- 162
Carlo Maratta
Estimate
25,000 - 35,000 GBP
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Description
- Carlo Maratta
- The Holy Family, with Saint Joseph embracing the Christ Child
- oil on canvas
Provenance
Possibly commissioned by Modesto Scaramella (according to Voss 1924, see Literature);
Albani collection, Rome (according to the Czernin inventory, 1844);
Count Johann Rudolf Czernin von Chudenitz (1757-1845), Vienna, by November 1810 (inv. no. 1);
Thence by descent in the Czernin collections until 1955;
With Galerie Sanct Lucas, Vienna, 1955.
Albani collection, Rome (according to the Czernin inventory, 1844);
Count Johann Rudolf Czernin von Chudenitz (1757-1845), Vienna, by November 1810 (inv. no. 1);
Thence by descent in the Czernin collections until 1955;
With Galerie Sanct Lucas, Vienna, 1955.
Literature
F.H. Böckh, Merkwürdigkeiten der Haupt- und Residenz- Stadt Wien und ihrer nächsten Umgebung. Ein Handbuch für Einheimische und Fremde, Vienna 1822, p. 294;
G.F. Waagen, Die vornehmsten Kunstdenkmäler in Wien, Vienna 1866, p. 301, cat. no. 1;
T. Frimmel, Gemäldekunde, Vienna 1924, p. 39;
H. Voss, Malerei des Barock in Rom, Berlin 1924, p. 597, reproduced p. 343;
K. Wilczek, Katalog der Graf Czernin'schen Gemäldegalerie in Wien, Vienna 1936, pp. 54-55, inv. no. 1;
R. Juffinger and I. Walderdorff, Czernin. Verzeichnis der Gemälde, Vienna 2015, p. 102, reproduced.
G.F. Waagen, Die vornehmsten Kunstdenkmäler in Wien, Vienna 1866, p. 301, cat. no. 1;
T. Frimmel, Gemäldekunde, Vienna 1924, p. 39;
H. Voss, Malerei des Barock in Rom, Berlin 1924, p. 597, reproduced p. 343;
K. Wilczek, Katalog der Graf Czernin'schen Gemäldegalerie in Wien, Vienna 1936, pp. 54-55, inv. no. 1;
R. Juffinger and I. Walderdorff, Czernin. Verzeichnis der Gemälde, Vienna 2015, p. 102, reproduced.
ENGRAVED:
A variation of the composition was engraved by Peter van Sickeleers.
Condition
The canvas has a firm lining and a clear and even varnish. There are no major damages visible to the naked eye. There are extensions to the canvas along both the upper and lower margin that measure approx. 1.5 inches in depth. Inspection under UV light reveals retouchings along both the seams of the extensions and other small and sensitively executed ones scattered throughout, the main concentration of which are in the dark tones behind and along the back of Saint Joseph
"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
The striking figures of Saint Joseph and the Christ Child embracing also appear in isolation in a tondo traditionally attributed to Maratta,1 documented by the 17th-century art historian Gian Pietro Bellori as being painted in 1687 as a gift for Giuseppe Ghezzi, painter and secretary of the Accademia di San Luca, Rome.2 Pentimenti are visible in the present work in the figure of Saint Joseph, revealing the development of the artist's thought process. This painting was previously examined first-hand by Stella Rudolph, who endorses the attribution to Maratta.
1. Oil on canvas, diameter: 85 cm.; inv. no. 2-1948; Dunedin Public Art Gallery, New Zealand.
2. G.P. Bellori, The Lives of the Modern Painters, Sculptors and Architects, A. and H. Wohl and T. Montanari (trans. and ed.), New York, 2005, p. 425.