Alessandria circa 1585 - after 1635
THE ADORATION OF THE SHEPHERDS
oil on copper, an oval
12¼ by 16¾ in.; by 31.2 by 42.5 cm.
The copper is flat and stable. A decorative image reads well. There is a thin, diagonal scratch that is barely visible between the praying figure and the Virgin. Some minor dots of loss are scattered, like on the bag of the figure at far left. Some small dots of retouching that have discolored are scattered here and there like in the top left quadrant. These scattered, small dots of retouches fluoresce under UV. Offered in a giltwood, oval-shaped frame.
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
Private collection, France, circa 1990;
With Bob Haboldt, 2005.
Vermiglio's choice of copper for the support of this charming, small-scale representation of the Adoration is unusual within his œuvre. Little is known of Vermiglio's life, but he is recorded in Rome by 1604, when he was in the studio of an Adriano de Monteleone before returning to his native Piedmont before 1622. While in Rome his work was profoundly influenced by Caravaggio, but upon his return north, his style was more strongly influenced by Lombard and Bolognese masters such as Giulio Cesare Procaccini and Guido Reni.