Giovan Battista Boncori

This absolutely lovely painting requires a clean! This would reveal the colours beautifully preserved beneath, which are detectable in areas like the figures' faces and the background view, when viewed under bright light. The canvas has an old relining. The paint is in fine condition overall. The darkest areas - upper and lower left hand side are drier and in need of a new varnish. There is a small area in the lower right corner where the paint has worn and the ground layer is partially visible. There are three tiny flakes of missing paint by the lower left edge, each measuring only a few mm. Inspection under UV light reveals old refilling of the craquelure, particularly on the left hand side across the darkest parts (mentioned above). Importantly, the figures are untouched and in the their original state. This lot is sold in a simple gilded wooden frame, in fine condition and in no need of repair.
"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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Boncori trained in the workshop of Pier Francesco Mola between 1660-66, the likely date of execution of the present work.¹ Previously attributed to Mola himself, as attested to by the inscription on the reverse of the canvas, the master's influence is clearly discernible in the composition, the palette and in the subject matter, which Mola visited several times in his career.
We are grateful to Professor Francesco Petrucci for proposing the attribution on the basis of photographs.
1. For a fuller discussion of the artist see F. Petrucci, Pier Francesco Mola, Rome 2012, p. 213 and colour reproductions pp. 216-17, figs. 160-61.