GIUSEPPE MARIA CRESPI | The Nativity

The copper plate is flat and stable. The paint surface is dirty, and the varnish is discoloured. There are some scattered pin-prick losses, particularly in the centre of the image in Joseph's forehead, hand, cloak and beard, and the bottom of the Madonna's veil and bottom of her red dress, as well as in the background around the Christ Child, and in his hair. There is visible retouching to a small area in the upper left corner, and to a short diagonal scratch in the upper left corner 2 cm. long. There is also visible retouching in the lower left corner and along the lower margin, in the lower part of the Madonna's red dress, and around her elbow and left shoulder. Inspection under ultraviolet light confirms these, though they are difficult to discern beneath the opaque varnish. In overall fair 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."

Unknown and unpublished, this intimate scene of The Nativity is a new addition to the oeuvre of Giuseppe Maria Crespi. Crespi treated this subject on a handful of other occasions, the closest being a Holy Family with Saint Bernard in the Pinacoteca, Ascoli Piceno.¹ The Ascoli Piceno picture is also on copper, and of small in scale (17.5 x 21 cm.; oval), depicting Mary, Joseph and Saint Bernard half length, pouring over the sleeping Child - Saint Joseph has his finger raised to his lips with the same quietening gesture of the Madonna in the present work. The position of the Christ Child is also comparable, although the Ascoli Piceno copper depicts Him turned around, with His feet projecting towards the viewer. Mira Pajes Merriman dates the Ascoli Piceno Holy Family with Saint Bernard to circa 1735–40.

1. M. Pajes Merriman, Giuseppe Maria Crespi, Milan 1980, p. 264, cat. no. 112, reproduced fig. 112.