朱塞普·德·里貝拉 - 或稱斯班紐雷拖

The following condition report has been provided by Simon Parkes of Simon Parkes Art Conservation, Inc. 502 East 74th St. New York, NY 212-734-3920, simonparkes@msn.com, an independent restorer who is not an employee of Sotheby's. This work on canvas has an old lining, which has allowed the paint layer to develop quite noticeable cracking, particularly in the hair and beard of the figure. The paint layer would respond well if the lining were improved. The work is in very good condition. There is one recent restoration in the lower right to the left of the hand. The profile of the hair around the head may have been strengthened, but under ultraviolet light, one can only see a few other marks of retouching in the darker colors of the cloak. If the lining is reversed or re-examined and the work properly restored, the results should be impressive.
"This lot is offered for sale subject to Sotheby's Conditions of Business, which are available on request and printed in Sotheby's sale catalogues. The independent reports contained in this document are provided for prospective bidders' information only and without warranty by Sotheby's or the Seller."

After inspecting this work in the original and confirming the attribution, Professor Nicola Spinosa has proposed that Ribera most likely painted it shortly after his arrival in Naples in 1616. If that dating is correct, the canvas may be related to two other bust-length depictions of Apostles, a Saint Phillip and a Saint Judas Thaddeus, sold London, Sotheby's, 5 July 1995, lots 72-73, both of extremely similar dimensions to the present work.¹ The Saint Phillip was later sold in these Rooms, 27 January 2005, lot 183, for $234,000.

In the portrayal of Saint Phillip, subsequently with the Gallerie Sarti in Paris, the saint's beautifully modelled left hand is shown in a very comparable way to that in which the present saint holds his pilgrim's staff. The direct and penetrating gaze, on the other hand, recall that of the aforementioned Saint Judas.

For a further discussion of Ribera's stylistic developments and career, please see the note to lot 46.

1. See N. Spinosa, Ribera, la obra completa, Madrid 2008, p. 331, cat. nos A52-53, both reproduced.