Follower of Sebastiano del Piombo

The panel is in good condition, there are a few worm holes visible. Some paintloss in the gold around the head of the man, mostly in the upper left. There is light craquelure throughout the work, as well as pigment separation in the hand. There is a crack at the lower right edge about 3-4 inches. There are a few drops of dark substance at the lower quadrant, mostly on the right hand side. UNDER UV: There is a spot of inpainting on the forehead of the man, as well as 8-10 spots at the lower right, some strengthening to the outline of the head. There is an opaque varnish so full extent of inpainting is unclear.
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.

The present Ecce Homo appears to be a copy (with small differences) on panel after a lost composition by Sebastiano del Piombo, known to scholars through a faithful recording in the Palazzo Pitti, Florence.  Michael Hirst, in his monograph on Sebastiano, connects the lost original to a letter of June 8, 1530, from Vittorio Soranzo to Pietro Bembo, in which Soranzo describes that Sebastiano's first and successful experiment with a stone support was a painting of Christ done on marble.