Pier Leone Ghezzi

Anonymous sale, London, Christie's, 20 October 1961, lot 113 (as Mercier), bought for £70 by Sabin.

A.M. Clark, 'Pier Leone Ghezzi's Portraits', in Paragone, September 1963, no. 165, p. 18, reproduced plate 16; 
A.M. Clark, 'Pier Leone Ghezzi's Portraits', in Studies in Roman Eighteenth-century Painting, Washington 1981, p. 17, reproduced fig. 28;
A. Lo Blanco, Pier Leone Ghezzi, Palermo 1985, pp. 142 and 242, cat. no. 101, reproduced (as Sebastiano Ceccarini).

The canvas has a firm relining, which has resulted in a flattened paint surface. Craqulure is visible in the flesh tones and garments, as well as at the upper and lower left, where it is more pronounced. This will eventually need to be stabilised. There are two very small specks of paint loss at both upper and lower left. The varnish has dirtied. Inspection under ultraviolet light reveals an even varnish and two very small areas of retouching in the back and shoulder, both of approximately 1 by 1 cm. The painting would respond very well to cleaning and revarnishing and, other than the more pronounced craqulure, is in good condition, with remarkably little retouching. The work is offered in a gilt molded frame with a few minor knocks and losses.
"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."

Clark, the first to write about this engaging picture, attributed it to Pier Leone Ghezzi and dated it to the 1720s. Its mixture of solidity and sensuality led Clark to write that it is 'as far as Ghezzi goes towards the contemporary French painting'.¹ Lo Blanco, in her catalogue raisonné on Ghezzi, removed it from his œuvre, attributing the work instead to Sebastiano Ceccarini. It was not included, however, in Bonito Cleri's 1992 catalogue raisonné on Ceccarini.

1. Clark 1981, p. 17.