Property from a European Private Collection
Florence 1588 or 1591 - after 1652
Allegory of Painting
oil on canvas
64 x 49 cm.; 25¼ x 19¼ in.
The canvas is lined, the paint surface is slightly dirty with an only slightly discoloured varnish. Inspection under ultraviolet light reveals some fine lines of retouching scattered in the left side of the figure's face, to disguise the appearance of craquelure, as well as a more concentrated patch in her nose. There is also wash retouching throughout her proper right cheek, and some strengthening along the left side of her face, both pupils, her neck, and some of the lower strands of her hair. Retouchings are also visible in her proper right hand, consisting of a few fine lines and a more concentrated area near her wrist, 2 x 1 cm., as well as some small retouchings in the knuckles of her left hand. There is also retouching scattered along the upper right and lower margins, with more concentrated wash retouching along the right side of the upper margin and upper half of the right margin. None of these detract from the legibility of the image, and the painting appears ready to hang in its current state.
"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."
Anonymous sale, Paris, Christie's, 15 December 2004, lot 519 (as circle of Lupicini).
S. Bellesi, Catalogo dei pittori fiorentini del '600 e '700, Florence 2009, vol. I, p. 183;
F. Baldassari, La pittura del Seicento a Firenze. Indice degli artisti e delle loro opere, Turin 2009, p. 470 (as a workshop replica);
G. Cantelli, Repertorio della pittura fiorentina del Seicento. Aggiornamento, Pontedera 2009, p. 126.
The composition is known in several other versions, the best probably that in the Columbia Museum of Art, South Carolina.1 Filippo Gheri, whose written expertise endorsing the attribution to the artist accompanies the present lot, dates both the present and the Columbia versions to the latter part of the 1620s.
1 See Bellesi 2009, vol. III, p. 58, reproduced fig. 934.