Giovanni Battista Salvi, called Sassoferrato

According to the present owner, in the family collection since the 18th century.

The canvas has a fairly old relining. The original canvas appears to have been extended by approximately 8.5 cm along the upper edge, 17 cm on the lower edge and 4 cm on each of the two side edges (please also see the catalogue note). The paint suface is fairly abraded and has started to lift in areas, but is now secured under a thick and fairly dirty varnish. There are several scattered paint losses and surface scratches, as visible in the catalogue illustration, some of which have been infilled. There is a small unrestored hole of approximately 0.5 diameter to the Madonna's left arm. Inspection under UV light reveals fairly extensive retouchings and strengthenings throughout, particularly to the shadows. The painting would benefit from some restoration. 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 M. François Macé de Lépinay for endorsing the attribution to Sassoferrato on the basis of photographs.

M. Macé de Lépinay has pointed out that the canvas has probably been extended subsequent to the artist's completion of the central section; the upper horizontal margin would have passed just over the Madonna's head, and the lower just below the Christ Child's feet; the vertical margins have also been slightly extended. All the other fully autograph versions of this composition are conceived as such; see, for example, the work sold New York, Sotheby's, 22 January 2004, lot 78.