Attributed to Sebastiano Ricci

Bruno Canto, Milan, by 1959.

E. Arslan, "Contributo a Sebastiano Ricci e ad Antonio Francesco Peruzzini," in Studies in the History of Art dedicated to William E. Suida on his eightieth brithday, London 1959, p. 311, reproduced fig. 7 (as Sebastiano Ricci).

Canvas is relined. Overall this picture presents well to the naked eye, appears to be in fresh condition and does not appear to have been restored in a number of years. UV light reveals a somewhat dirty varnish and only a few small retouches. These are primarily located in the lower right of the composition, in the seated figures forearm and sleeve. The work could benefit from a light cleaning but there are no apparent holes or major damages. In a carved giltwood frame.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

The curious subject is taken from a passage from Aesop’s fable of the Satyr and the Peasant, which explores a tale of the inconsistency and hypocrisy of mankind.   According to the story, the satyr assisted a peasant who had become lost on a winter’s day.  The satyr was astonished to see that the peasant was able to warm his hands by blowing onto them.  In thanks for his help, the peasant invited the satyr to eat with him.  The scene depicted here is the moment when the satyr leaps from the table in disgust when the peasant blows on the hot soup to cool it.  The satyr renounced the peasant’s friendship, declaring he would “have nothing to do with one who blows hot and cold with the same breath."

Sebastiano Ricci returned to this subject on a number of occasions, a testament to its popularity.  In her 2006 monograph, Annalisa Scarpa reproduces three versions of the present composition, though each executed in an upright format.¹  A further version, in the Galleria dell’Accademia, Venice, has been alternately attributed to Diziani and to Fontebasso.

We are grateful to Professor Lino Moretti for his invaluable assistance in the cataloguing of this lot.

1. A. Scarpa. Sebastiano Ricci, Milan 2006, pp. 195-196, cat. no. 153, p. 195-196, 199, 206, cat. nos. 153, 161 and 179, reproduced p. 531, figs. 373-375.