Giovanni Battista Caracciolo called Battistello Naples 1578 - 1635

The painting is cooler in tone, greener and less red, than it appears in the catalogue illustration. The canvas has a rather harsh wax relining which has flattened the paint surface somewhat. The canvas has been mounted on a new stretcher. The painting is not excessively dirty and the varnish, although opaque, has not yellowed. There is a 5 by 5cm. patch to the left of his head and other damages include: a 9cm. repaired tear near the open book and a smaller 2 by 2cm. damage beside it; a 15cm. repaired tear running horizontally halfway up his back; a 4 by 1cm. damage on the drapery lower centre, and other smaller scattered repairs. The largest area of restoration (possibly covering an earlier damage) occurs on the drapery in shadow around his waist, in an area measuring approx. 25 by 25 cm.. The paint in the background has worn rather thin and there is a marked craquelure pattern here, and in all the darker tones. The figure is better preserved, particularly in the lighter areas of the flesh tones. Retouchings are visible along all four edges, especially on and around a line that runs 3/4cm. from the outside edge (possibly an old stretcher mark?). There is visible strengthening to the skull and crucifix lower left as well as in the background. Inspection under ultra-violet light shows scattered strengthenings particularly in the darks, shadows and in the background and further retouchings should be presumed under the varnish layer. Although worn overall, the figure is the better preserved part of the picture and the image still has great presence. This painting is offered unframed.
"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."

We are grateful to both Prof. Nicola Spinosa and Dott. Stefano Causa for independently endorsing the attribution to Battistello on the basis of photographs. Dott. Causa plans to include the present painting in his forthcoming book La strategia dell'attenzione. Pittori a Napoli nel primo '600.

Dott. Causa believes that this hitherto unpublished painting can be dated between 1616 and 1618; at a time when Caracciolo was influenced by the first Neapolitan works of Jusepe de Ribera. In dating the present work, Dott. Causa draws specific comparisons with Caracciolo's painting of the hermit Saint Onuphrius in Rome, Galleria Nazionale d'Arte Antica di Palazzo Barberini,¹ and his Madonna  d'Ognissanti in Stilo, near Reggio Calabria, Museo della Collegiata.²

1.  Inv. no. 1535; see S. Causa, Battistello Caracciolo, Naples 2000, pp. 184-85, no. A42, reproduced p. 250, fig. 216.
2.  Idem, pp. 186-87, no. A48, reproduced p. 261, fig. 230.