Venetian School, 17th Century

A. Augustus Healy, Brooklyn;
By whom given to the Brooklyn Museum in 1912 (Inv. no. 12.95).

W.H. Goodyear, "Report on the Department of Fine Arts," in Museums of Brooklyn Institute of Arts and Sciences, 31 December 1912, p. 37, reproduced p. 36;
B.B. Fredericksen and F. Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections, Cambridge, MA 1972, p. 602 (as Venetian School, 16th Century).

The following condition report has been provided by Simon Parkes of Simon Parkes Art Conservation, Inc. 502 East 74th St. New York, NY 212-734-3920, simonparkes@msn.com, an independent restorer who is not an employee of Sotheby's. This large painting is very dirty and has not been cleaned or restored in many years. For paintings of this scale from this period, paint loss, structural damage as well as abrasion are very often the reason for restorations. While some abrasion may have occurred here and there in this painting, it is hard to confirm that there has been weakening of glazes or details. When the picture is cleaned, restorations will be removed to reveal losses, which are fairly significant in some areas. For instance, six or seven vertical lines in the roof of the manger and in the upper left corner generally may indicate either canvas joins or folds in the work during its long history. There is an original join that runs horizontally about eight to ten inches from the bottom edge. Ironically, there seems to be very little restoration along this long horizontal join. There is an additional join that runs vertically from this join to the bottom edge in the center of the right side. There is a complex series of fills and restorations in the cloak and gown of one of the three kings standing in the center. There are other restorations in the gown of the Madonna around her waist and feet. Restorations can also be seen in the face of the figure behind the donkey in the center of the right side, and in the standing figures with the red hats right of center. However, the quality and condition of the work where it is not damaged seems to be very good. The colors are strong, and there is no evidence that any serious weakening of the palette or colors has occurred. Needless to say, this is a large and complex project that requires further discussion.
"This lot is offered for sale subject to Sotheby's Conditions of Business, which are available on request and printed in Sotheby's sale catalogues. The independent reports contained in this document are provided for prospective bidders' information only and without warranty by Sotheby's or the Seller."