Giovanni Francesco Guerrieri

A. Emiliani & M. Cellini, Giovanni Francesco Guerrieri da Fossombrone, Bologne 1997, p. 193, cat. no. A8, reproduced.

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 unlined but the tacking edges have been reinforced. The paint layer is quite cracked and wavy, yet we would not encourage lining the canvas because of the large inscription on the reverse of the original canvas. The painting is in lovely condition however and very few retouches appear to have been added anywhere. There are a couple of dots in the chest of Judith which are visible under ultraviolet light. However, this is a picture clearly in lovely condition and it should most likely be hung as is.
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.

This painting depicting the Old Testament story of the great Jewish heroine, Judith, is one of only twenty-one works attributed to Guerrieri. Very few of these are signed and even fewer are securely dated, so its historic importance is therefore significant. The present painting, dated 1626, comes from the artist's maturity, shortly after the execution of the altarpiece of The Trinity with Saint Michael Archangel for the church of San Filippo in Fossombrone (now in the Museo Civico), which is also fully signed and dated 1624.

According to the inscription on the reverse, this painting was obviously an important commission from Cardinal Gessi, who was involved in the sentence that the Church passed on Galileo as a result of his publication in 1632 of his masterpiece The Dialogue of the Two Great World Systems. This publication led to what has been termed "The Inquisition."

By depicting this subject, Guerrieri followed a tradition already venerable in his day. He probably knew either the version by Caravaggio (Rome, Galleria Nazionale d'Arte Antica di Palazzo Barberini, dated 1598-1599), or the two Judiths by Artemisia Gentileschi (Naples, Museo di Capodimonte, dated circa 1612-1613, and Florence, Galleria degli Ufizzi, dated circa 1620).