Luca Longhi

With Galerie L.T. Neumann, Vienna;
From whom purchased on November 28, 1957 by the father of the previous owner;
By whom (anonymously) sold ("The Property of a Gentleman"), London, Sotheby's, April 20, 1994, lot 47;
There purchased by the present collector.

Cambridge, Massachusetts, Harvard University Art Museums, on loan 1994-2007.

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. Without removing this picture from its frame, it is not possible to definitively determine whether or not it has been lined, yet it does seem to have a very old, soft glue lining. The paint layer is extremely dirty however the condition is clearly lovely throughout. Whether or not there are any restorations beneath the old dirt layer is hard to ascertain. There are some spots of restoration visible in Christ's left shoulder, in his temple and possibly above Mary's head. In general however, this picture is in remarkable condition which will improve if cleaned. Regardless of whether it is lined, the surface does not require any structural conservation. This painting is in remarkable state.
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.

Luca Longhi remained in his native city of Ravenna for his entire life, painting portraits and devotional paintings for a local clientele.¹  The present painting is in fact entirely typical of his classicizing and rather beautiful style, which appears to have been cultivated under the influence of the previous generation of artists working in Ravenna.  The serenity and restraint of the present picture, however, suggests an awareness of Raphael and his circle.  Indeed, the position of the Infant Christ, with one foot resting on a cushion within his crib and the figure of the Madonna with her head lowered to the left, clearly relies upon late Raphaelian compositions ("La Perla" in Madrid, or the "Madonna della Gatta" by Giulio Romano in the Capodimonte, Naples).  

The painting is in an elaborate gilt wood frame with a scrolling foliate design, typical of Emilian frames of the early 18th Century.²  As much of Longhi's work stayed in Ravenna until the 19th Century, it is very likely that the present painting remained in a local collection and was reframed there in the early years of the 18th Century.

1  See G. Vasari, Vite  (1550), ed. G. Milanese, vii (1881), p. 420.
2  See F. Sabatelli et alia, La cornice italiana dal Rinascimento al Neoclassico, Milan 1992, pp 28-9, cat. no. 70; pp. 338-340.