View full screen - View 1 of Lot 159. SEBASTIANO RICCI | THE LAST SUPPER.
159

SEBASTIANO RICCI | THE LAST SUPPER

Estimate:

200,000

to
- 300,000 USD

Property from a Distinguished Private collection, Washington, D.C.

SEBASTIANO RICCI | THE LAST SUPPER

SEBASTIANO RICCI | THE LAST SUPPER

Estimate:

200,000

to
- 300,000 USD

Lot sold:

378,000

USD

Property from a Distinguished Private Collection, Washington, D.C.

SEBASTIANO RICCI

Belluno 1659 - 1734 Venice

THE LAST SUPPER


oil on canvas

29½ by 49⅞ in.; 74.9 by 126.7 cm.

The following condition report has been provided by Simon Parkes of Simon Parkes Art Conservation, Inc. 502 East 74th St. New York, NY 212-734-3920, simonparkes@msn.com, an independent restorer who is not an employee of Sotheby's.


This work has an old lining which still seems to support the paint layer well. There are some stains on the reverse, but this does not correspond to any active mold. The paint layer remains well textured and finely preserved. Under ultraviolet light, only a couple of spots are visible in the darker clouds in the upper right and around the extreme edges. The work may be slightly dirty, but it is not unattractively so. There is a detached element on the top edge of the frame that should be repaired. The work could otherwise be hung 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." 


"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."

With Agnew's, London;

Miller sale, London, Christie's, 4 December 1956;

W. Smith, New York[?];

With Paul Drey Gallery, New York, before 1976 (according to Daniels, see Literature);

With Bob Haboldt & Co., New York (according to a label on reverse);

With Kohl & Lang, Zurich;

From whom acquired, 1999.

J. Daniels, Sebastiano Ricci, Hove 1976, p. 80, no. 263, reproduced fig. 270;

J. Daniels, L'opera completa di Sebastiano Ricci, Milan 1976, p. 128, no. 433, reproduced;

A. Scarpa, Sebastiano Ricci, Milan 2006, p. 256, no. 324, reproduced p. 665.

The present lot is the prime version of this composition by Sebastiano Ricci, of which several other high-quality versions are known. Other examples are today at the Convent of Nobili Dimesse, Padua; the Sarah Campbell Blaffer Foundation, Houston; and Worcester College, Oxford. The Last Supper is an iconic subject in the history of Italian art, and Ricci’s interpretation of the theme emphasizes the animation of the many figures. Annalise Scarpa, in her catalogue raisonné on the artist, dates this painting to the 1730s, when Ricci’s works become more intimate and his forms softer.


Ricci has included more than the requisite thirteen figures in this energetic scene. At center, Christ is shown blessing the bread, thus initiating the sacrament of the Eucharist. A light blue halo encircles His head as He gazes up at cherub heads floating above. The twelve disciples are arranged dynamically around the table, leaning over to engage in debate. Judas alone stands at the front side of the table as if to leave, clutching his bag of silver. In addition to the figures described in the Biblical story, Ricci depicted three servers at left and center, a woman holding an infant on her hip at right, and a dog licking a plate in the foreground. Illegible inscriptions on the wall lend an air of sacred mystery to the scene while the decorative pilasters and marble flooring reflect contemporary eighteenth century interiors.