Attributed to Giovanni Battista Salvi, called Sassoferrato

The picture is softer in tone and more modulated in colour than the catalogue illutration would suggest. The paint surface is in good overall conditon with no apparent damage or loss of paint apart from a thin horizontal division in the paint surface which is actually caused by the later addition of a pice of wood to the top of the canvas to extend the paint surface, presumably to fit it into its frame. There is a varnish and some localised surface dirt overall. Also the left hand stretcher bar mark is very faintly visible. Otherwise the picture is in good overall condition. Examination under ultraviolet reveals the new paint on the aforementioned addition as well as some minor associated retouching to the top canvas edge. It also reveals some scattered minor retoucing in the background and to the fleshtones, but this seems to be entirely cosmetic. Offered in an ornate rococco gilt carved wood and plaster frame.
"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."

The popularity and success of this composition were such that Sassoferrato painted a number of versions. These are now in the Prado, the Hermitage, the Chiesa della Salute in Venice, and the Museo Diocesano in Recanati.¹ The design originally derives from Dürer's Madonna and Child in the Kunsthistorisches Museum, Vienna (inv. no. GG 843).²

On the basis of photographs, M. François Macé de Lépinay, to whom we are grateful, has tentatively endorsed the attribution to Sassoferato.


1. See F. Macé de Lépinay, Giovan Battista Salvi "Il Sassoferrato" , Milano 1990, p. 65, cat. no.16, reproduced.
2. See A.E. Pérez Sánchez, Pintura Italiana del S. XVII en España, Madrid 1965, p.330, under Sassoferrato.