Pietro Liberi

Anonymous sale, New York, Sotheby's, 14 January 1994, lot 146;
Craig Wright;
His sale, New York, Sotheby's, 30 September 2011, lot 222.

The canvas has an old, loose relining. The paint surface is secure and appears to be generally in good condition under an old, dirty, yellowed varnish. There are two old, horizontal, restored splits in the paint surface running across the top half of the painting. One approx. 12 cm through the curtain upper left and the other, underneath this, visible in the catalogue illustration, running from above Joseph’s head to above Potiphar’s wife’s head. There is also a vertical line of restored damage on the left margin, probably as the result of frame abrasion. Inspection under UV light is generally impeded by the aforementioned varnish but retouching is evident along the aforementioned lines, in the curtain upper left and in the darks of Joseph’s hair and dress as well as scattered elsewhere. Offered in a carved gilt and painted wood frame in good condition with some minor losses.
"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."

Pietro Liberi painted two versions of this subject, the present painting and a painting formerly in the Frezzati collection, Venice (dimensions unknown).¹ In the Frezzati canvas the composition is reversed, Potiphar’s wife occupies the left hand side of the painting and Joseph the right.  In both versions Joseph is depicted in the same pose, fleeing from the scene in horror, with his hands stretched out towards the picture plane. 


1. See U. Ruggeri, Pietro e Marco Liberi, Rimini 1996, p. 142, cat. no. P65, reproduced p. 143.