Property from a Princeton Estate
ROMAN SCHOOL, 17TH CENTURY
THE PENITENT MARY MAGDALENE IN A CAVE WITH TWO PUTTI
bears monogram, crown and inventory number of Don Gaspar de Haro y Guzmán on reverse of the panel: DGH 1364; inscribed with additional inventory number on the reverse: 141
oil on panel
14⅞ by 12½ in.; 37.6 by 31.5 cm.
The panel is flat, uncradled and stable. The paint layer is stable, and the image reads relatively well despite being thinned in some areas. There is a thin crack at the center of the lower edge. There are a few small spots of old retouching visible to the naked eye, for example in the figure's left knee, a spot in her leg, and one small spot in the lower left background. Inspection under UV reveals a thick varnish that fluoresces unevenly throughout, making it difficult to discern possible areas of old restoration. More recent restoration, though, is visible in upper left sky, around the flying putti, and in the foliage at center left. Offered in a simple giltwood frame.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.
Don Gaspar de Haro y Guzmán, Marques of Eliche and VII Marquis of the Carpio, Spanish Ambassador to Rome (1677-1682), Spanish Viceroy of Naples (1683-1687);
Private collection, by the mid-twentieth century;
Thence by descent in the family.
Inventory of Don Gaspar Haro Y Guzmán, Naples, 1687, no. 1364 (as un altro Quadro di p.mi 1. e 1 1/2 con Cornice d'Ebano, e Stragalli Dorati con una Madalena nel Deserto dipinto in pietra lavagna);
M. Burke and P. Cherry, Collections of Paintings in Madrid, 1601-1755, Los Angeles 1997, part II, p. 822, no. 1364, and p. 829, note 11, reproduced fig. 71 (as Italian School, seventeenth century).
Although the author of this panel has yet to be securely identified, the elaborate cipher and inventory on its reverse confirms that it once formed part of the eminent collection of Don Gaspar de Haro y Guzmán. Like his father, Luis Méndez de Haro y Guzmán, Don Gaspar was an avid collector and patron of many artists, such as Leonardo da Vinci, Titian, Diego Velazquez, Peter Paul Rubens, Guido Reni, and Pietro da Cortona, among others. The present painting is not listed on the highly detailed inventory completed in 1682 upon Don Gaspar's move to Naples after the end of his ambassadorship in Rome. Rather, this painting is included, in the more cursory inventory made upon his death in 1687 (see Literature), suggesting that he acquired it either towards the very end of his Roman sojourn or as the Viceroy in Naples.