Attributed to Francesco Noletti, called il Maltese

The canvas has quite a firm relining which has flattened the paint surface a little. The paint layer has fine cracquelure throughout and is starting to lift along the right hand edge where there are already some small losses. There is also a small fleck of paint loss above the left corner of the pillow (as visible in the catalogue illustration). The paint surface is fairly abraded and is under a thick dirty varnish. This varnish prevents exhaustive examination with UV light although some older and more recent retouchings do flouresce, notably the most recent retouching where the cracquelure has started to lift along the lower and upper edges. There is a restored horizontal tear of approximately 10 cm to the centre of the table cloth and another restored vertical tear of approximately 3 cm to the centre, below the basket. Overall the painting is in reasonable condition and is offered in an ebonised and parcel-gilt ripple moulded frame 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."

Francesco Noletti, known as 'il Maltese' due to his Maltese origins, probably moved to Rome between 1636 and 1640 and died there in 1654, at the age of forty. The artist had for a long time been identified as Francesco Fieravino but his true identity is confirmed by a portrait of the artist before an easel in the Foundation for International Studies, Valletta (see K. Sciberras, 'L'identità rivelata di Francesco Fieravino', in G. Bocchi & U. Bocchi, Pittori di Natura morta a Roma. Artisti italiani 1630-1750, Viadana 2005, p. 361, reproduced in colour fig. FN.1). He specialised in painting still lifes with carpets and cushions, together with fruit and sweetmeats, and often small dogs in the foreground.
The attribution to Noletti has been tentatively proposed by Dott.ssa Laura Laureati, to whom we are grateful, on the basis of photographs.