ROMAN SCHOOL, 17TH CENTURY | THE PENITENT MARY MAGDALENE IN A CAVE WITH TWO PUTTI
ROMAN SCHOOL, 17TH CENTURY | THE PENITENT MARY MAGDALENE IN A CAVE WITH TWO PUTTI
ROMAN SCHOOL, 17TH CENTURY | THE PENITENT MARY MAGDALENE IN A CAVE WITH TWO PUTTI
ROMAN SCHOOL, 17TH CENTURY | THE PENITENT MARY MAGDALENE IN A CAVE WITH TWO PUTTI
ROMAN SCHOOL, 17TH CENTURY | THE PENITENT MARY MAGDALENE IN A CAVE WITH TWO PUTTI
ROMAN SCHOOL, 17TH CENTURY | THE PENITENT MARY MAGDALENE IN A CAVE WITH TWO PUTTI
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PROPERTY FROM A PRINCETON ESTATE

ROMAN SCHOOL, 17TH CENTURY | THE PENITENT MARY MAGDALENE IN A CAVE WITH TWO PUTTI

Estimate: 5,000 - 7,000 USD

PROPERTY FROM A PRINCETON ESTATE

ROMAN SCHOOL, 17TH CENTURY | THE PENITENT MARY MAGDALENE IN A CAVE WITH TWO PUTTI

Estimate: 5,000 - 7,000 USD

Lot Sold:3,000USD
(3 bids, reserve met)

Lot Details

Description

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

panel: 14⅞ by 12½ in.; 37.6 by 31.5 cm.

framed: 16 by 13½ in.; 40.6 by 34.3 cm.

Condition Report

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.


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

Provenance

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. 

Literature

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). 

Catalogue Note

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, including Leonardo da Vinci, Titian, Diego Velazquez, Peter Paul Rubens, Guido Reni, and Pietro da Cortona.  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, it 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.  

Old Masters Online
Online bidding closed30 Oct 2019 | 05:11 PM GMT