CIRCLE OF SIMON VOUET
PENITENT MARY MAGDALENE WITH ROSARY, IN A CAVE
oil on canvas
canvas: 38 by 32 in.; 96.5 by 81.3 cm.
framed: 45½ by 39 in.; 115.6 by 99.2 cm.
The canvas is lined. The image reads well, though the paint surface has thinned in the darker hues. Stretcher bar marks run horizontally from the extreme edges through the center of the canvas, a little underneath the sitter's neck. Stable craquelure is visible in the lighter tones. Inspection under UV is difficult to read due to a thick varnish, though scattered spots of retouching to the white sleeves, and skin of the Magdalene fluoresce. An area of old repair is at center where her hair falls. The ground at bottom fluoresces unevenly. Painting is offered framed.
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.
Anonymous sale, Monaco, Sotheby's, 7 - 8 December 1990, lot 76 (as Bolognese School, 17th century).
This painting has the stylistic hallmarks of paintings made by members of Simon Vouet's circle. Although Vouet depicted the Magdalene on multiple occasions, this composition appears to be an invention of this anonymous artist.