Rutilio Manetti

Sale, Milan, Finarte, 16 May 2001, lot 142;
Private collection, Milan.

Montale, Villa Castello La Smilea, Nella Luce di Caravaggio, “dipingere di maniera, e con l’esempi avanti del naturale”, 30 November - 11 December 2011, no. 18.

M. Ciampolini, Pittori senesi del Seicento, Siena 2010, vol. I, p. 273, reproduced in colour plate 158;
M. Ciampolini in P. Carofano (ed.), Nella Luce di Caravaggio, “dipingere di maniera, e con l’esempi avanti del naturale", exhibition catalogue, 2011, pp. 64-66, cat. no. 18, reproduced in colour.

The painting is slightly darker than the catalogue illustration suggests. The large canvas has quite a hard relining but appears in stable condition. Some craquelure can be seen even spread through the canvas and old stretcher marks are apparent. The darker tones of the figures' hair appears sunken and has lost definition though the lighter colours such as the reds are in better condition. Inspection under UV light reveals that the craquelure has been lightly infilled throughout and some localised retouchings flouresce in the face of the angel upper right and left, but the canvas appears in large parts in good condition. Offered in a later wooden frame in 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."

Datable on the basis of style to circa 1625, the work is an autograph variant of the painting in the church of Saint Eustache in Paris (canvas, 133 by 160 cm) which originally hung in the church of San Luigi dei Francesi in Rome.¹ Another variant is in the Pitti Palace in Florence.² The Paris prototype was engraved by Bernardino Capitelli in 1627 and was dedicated to Cassiano del Pozzo (1588-1657), Nicolas Poussin's foremost patron.


1. See Ciampolini, 2010, under Literature, p. 264.
2. Idem, p. 259.