Giovanni Battista Paggi

The canvas has a fairly old, stable lining which has been sympathetically applied. The paint surface, while dirty and covered by a now opaque varnish, is well preserved and will benefit from a clean. There are a number of now discoloured retouchings and restorations, on the Madonna's red dress behind Christ, on her knee and more extensively at the extreme lower margin. There are a number of smaller retouchings to the madonna's right cheek and eye and to Joseph's cheek.
"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."

Raised as a gentleman and self taught as an artist, Paggi had to flee Genoa in 1581 after killing a patron who had failed to pay him for his work. He soon established himself in Florence at the court of Francesco I de' Medici and it was here that the present work was almost certainly executed. The intimacy of the present composition can be compared to a Holy Family with the Infant St John the Baptist sold London, Christie's, 9 April 2003, lot 107.
We are grateful to Dottoressa Francesca Baldassari for endorsing the attribution to Paggi on the basis of photographs.