Alonso Vázquez

Panel is cradled. there are two vertical splits in panel at upper left and upper center edges and another at lower center edge. under a thick varnish. some thinnesses noticeable in the costume of angel at left and in the browns. central figure of Joseph is better preserved. under ultraviolet: the varnish flouresces unevenly making it difficult to read. there is retouching to the aforementioned splits; other possible retouches to angel's face and head, to costumes and some areas of background. in a carved and gilt wood frame with minor losses to the gilt.
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.

Alonso Vàzquez, together with Vasco Pereira and Francisco Pacheco, was one of the preeminent painters in Seville at the end of the 16th and the very beginning of the 17th centuries.  As the present picture demonstrates, Vàzquez's style is characterized by a synthesis of Italian and Flemish elements.  Indeed, one of his most famous compositions, The Last Supper, now in the Museo des Bellas Artes, Seville, is a combination of poses and motifs after prints by or after Maarten van Heemskerk, Cornelis de Vos, and Cornelis Cort.  In 1603 Vàzquez left Seville for Mexico, where he died in 1608.

We are grateful to Professor Enrique Valdivieso for proposing an attribution to Alonso Vàzquez based on photographs and for suggesting an execution date of circa 1600-1603 for this painting.