Circle of Antonello da Messina

Private collection, Germany.

The panel has s lightly convex bow and is uncradled. There is a small area of minor damage from old woodworm at the lower margin, measuring 7 by 4 cm (not visible on the verso). The paint surface shows some wear in the background and flesh tones, but the delicately-applied paint strokes are still preserved. Inspection under ultraviolet light shows retouching to fine lines of missing paint in the background along the upper margin, to the top of the saint's hair, to the right side his face, and throughout the torso (all measuring less than 1x1 cm). There are tiny dots of retouching in his face particularly beneath the saint's mouth. This lot is offered without a 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 composition derives from Antonello da Messina's signed full-length depiction of Saint Sebastian in the Gemäldegalerie, Dresden.¹ The tree behind the saint in the prototype has here been replaced by a column and the torso has been turned towards the right. The saint's features and carefully defined hair suggest that the same model was used in both works.

1. See M. Lucco, Antonello da Messina, l'opera completa, exhibition catalogue, Milan 2006, pp. 274-77, cat. no. 46, reproduced in colour.