何塞法‧德‧阿亞拉‧厄‧卡夫雷拉－或稱為何塞法‧德‧奧比多斯

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. The condition of this work is extremely good throughout. The sheet of copper is flat, and the corners seem to be unbroken. Under ultraviolet light, small isolated spots of retouching are visible in very isolated areas. There is a thin scratch in the shawl of Saint Elizabeth, a continuation of this thin scratch in the gown of the angel in the lower left, and a further thin line of retouches to the left of the lamb in the lower left. All of these retouches are well and carefully applied, and the work should be hung in its current condition.
"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."

Josefa de Ayala, also known as Josefa de Óbidos, was celebrated in her own lifetime as an accomplished painter of both still lifes and religious subjects.  She was born in Seville, the daughter of the painter Baltazar Gomes Figueira, with whom she trained.  She came to Portugal in 1634 when her father returned with the family to his native country, settling in the town of Óbidos.  Josefa undertook religious training at the Augustinian convent of Santa Ana in Coimbra, though she did not ultimately take vows, and returned to Óbidos in 1653 where she earned her own living as a painter, receiving commissions mainly from religious institutions, but also producing works for private devotion.

This painting on copper dates from the artist’s maturity.  With exquisite detail, and particular attention given to the depiction of the various textiles worn by the figures, Josefa depicts the Holy Family with Saint Elizabeth and the Infant Saint John the Baptist.  These figures, all grouped together at right, are set against a wonderfully theatrical vision of angels and cherubim descending from heaven.  Copper was Josefa’s preferred support in the first decades of her career, between 1647 and 1661, after which she painted mainly on canvas and on a larger format.  The present work and another painting on copper, sold in these Rooms last year, are exceptional in this regard, demonstrating her mature technique, but on a smaller scale and with a miniaturist sense of detail.¹

1.  The Penitent Magdalene Comforted by Angels, signed and dated 167(9), oil on copper, 34 by 42.2 cm., New York, Sotheby's, 29 January 2015, lot 44.