Luca Giordano, called Fa Presto

The canvas of this large early work by Giordano has been relined . The paint surface is secure and dirty and under a discoloured varnish. There is a horizontal seam visible running along the canvas 40 cm from the lower edge. The paint surface has been abraded and subsequently retouched in several areas, for example in the green mantel lower right and in the figure to the extreme right; in the darker tones of the figure lower left. Further abrasion can be found in Christ's red cloak and his face and to the background. A surface clean and application of a new varnish would greatly improve the overall tonality of the work. Offered in a wooden frame in fair condition.
"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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

The present painting is an important addition to Giordano's oeuvre and provides an insight into the artist's early career. Prof. Giuseppe Scavizzi, has underlined the typical physiognomies and quasi-caricatured figures that are features of the artist's early work and he concurs that the painting is inspired by Albrecht Dürer's series of the Great Passion. The work should be compared to similar adaptations after the German master; such as the paintings in Philadelphia (Christ before Pilate) and Baltimore (Ecce Homo) which were conceived as a pair (see O. Ferrari and G. Scavizzi, Luca Giordano, Naples 1992, vol. I, pp. 256-57, cats. nos. A39 and 40, reproduced vol. II, figs 109-110).

We are grateful to Prof. Giuseppe Scavizzi and Prof. Nicola Spinosa for independently endorsing the attribution to Giordano, both on the basis of photographs.