- 189
Sebastiano Conca
Estimate
20,000 - 30,000 GBP
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Description
- Sebastiano Conca
- Saint Cecilia, seated at an organ, with putti and an angel
- oil on canvas
- 131cm. x 95cm.
Provenance
O'Farill family;
Anonymous sale, London, Sotheby's, 10 July 1974, lot 84, for £1,800 to Whitlock;
With Central Picture Galleries, New York, by 1976;
Anonymous sale, London, Christie's, 15 February 1980, lot 99, withdrawn;
Acquired in Rome by the present owner.
Anonymous sale, London, Sotheby's, 10 July 1974, lot 84, for £1,800 to Whitlock;
With Central Picture Galleries, New York, by 1976;
Anonymous sale, London, Christie's, 15 February 1980, lot 99, withdrawn;
Acquired in Rome by the present owner.
Exhibited
Gaeta, Palazzo de Vio, Sebastiano Conca (1680–1764), July–October 1981, no. 35.
Literature
The Burlington Magazine, vol. CXVIII, no. 879, June 1976, reproduced on p. lxxxiv;
G. Sestieri in Sebastiano Conca (1680–1764), N. Spinosa et al., exhibition catalogue, Gaeta 1981, pp. 160–61, no. 35, reproduced on p. 161.
G. Sestieri in Sebastiano Conca (1680–1764), N. Spinosa et al., exhibition catalogue, Gaeta 1981, pp. 160–61, no. 35, reproduced on p. 161.
Condition
The canvas has been relined, the paint surface is stable with a clear and even varnish. There are no major damages visible to the naked eye. There are some passages with a very minor degree of wear, such as in the shadows of the blue drapery. Inspection under ultra violet light reveals an opaque and streaky varnish. Some old retouchings in the dark background, and strengthenings around the puttis' faces, are visible under this varnish. A more recent campaign of retouchings is visible along the upper margin, masking old stretcher marks, and a handful of sensitively executed retouchings in the face, chin and neck of the saint, and in the crease of her left sleeve. In good overall condition.
This lot is offered in a carved and giltwood cassetta 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."
"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."
Catalogue Note
Sestieri dates the painting to between 1735 and 1745. According to a bookplate on the reverse with the motto 'COR ET MANUS CONCORDANT', the painting belonged to the O'Farill family, probably in the early nineteenth century.