- 507
Paolo Farinati
Estimate
6,000 - 8,000 USD
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Description
- Paolo Farinati
- the madonna and child, surrounded by cherubim
- Pen and brown ink and brown and gray-brown wash over black chalk on blue paper
Condition
Laid down. Paper a little faded. Light rectangular mark from old acidic mount. Some light brown spots, top centre. Water stain, lower right corner. Framed
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.
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.
Catalogue Note
This appears to be a first thought for the Virgin and Child in the upper register of Farinati's 1569 altarpiece depicting Saints Albert and Jerome, in the Church of S. Tommaso, Verona (fig. 1).1 In the painting the Christ Child is turned towards His mother, as opposed to how we see Him here, and Farinati has lowered the position of the drapery which billows out behind the Virgin, but, otherwise the pose and drapery of the Virgin are very close to the final work.
1. See L. Puppi, Paolo Farinati 1524-1606, Verona 1965, p. 53, no. 82, fig. 34