Lot 758
  • 758

Monogrammist FGZ

Estimate
2,000 - 3,000 GBP
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Description

  • Monogrammist FGZ
  • The Visitation;The Presentation of the Virgin at the Temple
  • the first, signed and dated on the reverse: . FGZ . . (in ligature) / 1696 / . E .
    the second, signed and dated on the reverse: . FGZ . (in ligature) / [1]698
  • a pair, both oil on canvas

Condition

The canvasses are unlined, but have been strip-lined onto newer stretchers. The paint surface has been recently cleaned and the colours are strong. Inspection under Ultraviolet light shows strengthening to the darker accents throughout the background and in the figure's drapery background and between the brickwork. Two small denser areas of restoration are in the upper and lower right hand corners, probably due to a small tear or hole in the canvas. These lots are offered in matching giltwood frames, in good condition, with a few very minor surface knocks and areas of thinned gilding.
"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

The inscriptions on the reverses of these canvases identify the artist as one working after Francisco Gutiérrez's death, in circa 1670. The as yet unidentified monogrammist was clearly working in the close following of the master, who resided in Madrid for the greater part of his life, though it is not known when he moved there or under whom he trained. This pair exemplifies Gutiérrez's characteristic use of architectural perspective as the setting for harmonious, figure-filled, religious and mythological scenes.