After Tiziano Vecellio, called Titian

The picture is lighter in tone and not as acidic in colour as the catalogue illustration would suggest. The canvas has been relined. the paint surface is in fair condition. There is retouching visible inthe sky and there are scattered minor abrasions as well as wusrface dirt. The darker pigments are thin because of the relining. there are two vertical canvas creases possibly caused by folding on the left and the right. Ultraviolet confirms retouching t the aforementioned areas. there are also some scattered minor cosmetic retouches through the sky, landscape and trees and there are furher retoucings to an old area repaired damage to the left of the foreground tree, measuring approx. 2 in. in diameter. There is also retouching to an old diagonal surface scratch in the background centre left measuring approx. 10 in. There is alos retoucing to a possible horizontal crease centre left, parallel to the outstretched hand. Offered in agilt wood inlay frame on good oveall 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."

A period copy after Titian's Concert champêtre in the Louvre.¹ The original was for a long time believed to be a very late work by Giorgione, from the period when he and Titian had already become great rivals. Although the subject matter is still disputed, it is generally considered an allegory of love, poetry and music. In any case, the warm colours and romantic landscape clearly reflect the taste for pastoral poetry in early sixteenth-century Italy. The design of the present lot has been extended to position the figures off-centre and to depict more of the hillside.


1. See P. Humfrey, Titian: The Complete Paintings, New York 2007, pp. 52-53, cat. no. 16, reproduced in colour.