There is additional literature relating to this lot which includes a reconstruction of the altarpiece: S. Chiodo, 'Osservazioni su due polittici di Bicci di Lorenzo', in Arte Cristiana, vol. LXXXVIII, 2000, pp. 269-281.
This Lot has been withdrawn from the sale.
Ian Wardropper in his 1985 dissertation (cited under literature and referred to in the text of the catalogue entry) merely raises the question of whether the portrait may be by Domenico del Barbiere before rejecting it, and captions the illustration 'Attributed to Primaticcio', but qualifies this in the text as an unconvincing attribution.
Prof. Lino Moretti does not consider this work to be by Antonio Zanchi and has suggested that it may be Neapolitan rather than Venetian.
Please note the following amendment to the early provenance of this lot:
Possibly Ferdinand VI of Spain (1713-1759), by whom stored at the Buen Retiro; Possibly acquired from he above by Jacopo Amigoni (1685-1752); Armand François Louis de Mestral de St. Saphorin (1738 - 1805); His deceased sale, Vienna, J.V. Degen, 19 May 1806, lot 264; Private collection, Milan, 1979; With Matthiesen Fine Art, London; With Eugene Victor Thaw, New York, from whom acquired by the present owner.
This painting was in the celebrated collection of Armand François Louis de Mestral de St. Saphorin (1738 - 1805) during the 18th century, at which time it was engraved; it was sold at his deceased sale in Vienna on 19th May 1806, lot 264. Mestral de St. Saphorin served as ambassador of the King of Denmark in Poland, the Netherlands, Russia, Austria and Spain, where he may well have acquired the present work. Mestral de St. Saphorin's late 18th century inventory mentions the origin of the painting :
Ce Tableau ci sort sans doute aussi du Cabinet, les tableaux sont entassés au Retiro et ailleurs, les uns sur les autres et lorsqu'il y a eu des concierges ou gardiens sensibles à l'argent (...), ils en ont vendu. Il a été acheté d'un valet de chambre du Roi par son 1er Peintre le Sieur Amiconi, qui le paya très cher.
It would appear therefore that the painting was in the Spanish Royal collection, stored in the Buen Retiro, from whence it was bought by Jacopo Amigoni who served as Court Painter to Ferdinand VI of Spain from 1747 until his death in 1752. The painting does not, however, appear to feature in Charles II's 1701-03 inventory of the royal palaces and, if we are to believe the inventory, it must thus have been acquired subsequent to that date.
No other version of this composition is known today; however, it should be noted that a painting described as 'Jusepe de Ribera, Prometheus, large and capital' featured in the sale of Quintin Craufurd (1743- 1819), at Christie's London on 27th January 1786, lot 92. Craufurd was the gentleman responsible for organising the escape of the French Royal family to Varennes in 1792.
The date line for this lot should read 'first half 17th century and later' and not as stated in the printed catalogue.
The base of this table is stone and not marble. The height is 77 cm and not as stated in the printed catalogue.