View full screen - View 1 of Lot 3. Portrait of a woman, half length.
3

Roman artist active in the ambit of the young Caravaggio, circa 1590-1600

Portrait of a woman, half length

Property Sold to Benefit the Acquisition Fund of the San Diego Museum of Art

Roman artist active in the ambit of the young Caravaggio, circa 1590-1600

Roman artist active in the ambit of the young Caravaggio, circa 1590-1600

Portrait of a woman, half length

Portrait of a woman, half length

Property Sold to Benefit the Acquisition Fund of the San Diego Museum of Art

Roman artist active in the ambit of the young Caravaggio, circa 1590-1600

Portrait of a woman, half length


oil on canvas

canvas: 29 ⅜ by 23 ¾ in.; 75.9 by 60.3 cm.  

framed: 37 ½ by 31 ½ in.; 95.2 by 80 cm. 

The canvas is lined and is taut and stable on its stretcher. The painting presents a strong overall image beneath a clear varnish and it appears to be in good condition overall. Very lovely passages of detail are still well preserved, particularly in her costume and jewelry, including the delicate flower above her ear at right. There is a very faint pattern of craquelure visible, though not distracting. There is one restored repair in the background to the left of her face. Inspection under UV reveals scattered spots of cosmetic retouching here and there in her face, some spots on her chest and neck, and some more concentrated strokes in her hand. Other small scattered cosmetic spots in her costume and here and there in the background. The painting is ready to hang. Offered in a decoratively carved giltwood and painted 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. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colors and shades which are different to the lot's actual color 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. The condition report is a statement of opinion only. For that reason, the condition report is not an alternative to taking your own professional advice regarding the condition of the lot. NOTWITHSTANDING THIS ONLINE CONDITION REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE/BUSINESS APPLICABLE TO THE RESPECTIVE SALE.

Please note that the catalogue entry for this lot has been updated online. Please also note the addition of the following 2016 publication by Franco Moro to the cataloguing of this lot. F. Moro, Caravaggio Sconosciuto: Le origini del Merisi, eccellente disegnatore, maestro di ritratti e di “cose naturali”, Turin 2016, pp. 128-129, reproduced fig. 137, plate 122 (as the young Caravaggio).
Anonymous sale, London, Christie's, 18 July 1924, lot 21 (as Sofonisba Anguissola, said to be a portrait of the artist);
With Dr. Hans Schaeffer Gallery, Berlin, by 1926/8;
With Jacob M. Heimann, by 1939;
From whom acquired by Misses Anne R. and Amy Putnam (as Caravaggio);
By whom gifted to the Fine Arts Gallery, San Diego, 1942 (inv. no. 1942.26)

H. Voss, "An Unknown Early Work by Caravaggio," in Burlington Magazine, 51, 1927, pp. 180-183, reproduced plate 1A (as Caravaggio);

Masterpieces of Art at the New York World's Fair, New York 1940, no. 44;

H. Voss, "Ein unbekanntes Frühwerk Caravaggio," in Die Kunst, 1941, pp. 410-412 (German reprint of Voss 1927);

E.P. Richardson, "The Caravaggio Portrait in San Diego," in Art Quarterly, 1942, pp. 183-188 (as Caravaggio);

R. Longhi, "Ultimi studi sul Caravaggio e la sua cerchia," in Proporzioni, 1, 1943, p. 39 (as possibly Ottavio Leoni);

J.G. Andrews, A Catalogue of European Paintings, 1300-1870, San Diego 1947, pp. 32-33 (as Caravaggio);

The Fine Arts Gallery of San Diego, San Diego 1960, pp. 69-70;

R. Jullian, Caravage, Lyon and Paris 1961, pp. 36, 40, 65, 231 (under section of doubtful works, but datable to circa 1590);

A. Ottino della Chiesa, L'Opera completa del Caravaggio, Milan 1967, pp. 109-110;

M. Kitson, The Complete Paintings of Caravaggio, London 1969, p. 111, cat. no. 109, reproduced p. 109 (under section of works formerly attributed to Caravaggio);

B. Frederickson and F. Zeri, Census of Pre-Nineteenth Century Italian Paintings, Cambridge, MA 1972, pp. 44, 631 (as attributed to Caravaggio);

M. Marini, "Gli esordi del Caravaggio e il concetto di 'natura' nei primi decenni del Seicento a Roma," in Artibus et Historiae, 2.4, 1981, p. 41, 60, 61, reproduced fig. 3 (as Caravaggio, datable to circa 1594);

M. Marini, "Un Ritratto di donna con collana d'oro del Caravaggio," in Scritti di storia dell'arte in onore di Federico Zeri, Milan 1984, vol. 2, pp. 580-587;

H.W. Kruft, “Ottavio Leoni als Porträtmaler,” in Storia dell’arte, 72, 1991 (as Ottavio Leoni);

M. Marini, in Caravaggio e il Genio di Roma: 1592-1623, exhibition catalogueRome 2001, p. 40 (attributed to Caravaggio);

F. Solinas, "La Signora degli Scorpioni. Un inedito di Ottavio Leoni (1578-1630) e qualche ritratto romano del tempo di Caravaggio," in C. Volpi (ed.), Caravaggio nel IV Centenario della Capella Contarelli, Atti del Covegno Internazionale di Studi, Rome 2001, p. 250, reproduced fig. 15 (as Leoni, datable circa 1595-1600);

B. Sani, La fatica virtuosa di Ottavio Leoni, Turin 2005, pp. 30-31 (as Leoni, datable circa 1600-1610);

F. Petrucci, Pittura di ritratto a Roma. Il Seicento, Rome 2008, vol. III, p. 514 (as possibly Caravaggio);

F. Solinas, Ottavio Leoni (1578-1630), Le portraits de Berlin, Rome 2013, pp. 22, reprduced fig. 13 (as Leoni, dated circa 1603-1605);

J. Marciari, Italian, Spanish, and French Paintings before 1850 in the San Diego Museum of Art, San Diego 2015, pp. 190-193, cat. no. 38, reproduced (as Attributed to Caravaggio, circa 1592-1594);

F. Moro, Caravaggio Sconosciuto: Le origini del Merisi, eccellente disegnatore, maestro di ritratti e di “cose naturali”, Turin 2016, pp. 128-129, reproduced fig. 137, plate 122 (as the young Caravaggio);  

Y. Primarosa, Ottavio Leoni 1578-1630): eccellente miniator di ritratto: catalogo ragionato dei disegni e dei dipinti, Rome 2017, p. 674, cat. no. 19, reproduced fig. 38 (as Ottavio Leoni, and datable to circa 1603-1605).