The Master of San Sebastiano Monti

The panel is uncradled and has is noticeably curved. The paint surface is secure. Discolouration is noticeable in the flesh tones, the greens and they sky, perhaps due to a dirty varnish. The panel had a large horizontal split running through it at some stage. Newer wood has been added on the reverse to counter the split. A narrow band of retouching is visible along the length of the split. Inspection under ultraviolet light reveals an uneven varnish and small scattered retouchings to the flesh tones. The rest of the panel is otherwise free of retouchings.
"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 of the as-yet anonymous Lombard artist known as the 'Master of San Sebastiano Monti' was first grouped together by Francesco Frangi and later expanded by Nancy Ward Neilson.¹ A fascinating exponent of early Milanese Baroque during the 1630s, the Master's style shows an intimate understanding of the works of Daniele Crespi, but also incorporates elements from Giovanni Battista Crespi, called Cerano, and Giulio Cesare Procaccini. His eponymous work, the San Sebastiano from the collections of Cardinal Archbishop Monti is today in the Galleria Arcivescovile in Milan.² A more finished version of the composition, for which this panel may have been intended as a study, is recorded by Frangi in a private collection.³

We are grateful to Dottor Francesco Frangi for endorsing the attribution on the basis of a digital image.

1. See F. Frangi, Le Stanze del Cardinale Monti, 1635–1650. La collezione ricomposta, exhibition catalogue, Milan 1994, pp. 208–09; N. Ward Neilson, Daniele Crespi, Soncino 1996, pp. 68–70.
2. Exhibited, Busto Arsizio, Palazzo Marliani Cicogna, Daniele Crespi. Un grande pittore del Seicento Lombardo, 2006, no. 71, reproduced.  
3. F. Frangi, Daniele Crespi. La giovinezza ritrovato, Milan 2012, p. 18, reproduced plate XV.