Giovanni Battista Beinaschi

Anonymous sale, London, Sotheby's, 6 July 2006, lot 220, where acquired by the present owner.

V. Pacelli and F. Petrucci, Giovan Battista Beinaschi, Rome 2011, p. 323, cat. no. Cb27, reproduced.

The canvas has an old relining, which has resulted in a flattened surface. There is a small area of paint loss at the upper left and small and narrow areas of frame abrasion around the edges. A narrow, vertical band of retouching can be seen in the right cheek of the Magdalene. There is also an area of retouching, approximately 5 by 7 cm, visible just above the hand of the same figure. A retouching, approximately 30 by 15 cm, can be seen just above the Virgin's clasped hands. A retouching measuring 26 by 19 cm is visible at the lower right. Further areas of retouching can be seen throughout the drapery. Inspection under ultraviolet light confirms these retouchings and reveals further retouchings to the hair of the Magdalene and the mantle and cheek of the Virgin. Saint John is free of retouching. The work is offered in a gilt carved frame in good condition.
"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 praying Virgin in the present painting is a replica of the same figure in Beinaschi's Crucifixion in San Bonaventura al Palatino, Rome, dated 1676–77, where she kneels at the foot of the cross.¹ This visual citation, as well as the style of the picture, suggests a date of the late 1670s.

At the time of the 2006 sale (see Provenance) the attribution to Giovanni Battista Beinaschi was endorsed by Mary Newcome Schleier, following first-hand inspection of the picture.

1. See Pacelli and Petrucci, 2011, pp. 274–75, cat. no. B7, reproduced p. 275.