Antonio Viviani, called il Sordo

Panel is uncradled. there are two horizontal wood battens inset into the back of the panel. under a thick, shiny varnish. the paint surface has been very well preserved overall. there is a small, minor scratch in the foreground lower right. under ultraviolet light, it is difficult to read through the old varnish. there is a small dot of retouching in hair and a couple of tiny ones on forehead. otherwise, nothing else fluoresces.
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.

We are grateful to Andrea Emiliani and Keith Christiansen who, independently, have suggested an attribution for this painting to Antonio Viviani, a student of Federico Barrocci.

The composition is based on a lost work by Barrocci of circa 1597 commissioned by the Duke of Urbino, and subsequently given to Pope Clement VIII.  An anonymous copy is in the National Gallery, Glasgow and related drawings are in the Musée du Louvre, Paris (inv. no. 2870, recto), the Uffizi, Florence (inv. no. 11641F, recto) and the Martin von Wagner Museum der Universitat, Würzburg (inv. no. 7172).¹

 

1.  See A. Emiliani, Federico Barocci, 2008, vol. II, pp. 209-10, cat. nos. 65, 65.1, 65.2 and 65.3)