Fedele Fischetti

The Royal House of Savoy, until circa 1945;
Anonymous sale, New York, Christie's, October 7, 1993, lot 5 (as by Pietro Bardellino);
Anonymous sale, London, Christie's, April 17, 2002, lot 106 (as by Fidele Fischetti);
Private Collection, Taiwan.

The following condition report has been provided by Simon Parkes of Simon Parkes Art Conservation, Inc. 502 East 74th St. New York, NY 212-734-3920, simonparkes@msn.com , an independent restorer who is not an employee of Sotheby's. This very interesting painting seems to be in lovely condition, despite the fact that it is extremely dirty. The canvas has a very old paste lining and the paint layer is stable. There are a few recent scuffs in the right hand of the bishop on the left and some blanched retouches in the chest of Christ and in the chin, neck and background above Mary. If the picture were to be cleaned, an extremely bright and well preserved paint layer would present itself and when the varnish and dirt is removed, very little damage would be revealed. Overall, the condition is excellent and this is certainly a tempting project for any restorer.
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.

At the time of the 2002 Christie's sale, Riccardo Lattuada gave the attribution to the Neapolitan artist, Fidele Fischetti.  He dated the picture to circa 1760, when the works of Fischetti and his Neapolitan contemporary, Pietro Bardellino, to whom the present painting was previously given, are stylistically very similar and still under the influence of Francesco de Mura.  The putti (decorated with saints' symbols), the handling of features of the Virgin, and the drapery are all indicative of Fischetti's hand.