Giulio Cesare Procaccini

Private collection, Paris, 1960

M.B. Castellotti, La Pittura Lombarda del' 600, Milan 1985, reproduced fig. 491.

The canvas has a recent and firm relining. The paint surface is secure and clean. Good quality impasto is present in the drapery. Scattered retouching is visible in the background. Inspection under ultraviolet light reveals retouchings to the eye and around the chin and the right edge of the neck. There is also scattered retouching to the hair and drapery. The background retouching is confirmed. The rest of the face, neck and torso are largely free of retouching. The work is offered in a black carved wood frame, with three bands of gilt from the sight edge outwards. The frame is inscribed in gilt 'RRETRATO', 'DE NUESTRA', 'SENNORA' and 'DE GUADALUPE'. There are curling vine decoration in gilt in each corner The frame is in good 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 oil sketch is related to, and perhaps a preparatory work for, Procaccini's Penitent Magdalene and an Angel in the Brera, Milan, which is thought to have been executed around 1620 and belonged to Cardinal Cesare Monti until his death in 1650.¹ Hugh Brigstocke has suggested that this work was not made as a modello for the Brera picture, but instead as a coda to it, perhaps for a collector less concerned with the iconography of Christian penitence.² 

1. See H. Brigstocke, Procaccini in America, London and New York, p. 106, reproduced fig. 22
2. Private communication between H. Brigstoke and the present owners dated 13 January 2012.