Neapolitan School, 17th Century

The painting is yellower in colour than the catalogue illustration suggests. Running horizontally 40 cm along the lower edge a seam in the canvas can be made out. The paint surface is dirty and under a very yellowed varnish. As is typical of Neapolitan canvases of the period, the flesh tones appear well conserved while the darker tones are sunken and abraded. To what extent they are sunken is difficult to ascertain since the varnish does not allow satisfactory inspection of the paint surface. Several areas of retouching can be made out, however, for example in the background centre left and several other areas. Offered in a plain slip frame in fair 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."

We are grateful to Professor Nicola Spinosa for proposing an attribution on the basis of a photograph to the Master of Fontanarosa (active in Naples in the first half of the 17th century). Compare the Saint Jerome in Ecstasy in a private collection, Naples, and a Saint Sebastian cured by Saint Irene, in a private collection.¹

1. See G. Porzio in N. Spinosa (ed.), Ritorno al Barocco, exh. cat., Naples 2009, pp. 112-13, cat. no. 1. 37 and p. 115, cat. no. 1.39 respectively.