Giuseppe Bonito

Anonymous sale, Milan, Sotheby's, 2 December 2003, lot 79 (as Paolo de Matteis);
Where purchased by the present owner.

There is an old glue relining which is firm and stable. A slight undulation to the canvas an be seen in the upper part of the painting, but this is not too distracting. The paint surface has been very well preserved and there is nice, thick impasto throughout. Examination under ultraviolet light reveals retouching along right and left edges and along bottom edge. There are some scattered small repaired tears and scratches: along lower right in background and putto; at left in background and down into thigh of upper putto; a small L-shaped one at bottom of Virgin's white gown, and a few in her blue drapery; a couple at upper centre edge. Some retouching can be seen on right side of Virgin's face and a small spot on right side of her nose, and in background to right of her head. All of these have been well done and the painting is presentable as is. The work is offered in a brown wood frame with carved and gilt inner edge.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

This beautiful Immaculate Conception was identified by Prof. Nicola Spinosa as the work of Giuseppe Bonito, one of the most influential artists in Naples in the second half of the seventeenth century. Bonito's style of painting was rooted in Neapolitan tradition, with its rich palette and chiaroscuro effects, but also incorporated influences from Rome, such as that of his contemporary, Pompeo Batoni.

Prof. Spinosa compares this canvas with a painting of the same subject, painted for a chapel in the Palazzo Reale, Caserta, where it remains today.¹ The Caserta canvas is the latest recorded painting of the artist's career, completed in 1789.

We are grateful to Prof. Spinosa for suggesting the attribution upon first-hand inspection.

1. N. Spinosa, Pittura napoletana del Settecento, Naples 1986, p. 171, cat. no. 306, reproduced p. 376, fig. 373.