Alessandro Turchi, called l'Orbetto

Stronger and less grey in tonality than in catalogue illustration. Laid down. Substantial losses, top left and bottom right corners, and others bottom left, and down right edge (all visible in illustration). Various other tears at edges, and numerous spots and stains throughout. Despite poor condition of paper, ink in most parts of the composition still good and strong, and composition totally legible. Sold 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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Turchi painted this subject several times in his career and several versions of the theme have survived.  This rectangular composition is quite close stylistically to the the small oil painting heightened with gold on copper, now in The Minneapolis Institute of Fine Arts.¹  The latter has a vertical composition but the format and size of the painting indicate clearly that many of the group were made for private devotion.  In fact, the present study, although not pricked, could be a final drawing to be used to transfer the composition to a small copper or wood panel.

1. See for a discussion on the other known versions, Alessandro Turchi detto L'Orbetto, exhibition catalogue, Verona, Museo di Castelvecchio, 1999, p. 110, no. 20