Circle of Pedro Orrente

The painting has an old relining that has not overly tightened the canvas. It is likely that the canvas was relined in order to stabilise a degree of lifting that had occurred throughout the painting. There are extensive losses throughout but the paint surface is now secure and stable. There is one old tear, in the shape of a teardrop at the bottom right of the canvas, measuring 3 inches in length and an area of more major damage in the lower half of the bent left leg of the Saint. Inspection under ultra violet light is difficult as the thick varnish appears milky and opaque, but it is clear that a degree of old, and seemingly sensitively applied, restoration took place, presumably also to minimalise the effect of the old lifting of the paint surface.
"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."

The work may be compared to Orrente's painting of the same subject from 1616 in the cathedral of Valencia (see D. Angulo Iñiguez and A. E. Pérez Sanchez, Historia de la pintura española, Escuela toledana de la primera mitad del siglo XVII, Madrid 1972, pp. 256–58, cat. no. 21, reproduced plate 171).