Attributed to Giovanni Maria Bottalla, called il Raffaellino

Possibly Don Miguel Martinez de Pinillos y Saenz de Velasco, early 19th century;
Probably his son, Don Antonio Martinez de Pinillos (1865–1923), Cadiz;
By descent to his daughter, Doña Carmen Martinez de Pinillos, Cadiz;
Thence by family descent;
By whom sold ('Property from a Spanish Private Collection'), London, Sotheby's, 6 July 2006, lot 236 (as Northern Italian School, 18th century);
With Colnaghi, London, 2007 (as attributed to Bottalla).

J. Howard, Old Master Paintings. Colnaghi, London 2007, p. 50, cat. no. 15, reproduced in colour p. 51 (as attributed to Bottalla).

The canvas has been relined. The paint surface is clean and the varnish is relatively clear. There are some light stretcher marks visible on the canvas at all four margins. Inspection under ultraviolet light reveals some minor scattered retouching throughout. This restoration is particularly visible in the areas around Ariadne's arm and drapery, in Bacchus' shoulder and throughout the figure of Cupid. Overall the picture is in very good condition. The work is offered in a carved and gilt wood frame in very 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."

Bottalla trained in Rome and spent his early years copying the works of the Renaissance masters, his admiration for Raphael earning him his nickname from one of his patrons, Cardinal Giulio Sacchetti. Under Pietro da Cortona, Bottalla assisted with the frescoes at the Villa Sacchetti, as well as the Palazzo Barberini, and almost certainly carried out other commissions for Cardinal Francesco Barberini. Bottalla also worked in Naples and Genoa, where the present painting was most likely produced, reflective of his admiration for the classicising art of the High Renaissance.¹

When this work was last sold in these Rooms, it formed part of a set of four canvases from a Spanish private collection, all of the same dimensions, each depicting mythological and allegorical subjects.

1. For further works attributed to Bottalla, see C. Manzitti, 'Considerazioni e novità su Raffaellino Bottalla', Paragone, vol. 49, May 2003, pp. 51–59, plates 53–61.