Roman School, third quarter of the 18th century

B. Cesaro, "Ritratti", in Neoclassico-semestrale di arte e storia, nos. 27-28, Trieste 2005, pp. 190-1, reproduced (as Antonio Cavallucci).

The picture is more muted in colour and tone than the catalogue illustration would suggest, The canvas has been firmly relined however the paint surface appears to be in good overall condition with no apparent damage or loss of paint except for a loss in the lower right hand corner most probably caused by frame abrasion, and a very minor loss in the background parallel to the sitter's left cheek, as can be seen in the catalogue illustration. There is also, what appears to be an old repaired zig-zag tear measuring approx 15 cm. in the column upper right, and a minor area of damage lower left measuring approx 5cm., visible under a raking light. Examination under an ultraviolet light reveals a thick discoloured varnish overall. It also confirms the aforementioned areas of retouching, whilst revealing very minor cosmetic retouches to the flesh tones and background. Elsewhere there are areas of strengthening throughout the costume, particularly in the red fabric lower left, and again echoed in the gree curtain upper left. Overall however the picture appears to be in good overall. Offered in a gilt wood frame in good overall 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 this portrait has been attributed to Antonio Cavallucci (Sermoneta 1752-1795) in the past (see Literature), the style of the sitter's costume would point to a date of execution circa 1765-70 which would be too early for Cavallucci. An alternative attribution to Giuseppe Bottani (1717-1784), or to an artist in his circle, has been tentatively proposed by Professor Francesco Petrucci, to whom we are grateful. The sitter, judging from her lavish dress and the jewels adorning her hair, is clearly of aristocratic birth. She embraces a gilded sculpture of Eros and its juxtaposition with an oval portrait of a gentleman suggests that the present canvas may have been commissioned on occasion of their marriage or engagement.