Bolognese School, last quarter of the 17th century

Anonymous sale, New York, Sotheby's, 19 May 1994, lot 62 (as Gian Gioseffo dal Sole).

G. Testori, Maddalena, Milan 1989, p. 225, reproduced in colour.

The canvas has been quite recently relined and the lining still holds well. The paint surface has been cleaned relatively recently: it is secure and in good condition overall. The varnish layer is for the most part evenly applied though the painting may benefit from a newer slightly shinier varnish which would enhance the depth of the picture. Inspection under UV light reveals some scattered minor retouchings on the figure of the Magdalene, though she has survived largely intact. Retouchings are more concentrated along the margins, perhaps where an old frame rubbed the picture surface, and in the rocks upper centre, upper left and centre left. Overall the painting is nicely preserved and could be hung as is. Offered in a Bolognese-style carved and gilt wood frame, 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."

Although formerly considered a work by Gian Gioseffo dal Sole, this beautiful painting of the penitent Magdalene has more recently been attributed to Giovanni Maria Viani (Bologna 1636-1700) by Prof. Daniele Benati, to whom we are grateful. The painting certainly seems more rooted in the '600 traditions of the Carracci and Guido Cagnacci than those of 18th-century Bolognese artists such as Donato Creti or his followers Dal Sole and Lorenzo Pasinelli.