Attributed to Vittore Ghislandi, called Fra Galgario

With Antiquario Stefanoni, Milan;
From whom purchased by the Brooklyn Museum of Art , November 1911 (acc. no. 11.556).

Brooklyn, The Brooklyn Museum of Art, Loan Exhibition of Brooklyn Art Treasures and Original Drawings by American Artists, November 1924, no. 10.

F.M. Tassi, Vite de' pittori, scultori e architetti bergameschi, vol. II, 1969-70, p. 66 (as by Fra'Galgario);
E. Fornoni, Note biografiche su pittori bergameschi, Bergamo 1915-22, vol. IV, p. 68, no. 42 (with incorrect provenance);
C. Caversazzi, "Fra Vittore Ghislandi", in Emporium, vol. LVII, no. 337, June 1923, p.4, fig. 2 (where incorrectly listed as belonging to the Museum of Fine Arts, Boston);
B.B. Fredericksen and F. Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections, Cambridge, MA 1972, p. 602 (as Attributed to Fra Galgario);
M. Gozzoli, Vittore Ghislandi detto Fra' Galgario, Bergamo 1975, p. 134, cat. no. 228, reproduced, p. 195 (as possibly autograph);
I Pittori Bergamaschi: Il Settecento, vol. I, Bergamo 1982, p. 134, cat. no. 228 (under "Opere attribuite");
M. Gregori, Pittura a Bergamo dal romanico al neoclassicismo, Milan 1991, pp. 188, 282, reproduced, plate 125 (as by Paolo Bonomini).

Thinly relined and under a very dirty and discolored old varnish. the paint surface has been pressed overall and some areas of abrasion can be seen most noticeably in the fur of his collar and cuffs. due to the surface being pressed, the pattern of the canvas weave is discernible in some areas, most noticeably in the flesh tones. the darks of his hat and coat have sunken somewhat and have lost some of their definition. some old crude repairs can be seen in background which have discolored and are now visible to naked eye. a few very small paint losses in upper background. despite these issues, the painting still reads well and presents a strong image. there appear to have been two old test cleans in left fur cuff. due to the very dirty old varnish, it is not possible to see anything under ultraviolet light. as mentioned, many of the old restorations can be seen with naked eye, but there could be more underneath the old varnish. this painting has not been attended to in a long time and would benefit from sensitive restoration. some of the older restorations could be done more skillfully which would improve the appearance. Offered in a gilt wood frame with nicks and losses to the gilding.
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.