Studio of Giovanni Bellini

The painting is slightly warmer and less contrasted in tone than the catalogue illustration suggests. The panel is cradled on the reverse and has numerous horizontal cracks and splits throughout which have led to flaking, bubbling and severe losses in places. The most significant losses are visible in the illustration: these occur mainly on and beside the two female figures to the right, on the High Priest, on the white cloth covering the altar, and lower left. The cracks appear to be more concentrated in the upper half of the picture but the paint is about to lift in many places throughout the painting. The picture is in serious need of stabilisation and attention. Substantial restoration is also visible under ultra-violet light, suggesting that the painting has a history of flaking. As well as more localised retouchings and strengthenings to the darks or shadows of all the figures, larger areas of restoration are also visible (e.g. the sleeve and shoulder of the High Priest, as well as his cheek and beard, to name but one area). Most of the figures have been reworked, particularly in the flesh tones, in their faces and on their hands: for example, the Christ Child's head, jaw and chest are all retouched; as are the Madonna's left hand, sleeve, head and white veil. Another area of restoration occurs in the lower right corner on the left arms of both females as well as on the white cloth covering the altar. The background has been substantially overpainted and appears to have been originally green in colour (the green is partially visible upon close inspection). The modern Renaissance-style tabernacle frame has some knocks and damages but is structurally sound (see illustration).
"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."

Giovanni Bellini's prototype for this composition is now lost. It was long thought to be the version now in the National Gallery, London (inv. no. NG1455), but Nicholas Penny considers this to be a workshop production also (see N. Penny, The Sixteenth Century Italian Paintings. National Gallery Catalogues, London 2004, p. 119, fig. 13).