VICENT MAÇIP | The Madonna and Child with saints

Acquired in Spain in the 19th century, and by descent to the present owner.

The reverse is lined with patches of horsehair. Three horizontal support batons are also adhered to the reverse. The panel is constructed of three vertical planks. The paint surface is dirty and the varnish discoloured and uneven. It seems possible the background was originally punched gold, but has at some point been painted over with dark pigment we see now. There is a deep vertical scratch in the surface at the upper left that has been re-touched, there are some others, for example: in the Madonna's halo; in the Evangelists cheek; in Christ's leg; in the base of her seat. There are discoloured old retouchings scattered throughout, most notably in the flesh tones. Inspection under ultra violet light reveals the uneven varnish underneath which the aforementioned retouchings are visible. There are also strengthenings in the upper part of the Madonna's seat. The gold of the halos appears well preserved, and the punch-work still crisp. The paint surface through much of the drapery also remains well preserved. In fair overall condition. Offered in a carved and gilt wood frame with some minor losses.
"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."

Another version of this composition is in the Museo Lázaro Galdiano, Madrid,¹ formerly attributed to the Master of the Cabanyes, who Dr. Fernando Benito has since identified as Vicent Maçip. The present panel differs slightly in certain compositional details, and also appears to have had its original gold ground painted over at a later stage. Maçip's son, Joan de Joanes (1510–79), whom he trained in his workshop, went on to become the leading painter working in Valencia during the mid-16th century.  We are grateful to Dr José Gómez Frechina for endorsing the attribution to Vicent Maçip on the basis of digital photographs.

1 Inv. no. 08448; see M.A. Villar et al., Grandes maestros de la Fundación Lázaro Galdiano, A Coruña 2003, p. 18, reproduced in colour.