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73

Simone Cantarini, called Pesarese

Saint John the Evangelist

Property from a Distinguished Private Collection

Simone Cantarini, called Pesarese

Simone Cantarini, called Pesarese

Saint John the Evangelist

Saint John the Evangelist

Property from a Distinguished Private Collection

Simone Cantarini, called Pesarese

Pesaro 1612 - 1648 Verona

Saint John the Evangelist


oil on copper

unframed: 16 by 12 in.; 50.6 by 30.5 cm. 

framed: 20 ¼ by 16 ¼ in.; 51.4 by 41.3 cm.

The following condition report has been provided by Karen Thomas of Thomas Art Conservation, 119 West 23rd Street, Suite 400, New York, NY 10011, 212-562-4024, karen@thomasartconservation.com ,an independent restorer who is not an employee of Sotheby's. This painting is in excellent condition overall. The paint layers, with their enamel-like surface, are free of abrasion, with only a few losses in the red garment. Areas of restored loss are visible under ultraviolet illumination but can also be recognized in raking light by their slightly raised surface. Cracks have begun to develop around the fills. Very careful pinpoint retouches in the red lake, mostly along the left third, are consistent with minute flaking that often develops in red lake glazes due to the drying properties of the pigment. Similar retouching is found in parts of the hair. The varnish is glossy and has begun to develop a microcraquelure in areas. The copper support is structurally sound and planar. Surface cleaning and a varnish revival may eliminate the crack pattern in the varnish, but otherwise this painting may be displayed 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.

NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Paul H. Ganz;
By whom sold, New York, Sotheby's, 7 April 1988, lot 188;
There acquired by private collector;
By whom sold, New York, Sotheby's, 5 October 2001, lot 62;
There acquired by the present collector.

Cantarini was arguably Guido Reni's most gifted pupil, but he was also his most irascible. He left Pesaro for Bologna in 1635 with the specific intention of meeting Reni, whose works he had admired in the Marches, and indeed he was soon to be apprenticed in the master's workshop. By 1637, however, Cantarini had been forced to leave Bologna following an acrimonious split with Reni due, if one is to believe the biographer Malvasia, to Cantarini's petulant character. It was only after Reni's death in 1642 that Cantarini returned to Bologna, setting up his own independent studio there. Despite their personal differences, Reni was undoubtedly the single over-riding influence in Cantarini's work throughout his artistic career. It was only after his return to Pesaro that Cantarini sought inspiration from other painters such as Pier Francesco Mola and Pietro Testa, both of whose influences can be detected here. 


When last sold (see Provenance), Dott. Mario Mancigotti endorsed the attribution to Cantarini.