François Liberti (attivo Anversa 1688 ca e 1719), Attributed to - Allegoria della Primavera - XL format

attributed to FRANÇOIS LIBERTI
(active in Antwerp around 1688 to 1719)
Allegory of Spring
Oil on canvas, cm. 99.5 x 148
Frame size, cm. 124 x 173 x 7 approx.

NOTE: Publication catalog of works from the Intermidiart collection. Certificate of Guarantee and Lawful Provenance. Work with carved and gilded wooden frame shows minor and physiological defects (faults):

This refined canvas constitutes an important addition to our sale catalog, where the wall measurements of the work highlight its valuable decorative impact, qualifying it as a monumental parade canvas, born to embellish the salons of the eighteenth-century aristocratic commission. The painting bears a market attribution to François Liberti, a attributive hypothesis broadly supported by the formal and stylistic characteristics of the composition. The depicted theme describes the allegory of Spring conceived following the examples of Flemish late-Baroque painting, a genre capable of blending boasted Nordic naturalism with the grace of international taste.

The scene centers on the female figure who offers garlands of flowers to the putti, caught from behind in a pose of elegant classicism, moved only by the rich midnight-blue drapery that girds her hips. Identifiable with Venus or Flora, the deity crowns a winged putto partially wrapped in a bright red drapery, the focal point of a festive infant procession that continues with a second putto seen attempting to support a basket brimming with buds, and a third lifting a flower garland in the background of a river landscape. The core of the work lies in the harmonious contrast between the warm tones of infant flesh and the sumptuous polychromy of the flower garland, where roses and other botanical varieties are depicted with meticulous calligraphic precision. The entire composition is conceived as a true visual celebration of spring renewal and the fecundity of nature.

The quality of the brushwork and composition highlight stylistic proximity with the oeuvre of François Liberti, an artist registered with the Antwerp Guild of Saint Luke and celebrated for his Arcadian and mythological compositions. The scant but meaningful documentary notes qualify Liberti as a refined interpreter of the late Flemish school bridging the 17th and 18th centuries. Active within the prestigious Antwerp guild, the master stood out for his ability to translate the robust and vigorous baroque legacy of Rubens and Jordaens into a more graceful, idyllic, and decorative Rococo-esque score, particularly appreciated by contemporary collectors. This canvas fully reflects his characteristic manner: the softness of the flesh tones, the vibrant and silky rendering of fabrics, and above all, excellence in floral painting — a genre in which the Antwerp school has historically held a supreme primacy — contributing to making the painting a work of great charm and solid visual impact.

FACILY REPORT
The work presents in good overall conservation condition, compatible with its age and the historical conservation of the artifact. The paint surface shows the typical and fascinating network of craquelure (natural time cracks), evenly distributed, which attests to the originality and historicity of the chromatic film. The brushwork remains legible overall in its shades and chiaroscuro transitions, although the natural oxidation of surface protective varnishes gives the canvas a warm, age-appropriate patina that softens contrasts while preserving its antique charm.
The textile support shows proper tension, indicating a probable and careful relining intervention carried out in the past to consolidate the structure. On the front there are small, circumscribed past restorations and esthetic retouchings, mainly along the outer margins (where the frame sits) and in the background areas, ordinary-use interventions that do not alter the quality or enjoyment of the main composition.

The canvas is presented within a splendid carved and gilded wooden frame that shows slight and physiological signs of time and small gilding losses, which enhance its collectible character (frame size 124 x 173 x 7 approx., presence of defects). "The frame shown in the photos above has been added to the artwork by the seller or a third party. The frame is provided at no additional cost so that it is ready to display as soon as it arrives. The frame is included as a courtesy and is not considered part of the artwork. Therefore, any potential damage to the frame that does not affect the artwork itself will not be accepted as a valid reason to open a claim or request order cancellation."

Publication:
 The Myths and the Territory in Sicily from a thousand cultures. UNPUBLISHED QUADRERIA general catalog of paintings in the cycle “The Myths and the Territory,” 2026 (Pdf).

The work will be shipped – as a medium-sized piece – with a wooden crate and polystyrene. In case of sale outside the Italian territory, the buyer must await the processing times for export procedures.