View full screen - View 1 of Lot 32. Sold Without Reserve | AFTER MICHELANGELO MERISI, CALLED CARAVAGGIO | SUPPER AT EMMAUS .
32

Sold Without Reserve | AFTER MICHELANGELO MERISI, CALLED CARAVAGGIO | SUPPER AT EMMAUS

Reserves

Estimate:

20,000

to
- 30,000 USD

Property from a Distinguished Private Collection, Sold Without Reserve

Sold Without Reserve | AFTER MICHELANGELO MERISI, CALLED CARAVAGGIO | SUPPER AT EMMAUS

Sold Without Reserve | AFTER MICHELANGELO MERISI, CALLED CARAVAGGIO | SUPPER AT EMMAUS

Estimate:

20,000

to
- 30,000 USD

Lot sold:

16,250

USD

Property from a Distinguished Private Collection, Sold Without Reserve

AFTER MICHELANGELO MERISI, CALLED CARAVAGGIO

SUPPER AT EMMAUS 


oil on canvas, unframed

canvas: 57¾ by 78¼ in.; 146.6 by 198.8 cm.

The painting appears to likely be still from the 17th century, presumably made when the London original had passed into the Borghese collection. The painting is relined with a wax relining and is on a modern stretcher. The painting makes a strong impression overall, reflecting both the impact of Caravaggio's composition and the current painting's size, which matches the original. The surface appears to be somewhat dirty and the painting has not been fully addressed for some time. The balance of color is relatively good, with the jacket of the apostle at left gone slightly darker in oxidation. There are surface scuffs scattered here and there. To the naked eye, there are old restorations visible, including a repaired and retouched tear in the background at upper left. A horizontal canvas seam is visible in the lower third. Under UV: scattered restorations, most of which appear to address issues in the background, including the aforementioned repair. In the figures themselves, there some touches here and there in the red and white clothing of Christ, although his flesh tones seem relatively good. In the Apostle at right, there are scattered old touches. Some restorations also visible in parts of the still-life and white table cloth. All of these, however, appear to be serviceable at present, although a cleaning may make them slightly more apparent. Overall, this is an impressive picture in reasonable state for its size and age. Offered unframed.


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.

Possibly, Jaworowski collection, Berlin, circa 1880;

From whom acquired by K. Radomski, 1969;

With Jacek Bukowski, Poland;

From whom acquired by a private collector, 1997;

Anonymous sale, South Kensington, Christie's, 11 April 2013, lot 114;

There acquired for $28,877.  

This painting is after Caravaggio's painting in the National Gallery of Art, London. Caravaggio's original, which compares in size to the present lot, was commissioned in 1601 by Ciriaco Mattei, a Roman nobleman.


1. Inv. no. NG172, oil and tempera on canvas, 141 by. 196.2 cm.

https://www.nationalgallery.org.uk/paintings/michelangelo-merisi-da-caravaggio-the-supper-at-emmaus