Giovan Battista Lama

Canvas relined. Although the picture reads well overall, the surface is quite abraded in some areas, for example, in the hair of the kneeling figure at center and in the skirts of the figure holding the baby Virgin. There is also a good amount of poorly applied restoration that is visible to the naked eye (and in the catalogue illustration), for example in the neck, shoulders, and face of the figure at extreme left, in the curtains and right, and in the fleshtones of some of the other figures. Ultraviolet reveals all of this aforementioned retouching and restoration. Painting would benefit greatly from cleaning and updated restoration. Unframed.
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.

Although early sources identify him as a pupil of Luca Giordano, Giovanni Battista Lama's greatest influence was the work of Paolo de' Matteis (his relative by marriage): "egli hà più della maniera di Paolo de Matteis, che di quella di Luca Giordano."¹   The artist was successful and appeared to have spent his working life in his native city of Naples, where he held a "onorato luogo fra Virtuosi Pittori" and painted numerous canvases for churches and religious institutions there, as well as easel pictures for a private clientele.    

We are grateful to Dr. Nicola Spinosa for suggesting the attribution to Giovanni Battista Lama based on photographs.

 

1.  "He had more of the manner of Paolo de Matteis, than that of Luca Giordano," (De Dominici, Vite de' Pittori..., 1742, vol. III, p. 451).
2.  "an honoured place amongst the most talented painters" (De Dominici, op. cit., p. 545).