(Volterra 1611–1689 Florence)
The Archangel Michael,
oil on canvas, 121.2 x 98 cm, framed

Provenance:
possibly commissioned by Luca Franceschi in 1658;
possibly collection of Franceschi Antinori, Florence, in 1729;
Sir Claude Phillips (1846-1924), London;
Private European collection

Literature:
G. Tartini, S. Franchi (eds.), Nota de’ quadri e opere di scultura esposti per la festa di S. Luca dagli accademici del disegno. Nella loro cappella, e nel chiostro de’ PP. della SS. Nonziata di Firenze l’Anno 1729, Florence 1729, p. 45 (as Volterrano);
possibly E. Borroni Salvadori, Le esposizioni d’arte a Firenze dal 1674 al 1767, Florence 1974, p. 133 (as Volterrano)

We are grateful to Sandro Bellesi for suggesting the attribution and for his help in cataloguing this lot.

The present Saint Michael the Archangel is identified by his armour and his attributes of the sword and the shield, emblematic of his role as a Christian warrior saint, traditionally represented fighting a dragon, the symbol of evil (Apocalypse 12: 7-9). The Archangel, who with his absorbed expression gazes outward beyond the observer, is depicted in shining armour, partially covered by a large deep red mantle; he holds his sword aloft in his right hand.

It is possible that the present painting can be identified as the one painted by Franceschini in circa 1658 for Luca Franceschi of Florence and exhibited in the cloisters of Santa Maria Annunziata, Florence in 1729, when it was in the Franceschi Antinori collection, (see E. Borroni Salvadori in literature and M. C. Fabbri, A. Grassi, R. Spinelli [eds.], Volterrano. Baldassarre Franceschini [1611–1690], Florence 2013, p. 354 cat. no. OP 35).

The present painting relates to a similar composition of Saint Michael the Archangel executed by Franceschini between circa 1652 and 1653 for the della Gherardesca family and today conserved in the Musée des Beaux Arts, Nancy (inv. no. 22, and M. C. Fabbri, A. Grassi, R. Spinelli [eds.], ibid., pp. 175–176, cat. no. 42). In the present painting, as in the Nancy canvas, the same masterful rendering of the features can be observed, together with highlights playing across the saint’s metal armour and on the folds of the magnificent deep red mantle he wears. Both the sword and the shield held by Saint Michael appear to be similar, although these attributes have been painted in differing positions in the two compositions. The present painting can also be compared to other paintings executed by Franceschini around 1657 to 1658, among these the Perseus with the head of Medusa and the Venus and Cupid (for which see M. C. Fabbri, A. Grassi, R. Spinelli [eds.], ibid., pp. 222–225).

Baldassare Franceschini, called il Volterrano, was the son of the sculptor, Giuseppe Franceschini. He was introduced to painting by his father and later apprenticed in Volterra to the Florentine Cosimo Daddi (active during the second half of the sixteenth century, Florence – 1630, Volterra). During this period he attracted the attention of his first protectors, the Guarnacci and above all the Inghirami, families. Thanks to whom (particularly to Giulio Inghirami, who was secretary to the Grand Duchess Cristina of Lorrain) he was able to move to Florence and enter the studio of Matteo Rosselli (1578–1650).

Through Rosselli he knew Giovanni Mannozzi, called Giovanni da San Giovanni (1592–1636) with whom he collaborated on several works which received acclaim, especially from various members of the Medici, and in particular from Don Lorenzo, the youngest son of Grand Duke Ferdinand I. Indeed, the Medici prince entrusted Franceschini with his first important official commission: the fresco cycle celebrating the principal acts of the Grand Dukes of Tuscany in the Villa della Petraia, which was started in 1636 and completed in 1648.