GIUSEPPE CESARI, CALLED CAVALIERE D'ARPINO | THE DEAD CHRIST SUPPORTED BY GOD THE FATHER AND TWO ANGELS
GIUSEPPE CESARI, CALLED CAVALIERE D'ARPINO | THE DEAD CHRIST SUPPORTED BY GOD THE FATHER AND TWO ANGELS
GIUSEPPE CESARI, CALLED CAVALIERE D'ARPINO | THE DEAD CHRIST SUPPORTED BY GOD THE FATHER AND TWO ANGELS
GIUSEPPE CESARI, CALLED CAVALIERE D'ARPINO | THE DEAD CHRIST SUPPORTED BY GOD THE FATHER AND TWO ANGELS
GIUSEPPE CESARI, CALLED CAVALIERE D'ARPINO | THE DEAD CHRIST SUPPORTED BY GOD THE FATHER AND TWO ANGELS
GIUSEPPE CESARI, CALLED CAVALIERE D'ARPINO | THE DEAD CHRIST SUPPORTED BY GOD THE FATHER AND TWO ANGELS
20

SOLD WITHOUT RESERVE

GIUSEPPE CESARI, CALLED CAVALIERE D'ARPINO | THE DEAD CHRIST SUPPORTED BY GOD THE FATHER AND TWO ANGELS

Estimate: 10,000 - 15,000 USD

SOLD WITHOUT RESERVE

GIUSEPPE CESARI, CALLED CAVALIERE D'ARPINO | THE DEAD CHRIST SUPPORTED BY GOD THE FATHER AND TWO ANGELS

Estimate: 10,000 - 15,000 USD

Lot Sold:8,750USD

Lot Details

Description

GIUSEPPE CESARI, CALLED CAVALIERE D'ARPINO

Arpino or Rome 1568 - 1640 Rome

THE DEAD CHRIST SUPPORTED BY GOD THE FATHER AND TWO ANGELS


oil on canvas

26 by 19⅝ in.; 66 by 49.9 cm.


Renowned Art Dealer Fabrizio Moretti and The Strokes' Fab Moretti Collaborate

Condition Report

The painting has been tightly relined and the paint surface is slightly pressed as a result. The surface is clean and the painting is presentable. The paint surface overall has been very well retained and detail is very good throughout. Examination under UV light reveals scattered very small retouches evenly distributed. There are larger areas of retouching in the background at upper right and left, and an area under Christ's legs in the white drapery over what may have been a compound tear. Another area of retouching runs horizontally through Christ's lower legs over to the right edge. These restorations have been well applied and there is no need for further work. Offered in a carved and gilt wood frame with minor nicks at the edges.


The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot provided by Sotheby's. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colours and shades which are different to the lot's actual colour and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation because Sotheby's is not a professional conservator or restorer but rather the condition report is a statement of opinion genuinely held by Sotheby's. For that reason, Sotheby's condition report is not an alternative to taking your own professional advice regarding the condition of the lot

Cataloguing

Catalogue Note

We are grateful to Dr. Marco Simone Bolzoni, who had previously endorsed the attribution to the Cavaliere d'Arpino. The artist likely painted it late into his career, as it resembles an autograph painting of the same subject from circa 1630-35 in the Fondazione Sgarbi-Cavallini.1 


We are also grateful to Professor Herwarth Röttgen for suggesting an alternate attribution to Bernardino II Cesari (Rome 1623 - 1703) on the basis of photographs. He was the second son of Cavaliere d'Arpino, and the successor to his father's studio.


1. Oil on panel, 44.6 by 55.8 cm. See H. Röttgen, Il Cavalier Giuseppe Cesari D'Arpino, Rome 2002, p. 470, cat. no. 251, reproduced.

Fabrizio Moretti x Fabrizio Moretti | In Passing
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