- 137
UMBRIAN SCHOOL, CIRCA 1500 | Saint Barbara and Saint Apollonia
Estimate
8,000 - 12,000 GBP
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Description
- Umbrian School
- Saint Barbara and Saint Apollonia
- two panels, both tempera on panel, cut into arched tops, framed as one, the reverse of both panels decorated with a foliate pattern
- each: 33.7 x 13 cm.; 13 3/8 x 5 1/8 in.
Provenance
A nunnery, Amelia, Umbria;
Acquired from the above by Gaetano Marozzi, land surveyor, Ferrara;
Acquired from the above by James Irvine on behalf of Sir William Forbes, 7th Bt. of Pitsligo (1773–1828), 16 February 1828, in Rome, for 50 Crowns ('two small pictures in distemper varnish & united in one frame representing two female saints [...] school of P. Perugino');
Thence by descent until sold ('Property from the Forbeses of Pitsligo'), London, Sotheby's, 28 March 2017, lot 35;
Where acquired by the present owner.
Acquired from the above by Gaetano Marozzi, land surveyor, Ferrara;
Acquired from the above by James Irvine on behalf of Sir William Forbes, 7th Bt. of Pitsligo (1773–1828), 16 February 1828, in Rome, for 50 Crowns ('two small pictures in distemper varnish & united in one frame representing two female saints [...] school of P. Perugino');
Thence by descent until sold ('Property from the Forbeses of Pitsligo'), London, Sotheby's, 28 March 2017, lot 35;
Where acquired by the present owner.
Condition
Both panels are flat and stable, and have a painted decorative pattern on the reverse. Both paint surfaces are quite dirty and both varnishes are discoloured. The network of craquelure has become quite pronounced in both their robes, most notably in Saint Apollonia's, where there is also discoloured retouching visible throughout, where the panel has become uneven with time. There are vertical surface cracks with associated retouching visible in Saint Barbara's legs, and one starting at the upper edge of the right panel, which is approx 8cm long. Inspection under ultraviolet light reveals a thick varnish which fluoresces opaque, underneath which it is possible to discern the aforementioned retouchings, as well as three more concentrated spots: in Saint Barbara's chest, in her right thigh, and below Saint Apollonia's proper left hand. In overall fair 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."
"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
When James Irvine, Sir William Forbes' agent, found these panels, he described them as: 'formerly the two little folding doors of a case for holding the holy oil probably', writing that they are: '[...] so beautiful that I am tempted to believe them early works of Raffaelle being in a broader and softer manner than Pinturicchio or any other scholar of Pietro Perugino I am acquainted with [...].'1 1 Letter from James Irvine to Sir William Forbes, Rome, 29 March 1828.