José Antolinez

Probably King Louis-Philippe of France (1773-1850);
By whom given to the Louvre and exhibited there in the Galerie Espagnole 1838-48;
From whence restored to the King as his private property after the Revolution of 1848;
His posthumous sale, London, Christie’s, 21 May 1853, lot 423 (as Antolinez) for 10 Guineas to Barnett;
Lord Northwick (1770-1859), Thirlestane House, Cheltenham;
His posthumous sale, Phillips, on the premises, 26 July - 30 August 1859, lot 1653 (as Murillo) for 33 Guineas to Whiting;
H. Whiting, Worcester;
Mr. Conder, Colwell, New Malvern, by whom purchased from the above;
His grandson, Edward Conder, by whom sold circa 1952;
Anonymous sale, London, Christie's, 29 May 1992, lot 334 (as Antolinez);
Anonymous sale ('The Property of a Gentleman'), New York, Christie's, 3 June 2015, lot 37 (as Antolinez), where acquired by the present owner.

Probably Paris, Musée du Louvre, Galerie Espagnole, 1838-48, no. 3.

C. B. Curtis, Velázquez and Murillo, London 1883, p. 191, cat. no. 178d (as Murillo);
M. S. Soria, 'José Antolínez. Retratos y otras obras', in Archivo Español de Arte, vol. IXXX, no. 113, Madrid 1956, pp. 6-7 (as Antolinez);
D. Angulo Iñiguez, José Antolínez, Madrid 1957, pp. 29 and 42, reproduced pl. 40 (as Antolinez);
J. A. Gaya Nuño, La pintura española fuera de España, Madrid 1958, cat. no. 255 (as Antolinez);
D. Angulo Iñiguez, Murillo, Madrid 1981, vol. II, p. 442, cat. no. 1.487 (as Murillo);
J. Baticle and C. Marinas, La Galerie espagnole de Louis-Philippe au Louvre 1838-1848, Paris 1981, pp. 31-2 (as Antolinez).

The canvas is lined, the paint surface is relatively clean and the varnish is clear and even. Inspection under ultraviolet light reveals some retouchings scattered along the margins, as well as small spots in the flesh tones of the putti, Christ, and the Baptist. There are also small retouchings in the Baptist's drapery, as well as scattered in the foreground and in the sky. In overall good condition. Offered in a Spanish parcel gilt and painted wood 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."

The attribution to José Antolinez, first made by Soria in 1956, has been accepted by all later scholars. According to the 1992 sale catalogue, a 19th century inscription on a piece of paper previously attached to the reverse read ‘Purchased by order of and through the great influence which Louis Philippe King of the French possessed with the Spanish Court—out of a Monastery near Seville where it had never been removed since it was Philippe’s Spanish Gallery.’ A verbatim recording of this inscription from a sale or exhibition catalogue, also previously attached to the reverse, shows the painting was included as no. 96 and attributed to Murillo.

The present work does match the description of a picture exhibited in the Galerie Espagnole of Louis Philippe as the work of Francisco Antolínez y Sarabia (see Baticle and Marinas, in Literature). While Soria accepted this provenance, Angulo expressed reservations, indicating that a rival candidate is in the Miguel Aramburu collection in Cadiz. Baticle and Marinas confuse the issue by identifying the present work as the ex-Louis Philippe picture later sold as Murillo in the Thomas Townend estate sale, Christie’s, 14 July 1883, lot 73; that picture is in fact the Murillo altarpiece now in the Art Institute of Chicago.¹

1. Inv. no. 162; see D.A. Iñiguez, Murillo, Madrid 1981, vol. II, pp. 21-22, cat. no. 14, reproduced vol. III, plates 110-11.