Juan Carreño de Miranda

Don Feliz Garamendi Gonzalez de la Mata, inv. no. 38, by 1936;
Private collection, Neguri, by 1985.

London, The Royal Academy, Exposición de pintura española en Londres, November 1920 - January 1921, no. 171.

A. E. Pérez Sánchez, Juan Carreño de Miranda (1614-1685), Madrid 1985, reproduced plate 140 (as signed and dated Juan Carreño f. 1667).

The canvas is lined, the paint surface is stable and the varnish is clear and even. There are no major damages visible to the naked eye. Inspection under ultraviolet light reveals strengthenings in the darks around the hand and the profile of the face of the kneeling saint. There are scattered patches of restoration throughout, the most significant concentration of which is in the upper left corner behind the Virgin, and in the lower section of the cloak of the saint. Restoration in the Christ Child is restricted to minimalisation of the effect of the craquelure.
"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."

A highly important Spanish painter of the 17th century, Carreño was considered, after Velázquez, to be one of the most accomplished portrait painters of his day, producing many royal likenesses as Pintor del Rey from 1669. Many of his religious subjects date to his later years, combining compositional schemes inspired by Rubens and Van Dyck with a technique inspired by the careful study of Venetian masters, especially Titian. Pérez Sánchez (see Literature, 1995) catalogues this work as dated 1667.