Giovanni Battista Salvi, called Sassoferrato

Acquired by Charles Stirling of Keir (1771-1830) before 1826, according to R. Langton Douglas;
Thence by descent.

R. Langton Douglas, Catalogue of Pictures at Keir, M.S., cat. no. 211;
G. Milantoni, Pinacoteca Comunale Cesena, May 1987.

The canvas has been lined and the paint surface appears to be in good overall condition with no apparent damage or loss of paint except for some minor losses to the peripheral areas such as the upper and lower most canvas edges. There is also an uneven now stabilised craquelure which has resulted in two further very minor flecks of very old paint loss in Christ's right knee and in St. Catherine's foremost elbow which are visible under a raking light. There is also a vertical line running through the craquelure in the upper centre through the heads of Mary and Christ which may have been caused by an old stretcher bar. Some minor old cosmetic retouching is visible in the blue of Mary's dress lower right. There is surface dirt and a thick varnish overall and the painting could benefit from a gentle clean. Examination under ultraviolet confirms the presence of both the varnish and the aforementioned retouching, but apart from the odd fleck of scattered minor cosmetic retouching there seems to be little intervention, and the painting can be described as being in good country house condition. Offered in a grand gilt wood and plaster 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. 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."

The composition is also known in an autograph variant which, according to a Witt Library mount, was formerly in the Fairfax Murray collection.¹ The design of the latter differs from the present composition in the shape of the Madonna's throne and in the reduced landscape beyond the window. The upper part of the figure of Saint Catherine recurs in an another work by Sassoferrato, an Angel of the Annunciation in the Pinacoteca Communale, Cesena.² A related drawing in reverse of the Angel of the Annunciation which mirrors the present figure of Saint Catherine is in the Royal Collection at Windsor Castle.³ 

We are grateful to M. Macé de Lépinay for endorsing the attribution on the basis of a photograph.


1. See F. Macé de Lépinay, in Giovanni Battista Salvi, "Il Sassoferrato", exhibition catalogue, Milan 1990, pp. 58-59, under cat. no. 11.
2. Idem, pp. 58-59, cat. no. 11, reproduced in colour.
3. See A.F. Blunt and H.L. Cooke, The Roman Drawings of the XVII & XVIII Centuries in the Collection of Her Majesty the Queen at Windsor Castle, London 1960, pp. 105, cat. no. 902, reproduced p. 107, fig. 86.