Roman School, early 17th Century

The canvas has fairly recently been relined, re-stretched and cleaned. The painting is in reasonably good condition. There are a number of scattered retoucings across the picture surface, the largest of these are; one vertical 10 cm tear upper left; one horizontal 35 cm tear across Christs thighs; one vertical 6 cm tear across Christs knee, and one area of approx 13 cm long of repaired loss to the right of Christs face. There are a series of losses to the lower right, the largest of which measures 2 by 4 cm. The bottom margin has suffered and has been repainted.
"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 broken column shown is that found to this day in the Roman church of Santa Pressede. Retrieved from the Holy Land by Saint Helen, the Emperor Constantine's mother, it is, according to popular legend, thought to be the very pillar to which Christ was tied and flogged.

The work appears to have been painted by an artist active in Rome during the first decades of the seventeenth century. Though not strictly Caravaggesque in style, the artist was clearly aware of the growing interest in the naturalistic plays of light which Caravaggio introduced.