Studio of Jusepe de Ribera, called Lo Spagnoletto

The canvas has a very old relining and the paint surface extremely dirty and the varnish layer discoloured. There is an old 7 by 9 cm L shaped tear on the saints shoulder and a 3 by 3 old damage lower left, both of which have been patched badly on the reverse. Othewise the paint surface appears very well preserved with much original impasto intact, with some signs of wear to the background and around the head.
"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 workshop production after Ribera's slightly smaller presumed prototype in the Escorial Monastery of San Lorenzo, Madrid ¹ The saint's wrinkled skin and bony frame wrapped in the rich red folds of fabric, his eyelids sunk deep in contemplation, and the wisps of white hair set against the shadows of his gaunt face are all features particularly well-executed in this work.

1. Inv. no. 10014619; see N. Spinosa, Ribera, La Obra Completa, Madrid 2008, p. 511, cat. no. C.39, reproduced. The poor condition of the work has led to hesitations over its fully autograph status;