Francesco Capella, called Daggiù

U. Ruggeri, "Nuove opere del Piazzetta e della sua scuola", in Arte Veneta, vol. XXXIII, 1979, p. 83, reproduced fig. 5.

The catalogue illustration is representative. The relining is stable and effective and has not damaged the paint surface which appears to the naked eye to be sound and in good condition with the impasto and brushstorkes well preserved. Very minor scattered retouching are visible in the background as they have discoloured a little. Inspection under UV light confimrs these and reveals a few more scattared retouchings in the background. Some further localised retouchings flouresce in the hands, neck and face. These are for the most part painterly rather than structural retouchings and are not obtrusive. Overall the painting is in good condition and is offered in a carved and gilt wood frame which is structurally sound but has some minor paint losses.
"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."

Francesco Capella was a pupil of Giambattista Piazzetta and he worked in the master's workshop until the latter's death. Capella emulates Piazzetta's characteristic use of chiaroscuro but his style also differs from his master's with his warmer palette and softer brushwork. Capella was listed in the Fraglia of Venetian painters between 1744 and 1746, and in 1756 he became a member of the Accademia.

As Prof. Ruggeri notes (see Literature), the pose of the Madonna in this painting relates to that of the same figure in Capella's Madonna suckling the Christ Child in the Gallerie dell'Accademia, Venice.¹  Ruggeri dates the Venice painting to circa 1760 and a similar date of execution seems plausible for the present work.

1. Inv. no. 935. See U. Ruggeri, Francesco Capella detto Daggiù, Bergamo 1977, p. 168, reproduced on p. 167, fig. 228.