Sebastiano Ricci

Private collection, Rome.

J. Daniels, Sebastiano Ricci, l'opera completa, Milan 1976, p. 113, cat. no. 277, reproduced fig. 277;
J. Daniels, Sebastiano Ricci, Milan 1976, p. 110, cat. no. 392, reproduced fig. 258.

This beautiful work is in reality slightly cooler in tone than the catalogue illustration suggests. The canvas has been recently relined. The paint layer is stable, there is a gentle craquelure across the canvas and three fine vertical lines of old damage along the left edge, visible in the catalogue illustration, all of which have been repaired. To the naked eye, repairs are visible upper right corner where there is some discoloration and spot retouching across the lower half of the canvas: these do not at all detract from the overall gracefulness of the composition, as is evident in the catalogue illustration. The aforementioned retouchings are all minor and can be easily repaired by a general cleaning. Inspection under UV light shows some minor spot retouching lower right corner and to the left of the angel's face. This lot is sold in a gilt wooden frame with moldings, two of which have broken off but are not lost, and can be re-fixed.
"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 to circa 1710, shortly before Ricci's sojourn in England, the painting was praised for its high quality by Jeffery Daniels (see Literature). Daniels compares the work to the Rest on the Flight into Egypt formerly in the Lutomirski collection, Milan.¹

The picture would originally have been paired with an as-yet untraced Madonna Annunciate.

1. See Daniels, under Literature b), pp. 73-73, cat. no. 233, reproduced fig. 139.