Pier Francesco di Jacopo Foschi

Acquired by the grandfather of a private collector in the early 19th century;
Thence by descent until sold, London, Sotheby's, 11 July 2002, lot 176, where acquired by the present owner for £72,000.

The colours of the original are a little less orange than they appear in the catalogue illustration. The stable support consists of three vertical panels with a very slight convex bow. The paint surface in generally in good condition with some old scattered surface cracks as visible in the catalogue illustration. The darker areas of paint such as the background and Holofernes hair have somewhat abraded but there are also some passages of remaining impasto in the lighter colours such as the highlights in Judith's hair. Inspection under UV light reveals some old retouching work, most notable in the aforementioned abraded areas. Offered in a wooden frame with gilt rosettes in good condition.
"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."

The painting traditionally bore an attribution to Francesco Salviati but the inscription on the reverse indicates that Pier Francesco di Jacopo Foschi, a pupil in Andrea del Sarto's workshop in Florence until the latter's death in 1530, is a more plausible author. The mannerist figures, with their theatrical gestures and characterised physiognomies, have much in common with other works by Foschi: compare, for example, his signed painting of The Immaculate Conception with Saints in the Torrigiani Chapel in the Church of Santo Spirito, Florence, datable to the mid-1540s, and also his painting of The Resurrection in the same church, datable to a few years earlier.

A contemporary copy after this composition was sold, London, Sotheby's, 12 July 1978, lot 153, as by Carlo Portelli da Loro (97.8 by 76.8 cm.).