed by Franceschini in conjunction with the Bologna commissioned painting but retain the attribution as to his studio.

The Bologna painting was commissioned as part of a group representing the Four Seasons in March 1716 by Victor Amadeus I of Savoy, 3rd Prince of Carignano (1640- 1741) The central group of Primavera crowned by a putto and in conversation with a young man occurs in both the picture offered here, and in the Bologna version.

The Bologna picture however, has nine figures, where this one has seven, and although his drapery is different, the central man is the only figure in the same pose in both pictures.

Franchceshini was a pupil of Carlo Cignani, with whom he worked on the frescoes in the Palazzo del Giardino in Parma (1678- 1681). He worked closely for many years with his brother-in-law, Luigi Quaini, who was also the cousin of Cignani.


Franceschini enjoyed a successful and extensive career, producing paintings with religious and mythological themes for patrons across Europe. Among his notable works were the ceiling decorations in Bologna’s Palazzo Ranuzzi (1680) and Palazzo Marescotti Brazzetti (1682). In 1690, he also contributed to the decoration of the tribune in the Church of San Bartolomeo Porta Ravegnana.

In 1696, Franceschini was commissioned to fresco the ceiling of the Sala d’Onore (Hall of Honour) in the Ducal Palace of Modena, created to celebrate the marriage of Rinaldo d’Este and Princess Charlotte Felicity of Brunswick. He also produced an altarpiece for the Cathedral of Finale Ligure, as well as a painting of San Carlo for the Church of San Carlo in Modena.

He created the altarpiece for the Cathedral of Finale Ligure, as well as a painting of San Carlo for the church dedicated to the same saint in Modena. Between 1701 and 1704, he produced an extensive series of historical and mythological paintings for the Sala del Maggior Consiglio in Genoa’s Palazzo Ducale. Unfortunately, these works were destroyed in a fire in 1777.

He completed the project with assistance from Tommaso Aldrovandini, Quaini, and Antonio Meloni. His frescoes decorating the pendentives and lunettes of Piacenza Cathedral were later removed in the late 19th century.

He also carried out decorative work in Bologna’s Church of Corpus Domini between 1688 and 1694.

The painters creative output was significance in terms of numbers of composition's.

Condition Report:

In excellent gallery condition.

The canvas has been lined.

The painting has recently been cleaned and revarvished with an anti- UV reversible varnish.

Craquelure is present. Inspection under UV reveals scattered retouching , including minor infilling and some strengthening to the figures, foreground, landscape and sky, as well as some well blended recent minute infill to the lower area and arm of the far left cherub with associated well blended retouching. All invisible to the naked eye and professionally restored.

The carved 18th century Italian frame is unlikely the original frame but that has been professionally repaired and is in very good display condition and is offered as a gift. (see below notes regarding frames).

Please note :

Shipping costs reflect the size ; insurance costs and weight of the framed painting. We do not profit from shipping and are happy to share shipping data with any buyer. Moreover shipping materials are expensive and we pack professionally.

The frame that is included in the pictures above has been added to the artwork by a third party/the seller, as such it’s not an integral part of the object. The frame is being provided to you at no additional costs so that when your artwork arrives at your house you can immediately display it on your wall. As such any damages to the frame itself, that do not affect the integrity of the artwork, cannot be accepted as a valid reason to open a claim or request a cancellation. We would also point out that whilst we insure all paintings before shipping that we have no control over shipping once we have sent the painting .

The successful bidder will be responsible for paying any import duties and any associated VAT in the country of destination . Please refer to the auction terms regarding this before bidding. All of the art that we sell is insured for shipping ( subject to the above ). All shipping is professionally packed. . we have been getting most paintings shipped to most parts of the EU with 5 working days but we cannot guarantee this . We have on a couple of occasions experienced a few delays with customs in certain countries over the last few weeks. Please Note: Studio/Gallery photos of paintings on an easel on the published material are intended only to represent accurately the size of the painting within that room environment. Also refer to the shipping costs and note the auctioneers disclaimer regarding potential customs charges .

We cannot calculate these as they are levied in the country of destination and the amount payable is determined by customs there and not by ourselves or the auctioneers. We have experienced some customs charging higher than expected import taxes; so we would advise bidders to attempt the establish the likely excise duties that your own National customs will charge you before bidding.

Thank you.