Francesco Solimena

Anonymous sale, New York, Sotheby's, 30 January 1998, lot 41, for $77,000;
Anonymous sale, London, Sotheby's, 7 July 2005, lot 170, for £58,000, where acquired by the present owner.

The catalogue illustration is representative. The canvas has been relined and the paint surface appears to be in good overall condition with no damage or loss of paint visible to the naked eye. There appears to be a discoloured varnish and surface dirt overall. Examination under ultraviolet reveals an old campaign of infilling to the craquelure and some minor scattered areas of more recent retouching in the lower left and lower right to the folds of the clothes. There is also one spot beneath the outstretched arm of the putti and very minor retouches to the heads of the lower figures. There is also retouching to what may be an old horizontal surface scratch or area of frame abrasion running from the lower centre to the lower left measuring approx. 7 in. Otherwise the picture is in good ready to hang condition. Offered in an elaborate carved gilt wood and plaster frame in very good 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."

At the time of the 1998 sale in New York (see Provenance), Professor Nicola Spinosa confirmed the attribution, pointing out that it is a bozzetto for a full-scale altarpiece that is untraced. However, based on an inscription below the engraving of the design published by Pietro Monaco (see fig. 1) we know that the altarpiece was once in the church of San Canziano in Venice or at the very least was owned in the 1730s by Francesco Vidiman, reportedly the abbot of that church, who may have kept the painting in his family palazzo nearby.¹

1. It seems that Vidiman's title of 'abbate' listed in the engraving is incorrect since no monastery is associated with the church of San Canziano. The Vidiman family, more usually referred to as Widmann, was one of the wealthy patrician families of la Serenissima and later joined the Rezzonico family; Palazzo Widmann-Rezzonico still stands in the Venetian district of Cannaregio.