Attributed to Arcangelo Salimbeni

Panel is uncradled. there is a vertical join or crack running from top to bottom on the left side (between the female saint and Madonna) which is reinforced on the reverse with tape. the panel is slightly bowed from right to left. the paint surface is under a very dull, old varnish. there are paint losses at the extreme edges. the figures still read quite well. abrasions to the background and in some areas the ground is showing through. there are some old retouches here and there that are visible to the naked eye. examination under UV light reveals some scattered small retouches in background area between the male saint and Madonna. other small ones are scattered here and there on figures and in background. In an old gilt wood frame with freehand tooling pattern; some nicks and losses to the gold.
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.

While little is known of Arcangelo Salimbeni's life and artistic training, his paintings, with their soft sfumato effects and mildly eccentric to classical forms, display the influence of his Sienese contemporaries, Domenico Beccafumi and Giovanni Antonio Bazzi, called Sodoma.

We are grateful to Laurence Kanter for tentatively suggesting the attribution on the basis of firsthand inspection.