Giovanni Baglione

Private collection, Rome.

M. Smith O’Neil, Giovanni Baglione. Artistic reputation in Baroque Rome, Cambridge 2002, pp. 224-225, cat. no. 80, reproduced p. 149, plate 95.

The picture is slightly warmer in overall tone that the catalogue reproduction suggests, but otherwise the photograph is very representative. The varnish is quite dirty and would benefit from a gentle clean. Overall, however, the paint surface appears even and in stable condition. A recent relining means the square weave of a Roman canvas is faintly visible. Darker colours, especially the brown of the hair, the angels' wings and Christ's left foot have sunken with age, whereas the lighter colours and highlights are well- preserved and remain effective. There are two localized areas of retouching visible under raking light: on the angel's hip, and on Christ's upper body beneath his left arm. Also a patch where the varnish has been removed in a cleaning test carried out on Christ's left hip. Minor areas along all four edges have been repaired due to frame abrasions. All retouchings are subtle and do not disturb viewing with the naked eye. Lastly there are a few very small chips in the paint: one above the angels' hip, two on Christ's shoulder and one on his lower body. Inspection under UV light reveals the aforementioned repairs and a few small cosmetic retouchings on Christ's left arm and in the lower right of the painting.
"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."

Comparison with Baglione's altarpiece of a similar subject signed and dated 1624 in the church of Santa Maria dell'Orto in Rome suggests that the present painting was executed around the same time.¹ We are grateful to Maryvelma Smith O'Neil for recently reconfirming the attribution on the basis of a photograph.

1. Canvas, 290 by 185 cm.; see Smith O'Neil, under Literature, p. 224, cat. no. 79, reproduced p. 148, plate 94.