Jacopo Negretti, called Palma Il Giovane

J.C. Renieri, Trieste, 1844 (inscribed on the reverse of the canvas);
Anonymous sale, London, Christie's, 27 April 2007, lot 94;
There purchased by the present owner.

The following condition report has been provided by Simon Parkes of Simon Parkes Art Conservation, Inc. 502 East 74th St. New York, NY 212-734-3920, simonparkes@msn.com, an independent restorer who is not an employee of Sotheby's. This painting does not appear to be lined, but the tacking edges have been reinforced. The painting seems to have been conservatively restored fairly recently; the varnish is very soft and one can see remnants of old dirt and varnish clinging to the paint layer in numerous areas. Although some retouching would probably be effective in the architecture on the left and right of the canal and perhaps in a few spots elsewhere such as in the putti, it is not necessarily recommended that the work be cleaned again, as there is a nice patina to the paint. The paint layer is abraded in a few places, but there are numerous areas where it is very well preserved. There are very few, if any, retouches in the figure of Christ. Although the dark color in the cloak of the Madonna may have received restoration, her face and right hand seem to be healthy. Her left hand has received a good deal of restoration. The figure on the right is unrestored, as is most of the sky and the two putti. The edges on the left and right seem to have received a more recent glaze, probably for decorative reasons, and it is unknown at present what these sides are supposed to look like; they were presumably originally under a frame or incorporated into some kind of decorative surround. A fresh varnish, some more focused retouching, and perhaps a re-examination of the Madonna's left hand would make a huge difference to the picture.
"This lot is offered for sale subject to Sotheby's Conditions of Business, which are available on request and printed in Sotheby's sale catalogues. The independent reports contained in this document are provided for prospective bidders' information only and without warranty by Sotheby's or the Seller."

We are grateful to Stefania Mason for endorsing the attribution, based on firsthand inspection; she dates this painting to the end of the 16th or beginning of the 17th century.  The figures of the Virgin and Christ appear to have been directly inspired by Titian’s monumental Pietà, left unfinished at his death in 1576 and completed by Palma.  The small size of the present work and the kneeling figure in the background indicate that it was probably painted as a private devotional painting, perhaps for a private chapel.  Here, Palma has opened up the composition depicting a view onto a Venetian canal behind the figures of the Virgin and Christ.  Palma also used this device in two of his large votive paintings for the Ducal Palace, Christ the Redeemer with Doges Lorenzo and Gerolamo Priuli (circa 1590-95) and Doge Marcantonio Memmo before the Virgin and Child (1615).