Francesco Trevisani

Sammlung Hausmann, Inv. Nr. 45;
Herrenhausen;
Fürstenhaus Anlage 1893 Inv. Nr.1103;
Fideikommiss-Galerie 1905, Inv. Nr. 39 v. Inv. Nr.492;
Brunswick sale, Berlin, Cassirer and Helbing, 27-28 April 1926, lot 84 (as Italian School), where presumably unsold or bought back;
Schloss Blankenburg circa 1929, Inv. Nr. 0786;
George Rex.
Royal House of Hanover, Schloss Marienburg, 6 October, 2005, Lot 459 where purchased by the present owner.

This picture has an old relining. It us under a very thick older discolored varnish which has rendered a reading of any possible retouches underneath impossible. The darks of the painting have been thinly painted, therefore any cleaning must be sensitive as not to abrade the darks. No visible retouches above the varnish. The figures are carefully realized and still retain their subtle shading and modeling. The painting should be cleaned and will reveal a much more lively, colorful surface. In a carved gilt wood frame.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

The dramatic lighting and heightened chiaroscuro would suggest a probable dating of around 1705 to 1710 for this work. It may be directly compared to Trevisani's very similar treatment of the same subject, probably painted at much the same date, for Pope Clement XI Albani and now in the Kunsthistorisches Museum in Vienna (reproduced in F.R. DiFederico, Francesco Trevisani, 1977, p. 54, cat. no. 58, plate 47). DiFederico further notes a receipt of 1707 attached to the manuscript of Lione Pascoli's early Vite  of Trevisani, published in 1730, now kept in Perugia, in which Trevisani ackowledges payment for a picture representing `un Christo morto portato da due angeli', which may very well refer to the present painting. The source of the commission is not, however, recorded.