Lot 11
  • 11

Luca Longhi

Estimate
20,000 - 30,000 EUR
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Description

  • Luca Longhi
  • Le mariage mystique de Sainte Catherine
  • Huile sur panneau

Provenance

Ancienne collection Byrrh

Condition

The support is made of two panels with a join that is only visible to the naked eye on the reverse. The panel is uncradled. The panel is secure and stable. The painting has an even but discoloured varnish. Inspection under ultra-violet light reveals scattered retouchings throughout, which are predominantly in the lower left foreground, the back of the figure of St John the Baptist, the jaw-line and armpit of the Christ Child and below the Virgin's waist. Offered in a modern carved gilt wood frame.
"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."

Catalogue Note

La composition est librement inspirée à l’échelle un du panneau d’autel La Madone à l’Enfant avec saint Jean-Baptiste, Nicola da Bari et Catherine d’Alexandrie de l’église Saint-Jean l’Evangéliste de Parme [1]. Notre version omet saint Nicolas de Bari et un ange musicien a été introduit en bas de la composition au centre.


[1] Voir M. Di Giampaolo, Girolamo Bedoli, Florence 1997, p. 119–20, reproduit en couleur p. 45, fig. 10.


Nous remercions le professeur David Ekserdjian d’avoir confirmé l’authenticité de cet œuvre et d’avoir signalé la relation avec l’autel de Bedoli.

The composition is loosely derived from Girolamo Bedoli's full-scale altarpiece on panel depicting the Madonna and Child with Saints John the Baptist, Nicola da Bari and Catherine of Alexandria in the church of San Giovanni Evangelista in Parma.1 In the present work Saint Nicola da Bari has been omitted and the music-playing angel has been included lower centre.

We are most grateful to Professor David Ekserdjian for endorsing the attribution to Longhi and for pointing out the link to Bedoli's altarpiece.

[1]. See M. Di Giampaolo, Girolamo Bedoli, Florence 1997, pp. 119–20, reproduced in colour p. 45, fig. 10.