Daniele Crespi

The pine panel is supported by two inset vertical wood batons and is stable and flat. There is a 20 cm. fine split along the upper margin beginning on the right hand edge, visible only from the verso under raking light. There is a fine 8 cm. split in the dark background, just below the cross super right, also only visible from the verso. The paint surface is dirty and covered by a yellow varnish. Paint surface is thick beneath the dirt and the brushstrokes well-preserved especially in the plate and in the beard of the Saint. Inspection under ultraviolet light shows a 2.5 cm. damage in the bridge of the Saint's nose and two smaller repairs to his nostril and to the beard above his upper lip. Otherwise there are only tiny dot repairs in the background and some old faded spot retouchings to the flesh tones of his face. Offered in a elaborate carved and gilded frame, with aged and darkened gilding and some very minor surface knocks.
"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."

The Baptist's physiognomy, with its sculpted cheek bones and smooth handling, unmistakably point to the hand of Daniele Crespi. A similar head appears in the signed Salomé with the head of the Baptist in a private collection.¹ We are grateful to Profesor Francesco Frangi and Dottoressa Nancy Ward Neilson for independently endorsing the attribution on the basis of images.

1. See N. Ward Neilson, Daniele Crespi, Soncino 1996, p. 63, cat. no. 69, reproduced p. 132, fig. 5A.