Ferraù Fenzoni

Anonymous sale, London, Bonhams, 9 July 2003, lot 5.

G. Scavizzi and N. Schwed, Ferraù Fenzoni, Pittore / Disegnatore, Perugia 2006, pp. 158 and 312, cat. no. P49, reproduced no. P49.

The canvas has a very old glue relining which is secure. The paint surface is in very good condition under a dirty, discoloured varnish. Inspection under UV reveals old minor retouching in the flesh tones, some of which are now a little discoloured and faintly visible to the naked eye. The painting would benefit from a light clean and fresh varnish. Offered in a carved gilt wood frame.
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.

An impressive example of Ferraù Fenzoni's compositional creativity, this arresting depiction of the Holy Family is published in Giuseppe Scavizzi and Nicolas Schwed's recent monograph with two accompanying preliminary drawings.¹  One initial sketch shows the composition in reverse while the other is a study for the head of the Virgin (see fig. 1), both in the Uffizi, Florence.²   

A masterful colorist, Fenzoni conveys the textures of the draperies with dexterity, from the heavy folds of the green velvet curtain, to the fine linen of the Madonna's headscarf and the delicate, transparent gauze caught in her fingers.   Scavizzi and Schwed note parallels between the present work and the artist's Scenes from the Life of the Virgin (San Apollinare Nuovo, Ravenna) in which the figures have a comparably sculptural treatment; the drapery is similarly rendered, highlighting deep creases in the robes; and the striped designs for headdresses and scarves akin to that worn here by the Madonna are once more utilised.³  Given the similarity to the Scenes Life of the Virgin, dated a little after 1605, Scavizzi and Schwed offer a dating of the present work between 1605 and 1612, shortly after Fenzoni's return to Emilia Romagna from Rome, and during the most prolific period of his career.⁴ 

1.  G. Scavizzi and N. Schwed, (see Literature)
2.  Ibid., pp.312-314, cat. no. D104 and D105, reproduced plate XVI and D1055r respectively.
3.   Ibid., pp.156-158, cat. no. P47a and P47b, reproduced.
4.  Ibid., p.158; Dizionario Enciclopedico dei Pittori e degli Incisori Italiani dall'XI al XX secolo, vol. IV, Turin 1990, p.352