- 237
Jusepe de Ribera, called Lo Spagnoletto
Estimate
50,000 - 70,000 GBP
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Description
- Jusepe de Ribera, called Lo Spagnoletto
- Christ among the doctors
- oil on canvas, unframed
Provenance
José de Salamanca y Mayol, 1st Marquis of Salamanca and 1st Count of los Llanos (1811-1883);
Acquired from the above by Her Majesty Elisabeth II of Spain (1830-1904; this and the above according to a label on the reverse);
European aristocratic collection since the early 20th century and thence by descent.
Acquired from the above by Her Majesty Elisabeth II of Spain (1830-1904; this and the above according to a label on the reverse);
European aristocratic collection since the early 20th century and thence by descent.
Condition
This large unframed dirty work by the young Ribera includes a self-portrait upper left. The canvas has a fairly old wax relining which is very bouncy and has flattened the paint surface. The Roman squared canvas is particularly discernible in the lighter tones for example in the flesh tones and clothing, while in the darker tones the paint surface appears abraded and sunken throughout. Damages visible to the naked eye include a 10 cm horizontal tear lower right, a small loss of 3 by 5 cm in the lower right corner, a 10 cm crack to the right of Jesus' face and ols restored damage of about 40 cm in His torso. Along the left edge pressure from the stretcher has caused a vertical crack in the paint surface. The relining has caused the paint surface to become very tight and subsequently surface cracks can be found scattered throughout. Apparent uneveness in the paint surface is a result of at least two campaigns of restoration, as confirmed by inspection under UV light which points to structural and cosmetic retouchings. These have been applied both to smooth over surface scratches and to apply definition to some abraded areas.
While several large passages do remain in better condition, despite the overall flatness of the paint surface, the painting would benefit from cleaning and application of more careful restoration.
"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."
"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."
Catalogue Note
This is a newly-discovered, hitherto unpublished early work by Jusepe de Ribera, datable to circa 1613-15, during the artist's formative years in Rome. The composition, built over several different planes in which the primary, secondary and tertiary figures are densely-packed into the picture space, is a supreme example of Ribera's youthful ingenuity.
The painting may be best compared to another recently-discovered early masterpiece, the Raising of Lazarus sold in New York, Sotheby's, 25 January 2001, lot 143, now in the Museo del Prado, Madrid (fig. 1). Aside from the remarkably similar compositions, the artist has used the same head studies for some of the secondary figures in the background; the head of the old man in profile who appears twice in the present picture, recurs in three different positions in the Raising of Lazarus, for example.
Prof. Nicola Spinosa, who recently inspected the painting in the original, has pointed out that the figure in the top left corner is a self-portrait of the artist.
PROVENANCE
The painting purports to have particularly illustrious 19th-century provenance, as attested to by a label on the reverse. It belonged to José de Salamanca y Mayol, 1st Marquis of Salamanca and 1st Count of los Llanos (1811-1883); at one point the richest man in Spain. Salamanca sold the painting to Elisabeth II (Isabella II) of Spain, who was de-throned in the Glorious Revolution of 1868 and abdicated two years later.
The painting may be best compared to another recently-discovered early masterpiece, the Raising of Lazarus sold in New York, Sotheby's, 25 January 2001, lot 143, now in the Museo del Prado, Madrid (fig. 1). Aside from the remarkably similar compositions, the artist has used the same head studies for some of the secondary figures in the background; the head of the old man in profile who appears twice in the present picture, recurs in three different positions in the Raising of Lazarus, for example.
Prof. Nicola Spinosa, who recently inspected the painting in the original, has pointed out that the figure in the top left corner is a self-portrait of the artist.
PROVENANCE
The painting purports to have particularly illustrious 19th-century provenance, as attested to by a label on the reverse. It belonged to José de Salamanca y Mayol, 1st Marquis of Salamanca and 1st Count of los Llanos (1811-1883); at one point the richest man in Spain. Salamanca sold the painting to Elisabeth II (Isabella II) of Spain, who was de-throned in the Glorious Revolution of 1868 and abdicated two years later.