Studio of Simone Cantarini, called il Pesarese

The canvas is lined, the paint surface is dirty, and the varnish is discoloured. There are two small losses to the right of the Madonna's head, and one in Christ's leg. The paint surface is slightly raised in her neck, the bridge of her nose and in Christ's hands. There are some small discoloured retouchings in the Madonna's chin, neck, hand and wrist, and some degradation to the paint surface along the upper margin. Inspection under ultraviolet light reveals small scattered retouchings and some retouching along the upper margin, but otherwise very little intervention. In overall good condition. Offered in a heavy painted wood frame.
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A studio version of Cantraini's prototype, of which four autograph versions are known; one, exhibited at the Palazzo Ducale in Pesaro in 1997, is in a private collection and measures 116.5 x 94 cm.¹ Other versions are listed in the collection of Her Majesty the Queen, at Kensington Palace; in a private collection in Reggio Emilia; and in the collection at the Fondazione Cassa di Risparmio di Fano.² The fact that so many versions or copies of this composition exist, is a testament to its popularity and indeed to the demand for Cantarini's easel paintings or 'quadri da stanza'. A possible candidate for authorship of the present painting from Cantarini's studio is the master's favourite pupil and studio assistant, Flaminio Torre. Flaminio is known to have been an outstanding copyist; he is thought to have produced works in collaboration with his master, and copies after him, as well as after artists admired by his master, such as Guido Reni.³

1. See A. Emiliani et al., Simone Cantarini nelle Marche, exh. cat., Venice 1997, p. 86, cat. no. 7, reproduced p. 85.
2. Venice 1997, p. 86.
3. See E. Negro and M. Pirondini, La Scuola di Guido Reni, Modena 1992, pp. 391–408.