Gian Domenico Cerrini

Probably in the collection of Neri Corsini, Palazzo di Parione, by 1711;
Probably in the Galleria Corsini by 1842 and until at least 1924;
Art market, Florence;
Private collection.

Probably Inventari di Casa Corsini, stanza VI, arm. 72, 1711 (as by Cavalier Perugino);
Probably Libro di Inventari..., stanza VI, arm. 4, p. 13, no. 72 (as by Cavalier Perugino);
Probably F. Fantozzi, Nuova guida ovvero Descrizione storico-artistico-critica della città e contorni di Firenze, Florence 1842, p. 562 (as by Cavalier d'Arpino);
Probably U. Medici, Catalogo della Galleria dei Principi Corsini di Firenze, Florence 1880, p. 80, no. 251 (as by Cavalier 'Arpino);
Probably H. Voss, Malerei des Barock in Rom, Berlin 1924, p. 559 (as by Cavalier d'Arpino);
N. Barbolani di Montauto, in F.F. Mancini et al., Gian Domenico Cerrini, il Cavalier Perugia, exhibition catalogue, Milan 2005, p. 262, no. 23, reproduced (as by Cavalier Perugino (Cerrini).

"The following condition report has been provided by Henry Gentle, an independent restorer who is not an employee of Sotheby's. The original canvas is lined and the paint layer is stable and in good condition. There are two restored horizontal tears to the shoulder of Amnon. Under ultraviolet light minor paint restoration can be seen, some of this is due to the reduction of pale cracking to the top of the red curtain. The painting has been quite recently cleaned and restored, there is the remains of an older varnish in situ that has blanched causing a dullness to the paint surface. The painting is in a good original well preserved condition. Offered in a carved gilt wood frame in good condition."
"This lot is offered for sale subject to Sotheby's Conditions of Business, which are available on request and printed in Sotheby's sale catalogues. The independent reports contained in this document are provided for prospective bidders' information only and without warranty by Sotheby's or the Seller."

This is one of four autograph versions of this composition painted by Cerrini, also known as Il Cavalier Perugino; one is in Tours, Musée des Beaux-Arts,¹ while the other two were sold Monaco, Sotheby's, 21 June 1986, lot 109 and London, Phillips, 6 July 1993, lot 6. Given the similarities between all four versions there has been some confusion regarding the provenance of each work.  In her entry for the present work in the back of the Cerrini exhibition catalogue, for example, Novella Barbolani di Montauto identifies it with the version that sold at Sotheby's Monaco in 1986, which, based on a close visual comparison of the two works, appears to be incorrect. However it is probable, as she surmises, that the present work is identifiable with the painting formerly in Palazzo Corsini, Florence. The first possible reference to it there is in a 1711 inventory, where a painting given the following description is listed as hanging in the first room of the appartments of Neri Corsini:

un quadro del Perugino entrovi Amone e Tamar che fa sopraporto

Given that, in a subsequent 19th century list, the painting is described as by the Cavalier d'Arpino, Barbolani di Montauto considers there to have been a commutation from 'Cavalier Perugino' to 'Cavalier d'Arpino', which is the case with another painting by Cerrini in the Corsini collection, the Woman carrying eggs.² The painting is last recorded as in Palazzo Corsini by Voss in 1924, before appearing on the Florentine art market.³



1. See F.F. Mancini, under Literature, pp. 242-3, no. 64, reproduced.
2. Idem, p. 206, cat. no. 47, reproduced.
3. According to Barbolani di Montauto.