Giovanni Battista Salvi, called Sassoferrato

H. C. Jenning (1731–1819);
His sale, London, Christie's, 4 April 1778, lot 17 for 8½ gns., to Cavendish (as Salsa Farratta);
Lord George Cavendish, 1st Earl of Burlington (1754–1834);
Probably by descent to his son Charles Cavendish, 1st Baron Chesham (1793–1863), Latimer House, Bucks;
Anonymous sale ('The Property of a Lady'), London, Christie's, 10 December 1982, lot 74.

The canvas has an old relining and is still on its original (?) stretcher. The painting is dirty and the varnish layer slightly discoloured. The paint surface is in very good condition throughout, with no major damages and only little sign of wear. There are some localised retouchings to the body of the Christ child and to the Madonna's right hand, which have now discoloured.
"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 is one of the most famous and successful of Sassoferrato's designs. The composition is known in a number of variants, some of horizontal format, and some including putti in the upper corners. Notable examples are in the Museo del Prado, Madrid, and in the Galleria Nazionale delle Marche in Urbino.¹ The design appears to derive from an invention of Guido Reni’s, known to us today only through contemporary engravings, and the colouring and handling here is entirely Sassoferrato’s own.² 

We are grateful to M. François Macé de Lépinay for endorsing the attribution to Sassoferrato on the basis of an image.

1. See F. Macé de Lépinay et al., Giovan Battista Salvi 'Il Sassoferrato', exhibition catalogue, Milan 1990, pp. 72, 94, cat. nos 21 and 35, reproduced.
2. See The Illustrated Bartsch. Italian Masters of the Sixteenth and Seventeenth Centuries, vol. 40 (Commentary, part 1), formerly vol. 18 (part 2), New York 1987, pp. 330–37, especially no. 30 C1, reproduced p. 330.