Antonio González Velázquez

Acquired by the parents of the present owners in 1991.

The paintings are much cooler, less contrasted and more subtle in tone than they appear in the catalogue illustrations. Both canvases have been relined and mounted onto new stretchers. The paintings have been recently cleaned, revarnished and sensitively restored. The paint surface is well preserved overall: the paint was solidly applied and much of the artist's loose brushwork has survived intact. There do not appear to be any significant damages in either painting and, although inspection under ultra-violet light reveals reveals a number of localised retouchings in both paintings, these are sensitively done and not visible to the naked eye. The paintings could certainly be hung as they are. The matching gilt wood frames, with shell-and-foliate decoration along the inner edges, are in good order except for some minor superficial knocks and damages.
"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."

Though with many differences, this pair of paintings follow the designs of Corrado Giaquinto's monumental frescoes for the church of Santa Croce in Gerusalemme in Rome which are considered his crowning glory as a painter.¹ Velázquez was a pupil of Giaquinto in Rome from the mid-1740s until 1752 and is known to have painted such lively studies after his master's greatest works. 

1. See P. Amato, Il Convegno Internazionale di Studi su Corrado Giaquinto, Molfetta 1985,  reproduced pp. 99, 101, figs. 1 and 2.