Lorenzo Sabatini

A l'oeil nu : Le tableau apparaît dans un état de conservation relativement satisfaisant. Il est peint sur un panneau de bois tendre constitué de deux planches, renforcé de trois attaches papillons à l'arrière au niveau de la jonction verticale. On remarque à l'arrière du panneau une traverse horizontale dans la partie supérieure, et dans la partie inférieure une ancienne marque d'une seconde traverse horizontale ayant maintenant disparu. Le panneau est bien droit et la matière picturale est stable. La matière picturale est belle. Le tableau a fait l'objet d'un nettoyage réalisé dans la deuxième moitié du XXème siècle, un petit peu fort et quelques glacis ont été abimés dans les parties sombres, notamment le bleu du drapé de la Vierge. A la lampe U.V. : Le tableau apparaît sous un vernis vert uniforme. On remarque quelques reprises ponctuelles dans le visage et les bras de Saint Joseph, le visage de la Vierge et celui de Sainte Catherine. Quelques reprises ponctuelles dans les drapés et les fonds. Ces restaurations anciennes ne nuisent pas à la lecture de l'oeuvre qui présente une belle matière. To the naked eye : The painting appears in a quite satisfactory condition. It is made of two softwood panels, strengthened by three clips on the back, by the vertical junction. We notice on the back of the panel an horizontal crosspiece on the upper part, and on the lower part an old mark made by a second crosspiece now disappeared. The panel is flat and the painted surface is stable and fine. The painting has been cleaned during the second half of the 20th century, a little too strongly and some glazed have been damaged in the dark areas, in particular in the Virgin's blue drapery. Under the U.V. light : The painting appears under a green uniform varnish. We notice some punctual retouches on St Joseph' s face and arms, and on Virgin's and Ste Catherine's faces. A few punctual retouches in the draperies and the background. These old restorations do not bother the understanding of the painting which has a fine material.
"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 bride of Christ being Saint Catherine, the subject of our painting, was widespread during the 9th century and very common with Lorenzo Sabatini. The theme can be found in his works at the Museum of Fine Arts in Bordeaux, the Staatliche Gemäldegalerie in Dresden, and the Louvre. The patron saint of young ladies unites herself here to Christ the child in His mother's arms, and wears the crown of martyrdom, a testimony of her decapitation by the Emperor Maxentius, whom she refused to marry. The Virgin Mary's gentle face is typical of the Bolognese painter who worked for Pope Gregory XIII and alongside Vasari in Rome, and was the master of Denys Calvaert, who before Carracci, was one of the pioneers of the Bolognese school.