GIOVANNI CONTARINI | Saint Sebastian

Anonymous sale, London, Sotheby’s, 23 June 1982, lot 62.

The canvas has been relined. The painted surface seems to be in a reasonable condition. It is covered with a mat and dirty varnish layer. A diagonal scratch of circa 5cm can be seen in the rock lower center. Further minor surafce scratches can be seen in the lower center and one of circa 1cm in the figure's right ear. There is a little repaired damage to the left of the figures' knee. We can see some surface dirt. Some thinness can be observed throughout. Two seemingly repaired tears can be seen in the figure's body: one in his throat and one in his upper left chest. An area of some retouched paint losses can be seen in his right abdomen. Under UV light The varnish layer fluoresces almost completely, showing the scratching and repaired damages mentioned above. Offered with a plain wooden frame. Please note that Sotheby's does not guarantee the condition of the frame.
"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."

Born in Venice in 1549, Contarini was a skilled student of the works of Tintoretto and formeostly Titian, whose style he tried to emulate. Contarini's own work is more mannered, with soft contours, as can be observed in the present work. Some years of his life were passed at the court of the Emperor Rudolf II in Prague, with whom he was a great favorite and by whom he was knighted. At least one other version of this composition, also signed and with minor changes, is recorded and was formerly in a Viennese private collection (1929).