Henry Ferguson

Private collection, Lyon, around the mid-nineteenth century;
Anonymous sale, Paris, Sotheby's, June 27, 2002, lot 6.

Painting is relined. Overall the picture presents a strong image that in its current state is in recommendable condition. The painting appears to have had a new varnish recently applied. A repaired puncture is visible to the naked eye in the upper right corner. Some scattered retouches are visible in the background as well as in a few of the background figures, most notably the cow in the middle left background which has had more significant reinforcement. Coloration is well retained in this large composition, as well as some impasto in the sky to the upper right. No major work is needed, may 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.

Similar to many Dutch artists of his time, Henry Ferguson moved to various cities throughout his career in search of commercial success. Ferguson, who was probably the son of the still life painter William Gouw Ferguson (c.1622-c.1695) spent active time in the Netherlands, London, and ultimately Toulouse, where he would eventually work until his death in 1730. Prior to its sale in Paris in 2002, the present painting had been in a private Lyon collection for over a century, making it quite probable that it dates from Ferguson's productive final French period. It is likely that this composition was commissioned by the elegant French gentleman standing at the right center of the picture, who passes alms to the unfortunate surrounding him.

Saint Charles Borromeo, depicted in his cardinal's robe, is gesturing towards the bas-relief depicting the Adoration of the Shepherds, suggesting that a direct, moral and philosophical link exists between the contemporary church of Borromeo's time and the biblical foundations of Christ's. Ferguson's depiction of a Christian scene carved onto an Antique Roman sarcophagus, topped by a marble river god holding an orb with crucifix (a personification of the Tiber), is yet another attempt to link the Borromeo's contemporary Catholic Church with a revered past: the grand, steadfast, and powerful age of Roman antiquity. Upon being called to Rome and being made a Cardinal by his uncle, Pope Pius IV, Saint Charles Borromeo (1538-1584) developed into one of the chief leaders of the Counter-Reformation. He would later be appointed Archbishop of Milan during which time he promoted a virtuous and altruistic lifestyle. Through his charity and care for the needy, he sought to promote Christian values and the validity of Christ's influence on Earth. Most notably, during the plague of 1576, he devoted his entire time and wealth to care for the sick.

The monumental antique sarcophagus, the red terra-cotta urns on top, and the Poussinesque figures are very typical of Ferguson's style. The composition shows close similarities with a painting kept in the Musée Toulouse-Lautrec in Albi.¹  The child, turned towards the wall, raising his hands towards the donor, is derived from Raphael's fresco The Fire of Borgo of 1516/17 in the Vatican Palace. 

1. M. Eidelberg, "Landskips...Dark and Gloomy". Reintroducing Henry Ferguson, in Apollo, September 2000, p. 30, reproduced, figure 5.