Francesco Trevisani

The paint surface is stable and in good condition, if a little pressed from the relining. There are a few cosmetic spot retouchings in the lower right area, to the face of the angel, and to the pillar on the left hand side. The impasto is superbly preserved in details like the sparks from the fire. There is some thinning of the paint in the upper left background due to age. The colours would benefit enormously from some gentle surface cleaning, as they remain strong under the dust. This painting is sold in a simple gold frame, with a few tiny chips, but otherwise in good 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."

This composition relates to the altarpiece ordered by the Oratorians in Turin for their church dedicated to San Filippo Neri. There are two surviving intermediary sketches for the altarpiece. The first of these, probably a study for the artist's records or a copy by one of his assistants, was formerly in the Museé du Seminaire in Quebec, Canada, and is known from an old photograph. The second, a bozzetto with similar dimensions to the present lot, is now in a private collection. This present work is much more finished in comparison with the two aforementioned sketches, details like the spitting fire beneath the grate and the modelling of the saint's body, for example, have been rendered with wonderful precision and sensitivity. 

The careful execution of this work indicates that it was a 'presentation piece', perhaps sent as a gift from the artist to the architect Filippo Juvarra. The two men knew each other from Cardinal Pietro Ottoboni's court, and when Juvarra was put in charge with redesigning the church in Turin, he recommended Trevisani for the decoration of the altar. The altarpiece is still in sitù today and has been dated to the 1730s.

We are grateful to Dr. Karin Wolfe who has examined this picture first hand and has assisted us with its cataloguing.