Florentine School, circa 1605-15

In the family of the present owner since the 1880's.

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 has not been restored for many years. It is noticeably dirty. One can see restored scratches in the hands, but these marks do not appear to extend into the clothing behind. There is a fairly complex break in the canvas in the left side of the gown extending into the background just below the center of the work. There is also a fairly large restoration in the lower right, and what appears to be another diagonal break in the center right background between the ruff and the curtain fringe. There are numerous smaller restorations. There are losses in the forehead, hair and ruff. This is clearly a work that needs conservation. The lining may need to be reversed since the paint layer is quite unstable. All of the restorations would be removed if the work is cleaned, but there seems to be a healthy paint layer beneath the dirt and restoration.
"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."

Painted by an as yet anonymous Florentine artist, this direct and engaging portrait likely dates to around 1605 to 1615.  The attractive young sitter in this portrait wears the stiff, Spanish style bodice and farthingale that were popular across Europe in this period.  The tight, padded rolls worn at the shoulder at the end of the previous century had by now been replaced with pointed, flat tabs and the bodice culminated in an elongated point below the waist.  The angular lines are heightened with multiple rows of expensive gold braid which form an accentuated “V” at the front of the bodice to emphasize the sitter’s waist. The textile of her gown is a precious cloth-of-silver, embroidered with flowers and woven with real silver threads.  The artist used white cross-hatched lines across the fabric as a sort of shorthand to mimic the cloth’s metallic sheen as it catches the light along the folds.  She wears fashionable false sleeves and a wide farthingale skirt in order to maximize the display of sumptuous textile. 

The portrait may have been commissioned in celebration of the beautiful young sitter’s engagement or marriage.  Tucked into her hair, above her right ear, is a carnation or “pink,” symbolic of love and she wears pearls around her neck, in her ears and in her delicate tiara, which denote purity.  Across her chest she wears elaborate gold chains set with diamonds, which often appear black in portraits of this period.  Gold chains were often including in a bride’s wedding trousseau or were offered as a gift upon her engagement.