Italian School, circa 1630

Freiherr von Pachelbel-Gehag-Ascheraden, Schloß Keffenbrinck, from whom acquired by the father of the present owner in March 1947.

Osnabrück, Städisches Museum, Europäische Malerei aus 5 Jahrhunderten aus Osnabrücker Privatbesitz, 27 February - 20 March 1949, no. 7 (as Neapolitan School, 17th Century).

Europäische Malerei aus 5 Jahrhunderten aus Osnabrücker Privatbesitz, exhibition catalogue, Osnabrück, Städisches Museum, 27 February - 20 March 1949, cat. no. 7, reproduced (as Neapolitan School, 17th Century).

The canvas has been relined and a layer of paint has been applied to the reverse of the relined canvas, as a result the canvas is very stiff but the paint surface has not been overly flattened. The paint surface is in good condition with passages of impasto evident under an old, dirty, yellowed varnish. There is an old, vertical, restored damage of approx. 8 cm long centre above Judith’s right hand, as visible in the catalogue illustration. There is another old, restored damage of approx. 2 cm squared in the right of the attendant’s neck. Old retouching work is evident in these areas and along the upper and lower margins, presumably the result of old frame abrasion. These retouchings are confirmed under UV light which also reveals scattered retouching elsewhere, such as the hair of Holofernes. Offered in gilt wood and plaster frame in good condition.
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Traditionally ascribed to Artemisia Gentileschi, this painting's attribution has eluded modern scholars. There are marked influences of both Roman and Emilian artists working in the decades immediately following Caravaggio's death, though the painting cannot be described as strictly 'caravaggesque'. Names as diverse as Giovanni Francesco Guerrieri, Lionello Spada and Louis Finson have been put forward as possible authors but none of these seem entirely convincing. The figures' heads have very particularised features, especially that of Holofernes, and this might suggest that they are in fact portraits.

The painting was acquired by the father of the present owner from Freiherr von Pachelbel-Gehag-Ascheraden, whose uncle Freiherr Wilhelm Keffenbrinck lived between Munich and Rome during the 19th century, and is known to have collected italian baroque pictures.