Carlo Francesco Nuvolone

The picture is richer in colour, the tones are lighter and the figures look less anaemic than the catalogue illustration would suggest. The canvas has been relined and the paint surface is in good overall ready to hang condition with no apparent damage or loss of paint except for a minor horizontal repaired crack from the right most canvas edge lower right, a very minor loss in the fountain rim upper right caused by a knock, although this is only visible under a raking light, and there is evidence of some minor flaking in the upper left and cracking in the darker pigments which are thin in places, although this seems to have been stabilised by the relining. There is also a now stable uneven craquelure which has some old infilling in the centre. Examination under ultraviolet reveals the presence of a thick milky uneven varnish which impedes full inspection but otherwise there seems to be scattered minor cosmetic retouching in addition to that already mentioned. Offered in a smart modern carved wood 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."

Another version of this composition, previously given to Guido Cagnacci, but recently reattributed to Carlo Francesco Nuvolone,¹ is in the Hermitage, St. Petersburg (inv. no. 76).²

We are grateful to Professor Filippo Maria Ferro for endorsing the attribution on the basis of photographs.

1. See A. Morandotti, 'La Pittura Italiana dell'Ermitage' in Ricerche e riflessioni, Florence 2012, p. 92, reproduced.
2. See S. Vsevolozhskaya, Italian Painting: The Hermitage, Leningrad 1984, p. 110, reproduced.