Venetian School, 17th Century

Sale (including property from important private collections and paintings from Castillo de Vulpellac, Gerona), Madrid, Fernando Durán Subastas de Arte, 26 November 1997, lot 2030 (as Circle of Sebastiano Ricci);
With Maison d'Art, Monte Carlo.

A. Scarpa, Sebastiano Ricci, Milan 2006, p. 250, cat. no. 300, reproduced p. 371, fig. 17.

The painting is slightly less pink and less contrasted in tone than it appears in the catalogue. The canvas has an old relining but the paint surface has been recently cleaned and restored. The varnish layer is clear and even. The painting appears to be in very good condition overall; its colours bright and luminous. Under ultra-violet light a damage becomes visible on Venus' foot (1.5 by 1cm.) as well as some reintegration on her face and hair, though this has been very carefully carried out. Further localised retouchings occur on her torso and forearms, and on the putto lower right. Otherwise any restoration is extremely minor and, having been carefully done, is invisible to the naked eye. The painting can be hung as it is. The later elaborate gilt wood and plaster frame is in good condition, despite a few minor knocks, chips and cracks.
"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."

In her monograph on the artist, Annalisa Scarpa includes the present painting in her catalogue raisonné of Sebastiano Ricci's works but argues in the note that the painting is close to both Federico Cervelli and Sebastiano Ricci, though an attribution to the latter might be more plausible.