Attributed to Joannes Permeniates

Christie's, London, 17 December 1999, lot 219

On a thick two piece panel with two vertical baton supports where the frame is affixed with screws. The panel has a very slight but stable bow to it. The paint surface is in good overall condition with no apparent damage or loss of paint except for three old repaired splits running horizontally from the centre right to the centre and from the centre left to the centre in the shape of a tuning fork, but these are well restored and do no compromise the integrity of the picture. There is also an additional very minor old restored horizontal split lower centre measuring approximately 3 in. running through Joseph's shoulder. Otherwise there is some old infilling to an old now stable craquelure in the water upper centre and in the roof centre left. Examination under ultraviolet confirms the retouching to the aforementioned areas and reveals further scattered minor flecks of retouching as well as minor retouching to an old semi-circular surface scratch going through Mary's face and to an old minor restored knock behind the head of the hat raising man. Offered in a simpledark wood box frame in good overall 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 panel exhibits a profound knowledge of traditional Cretan icon painting combined with strong influences from various schools of the Italian Renaissance. A number of stylistic similarities can be drawn between this panel and The Virgin Enthroned between St. John the Baptist and a Holy Bishop, possibly St. Augustine (Museo Correr, Venice) which is signed by Permeniates, a Greek painter working in Venice towards the end of the seventeenth century.¹

1. See Nano Chatzidakis, 'The Adoration of the Magi: an icon by the Greek Painter of the early Renaissance', in Euphrosynon, Athens 1992, vol. II, pp. 713-39, English summary, pp. 740-1