French Follower of Caravaggio, circa 1620

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 painting is effectively unrestored. The tacking edges of the canvas have been reinforced. There are half a dozen new reinforcements which have been added to the back of the canvas in order to stabilize some brakes and the stretcher is contemporary. However, the paint layer is dirty and the restorations which have been supported by the patches on the reverse, have not been tended to on the front. The paint layer needs to be cleaned and retouched. Whether one applies any more attention to the structural condition is a matter for consideration. There are visible fillings in the back of the male figure and in the top of his head. There are some restorations in the upper chest and breast of the female figure, in a horizontal tear in the lower left and there are numerous smaller restorations. To one's advantage there is no abrasion and the color and condition of the pigment appears to be extremely good. Thus, despite the structural issues, complete restoration will be very successful.
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.

In De Factorum et Dictorum Memorabilium (Memorable Acts and Sayings of the Ancient Romans), the ancient historian Valerius Maximus tells of a certain Cimon, an aged man, who is in prison awaiting execution and who is therefore left without food.  His daughter Pero visits him and, upon seeing his deteriorating health, nourishes him by giving him her breast.  Of the many examples of filial piety in the literature of antiquity, this story is the most ubiquitous among artists' depictions throughout the 16^th and 17^th centuries in Italy and Northern Europe, and not unfamiliar to Caravaggio himself.  During Caravaggio's sojourn in Naples, The Seven Acts of Mercy, taken from Matthew 23:35-36, was commissioned and painted in 1607 for the Church of Pio Monte della Misericordia (in situ).  Most interesting in this rather complex composition, that combines all seven acts, is the scene in the lower right that illustrates the present subject, the Caritas Romana. In that composition, Caravaggio exemplifies two acts in one: the feeding of the hungry and the visiting of the prisoner in his typically dynamic and dark maniera.

The present painting is a more common depiction of the subject, devoid of its narrative in a dramatic suppression of extraneous detail and an equally effective focus of attention and design.  The dark background isolates the subject to emphasize the startling Caravaggesque effects of light and dark and the relationship of father and daughter.  The intimate encounter is at once breeched and made public as Pero's uncomfortable gaze invites the viewer (and veritable voyeur), at once recalling the controversial depiction of Caravaggio's sordid subjects.

Roman Charity would appear to date to the first few decades of the 17^th century, when Caravaggio attracted a large following of artists who drew upon his bold style, naturalistic ambitions and extraordinary working methods.  Neither unfamiliar nor far removed from the master's works and style were the followers Nicolas Tournier and Nicolas Régnier, who were working in Rome.  The lingering influence of the master is quite evident if somewhat tempered by more classicizing elements: the flesh tones are solidly modeled and beautifully realized, the palette is displayed in a deep and stark resonance with a confident handling of paint and a dark ethos is brilliantly suffused throughout the tableaux.

Despite the unidentified creator, the painter of the present picture was a highly accomplished artist, able to create an affecting portrayal of this ancient theme, guided by the sensibilities that define Caravaggio's art.  Its recent appearance on the market is a rare opportunity for scholars and collectors to partake of a powerful portrayal in the style of Caravaggio that represents the wake of artists that were fascinated by the master.