- 114
Roman School, 18th Century
Estimate
8,000 - 12,000 USD
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Description
- Roman School, 18th Century
- Saint Aloysius Gonzaga
- oil on canvas
- 39 7/8 by 34 3/4 in.; 101.3 by 88.3 cm.
Provenance
Xavier Desparmet Fitz-Gerald (1861-1941), Paris, as of 1928;
By inheritance to his widow, Madame Desparmet Fitz-Gerald, until 1968;
When acquired by the present owner
By inheritance to his widow, Madame Desparmet Fitz-Gerald, until 1968;
When acquired by the present owner
Exhibited
The Hague, Pulchri Studio; Amsterdam, Stedelijk Museum, Catalogue supplémentaire de l'exposition d'art espagnol (peinture et sculpture), 3 December 1928 - 13 January 1929, no. 25;
Bordeaux, Musée de Peinture et de Sculpture, Goya, 16 May - 30 June 1951, no.1 (as by Goya);
Paris, Musée Jacquemart-André, Francisco Goya y Lucientes, 1746-1828, December 1961-February 1962, no. 8, reproduced, fig. 8 (as by Goya, where called Saint Christophe).
Bordeaux, Musée de Peinture et de Sculpture, Goya, 16 May - 30 June 1951, no.1 (as by Goya);
Paris, Musée Jacquemart-André, Francisco Goya y Lucientes, 1746-1828, December 1961-February 1962, no. 8, reproduced, fig. 8 (as by Goya, where called Saint Christophe).
Literature
X, Desparmet Fitz-Gerald, L'Oeuvre peint de Goya, Paris 1928-1950, vol. I, p. 110, cat. no. 49, vol. II, p. 299, no. 49, reproduced, vol. I, plate 44 (as by Goya);
X. Desparmet Fitz-Gerald, Goya, Paris 1956, pp. 31-32, reproduced in color plate XII;
J.A. Gaya Nuño, La Pintura español fuera de Espagña, Madrid 1958, p. 156, cat. no. 864;
X. de Salas, "Goya in Paris," in Burlington Magazine, CIV, no. 708, March 1962, p. 105 (as not by Goya, perhaps Italian?);
J. Gudiol, Goya: biographie, analyse critique et catalogue des peintures (trans. by L. Miriisch), Paris 1970, vol. I, p. 377 (as "Fausse identification").
X. Desparmet Fitz-Gerald, Goya, Paris 1956, pp. 31-32, reproduced in color plate XII;
J.A. Gaya Nuño, La Pintura español fuera de Espagña, Madrid 1958, p. 156, cat. no. 864;
X. de Salas, "Goya in Paris," in Burlington Magazine, CIV, no. 708, March 1962, p. 105 (as not by Goya, perhaps Italian?);
J. Gudiol, Goya: biographie, analyse critique et catalogue des peintures (trans. by L. Miriisch), Paris 1970, vol. I, p. 377 (as "Fausse identification").
Condition
The old glue relining is firm and stable. the paint surface has been a bit pressed in the relining and the dark background and lighter area around saint's head are slightly thin. however, none of this is overly distracting and the painting reads well and presents a strong image. with naked eye, one can see some scattered retouches in background at upper and middle left, and a line of tiny pinprick losses in white drapery lower center. nothing can be seen under UV light through the old varnish.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.
Catalogue Note
Though likely by an as yet unidentified Roman artist, this portrait of Saint Aloysius Gonzaga (March 9, 1568 – June 21, 1591; canonized in 1726) was owned by the early twentienth century Goya scholar Xavier Desparmet Fitz-Gerald, who on more than one occasion published it as an autograph work by Goya.