Francesco Solimena

Anonymous sale ('una Collezione Privata Milanese'), Milan, Sotheby’s, 19 October 2010, lot 217, where purchased by the present owner.

The canvas has an effective relining. The varnish has slightly dulled and is discoloured. There are no major damages visible to the naked eye. Inspection under ultra violet light reveals scattered minor retouchings throughout and one old restored damage in the red drapery upper right with a large patch of restoration measuring 9 x 5 inches. In fair overall condition with relatively little intervention in the main figures and the colours well preserved. Offered in a painted black and gilt frame in good condition with only a few minor chips.
"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."

There are two other versions of this composition, both larger than the present work. The first canvas (154.8 x 206.8 cm.), formerly in a private collection in Brazil, was later with the Heim Gallery in London.¹ The second, slightly smaller than the latter (152.5 x 204.5 cm.), was with Hazlitt, Gooden and Fox, London, in 1990.²

The painting dates to the years around 1690, towards the end of Solimena's youthful phase, when he was strongly influenced by the virtuosity of Luca Giordano's style. Bernardo De Dominici, in his Vite de' pittori, scultori, ed architetti napoletani of 1743, wrote of the affinity between, and mutual respect of the two painters, who, during the 1680s were both busy on important fresco cycles within the churches of Naples and often found themselves working side by side.

1. N. Spinosa, Pittura Napoletana del Settecento dal Barocco al Rococo, Naples 1993, p. 101, reproduced fig. 9.
2. Hazlitt, Gooden and Fox, Italian and the Italianate, exh. cat., 20 June – 30 July 1990, London, cat. no. 13, reproduced.