View full screen - View 1 of Lot 41. ‘La Pescatrice’ (The Fisherwoman), or An Allegory of Fraud | 《女漁夫》或《欺詐的寓言》.
41

Baldassare Franceschini, called Il Volterrano

‘La Pescatrice’ (The Fisherwoman), or An Allegory of Fraud | 《女漁夫》或《欺詐的寓言》

Estimate:

80,000

to
- 120,000 GBP

Property from the Collection of the late Baron Eden of Winton

Baldassare Franceschini, called Il Volterrano

Baldassare Franceschini, called Il Volterrano

‘La Pescatrice’ (The Fisherwoman), or An Allegory of Fraud | 《女漁夫》或《欺詐的寓言》

‘La Pescatrice’ (The Fisherwoman), or An Allegory of Fraud | 《女漁夫》或《欺詐的寓言》

Estimate:

80,000

to
- 120,000 GBP

Lot sold:

302,400

GBP

Property from the Collection of the late Baron Eden of Winton

Baldassare Franceschini, called Il Volterrano

Volterra 1611 - 1689 Florence

‘La Pescatrice’ (The Fisherwoman), or An Allegory of Fraud



oil on canvas, oval, in its original carved and gilded Florentine seventeenth-century frame

94 x 73.5 cm.; 37 x 28⅞ in.


溫頓的艾登男爵故藏

巴爾達薩雷・弗朗切斯基尼,或稱沃爾泰拉諾

1611年生於沃爾泰拉,1689年卒於佛羅倫斯

《女漁夫》或《欺詐的寓言》


油彩畫布,橢圓形,未經托裱,配原裝雕花鎏金十七世紀佛羅倫斯畫框

94 x 73.5 公分;37 x 28⅞ 英寸

The following condition report is provided by Henry Gentle who is an external specialist and not an employee of Sotheby's:


Il Volterrano

The Fisherwoman or Allegory of Fraud

Oval oil on canvas in its original carved and gilded Florentine seventeenth-century frame 


The painting is unlined and tension is maintained throughout. The outer edge of the canvas has been strip lined.


The paint layer is slightly raised, viewed in raking light, but stable and secure and in a very good preserved condition.

There is a recent small visible loss to the back of her left hand and, seen under u-v light, previous minor pitted loss has occurred in this area and been rectified.


Very minor loss can also be detected to an area above her proper left eye, around the eye, the tip of her nose and to her lips.

One or two small losses can be seen to her chest, to the blue of her dress beneath, and to the water in the basin.


Texture within the lively brushwork is in good original condition and fine details are intact, including the impasted highlights to the clasp of her coral bracelet, the rim of the basin and within her white shawl.


Chromatic integrity has been retained; the shadows to the folds of her blue dress have been slightly compromised leading to a loss of modelling and there has been some minor corrected flaked loss here.


No appreciable tonal advantage would be gained by removal of the varnish.


The painting presents well.


To request a condition report for this lot, please contact 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.

Commissioned by the marchese Fedinando di Niccolò Ridolfi (1623–1676), Florence;

By inheritance to his brother Pietro Ridolfi (d. 1688), Florence;

Niccolò di Pietro Ridolfi (1662–1727), Florence;

By inheritance to Paris Canonici Ridolfi, Florence (d. 1746);

By inheritance to Stiozzi Ridolfi, Florence;

Anton Filippo Stiozzi Ridolfi (1752–1824);

Probably Conte Orsini, Florence;

Acquired in Florence in December 1829 by Sir William Eden, 6th Bt of West Auckland and 4th Bt of Maryland (1803–1873), Windlestone Hall, County Durham (inscribed on the reverse of the frame and on the stretcher: Sir. W. Eden 39);

Thence by descent to John Eden, 9th Bt of West Auckland and 7th Bt of Maryland, Baron Eden of Winton (1925–2020).

F. Baldinucci, Notizie de' professori del disegno da Cimabue in qua, Florence 1681–1728, F. Ranalli (ed.), Florence 1845–47, vol. V, p. 160 (as ‘una Pescatrice coll'amo e con un pesce, figurata per la Fraude’);

Recorded in a nineteenth-century ms. plan of the hang at Windlestone Hall, Catalogue of Pictures, Windlestone, hanging on the north side of the Gallery, oval, as: ‘La Pescatrice said to be by Domenichino’; attribution crossed out and inscribed underneath: ‘Albano/ The first Picture/ I ever bought. I/ found it in a Bankers/ office at Florence in/ Decr. 1829–30.’;

Pictures, ms. list, 19th century (in Sir William Eden’s hand?), no. 24: ‘Elisabetta Serani 1638–1664. La Pescatrice [...]’; with annotation: ‘Bt in Florence, 1829’;

‘The Private Collections of England, No. XXX Windlestone Hall’, The Athenaeum, no. 2599, 18 August 1877, p. 217 (as Sirani, ‘[...] not without cause, sometimes ascribed to Albano’);

Description of pictures at Windlestone, ms., 8 February 1884, fol. 2 r.: ‘La Pescatrice/ This Picture is of the best period of the Bolognese school [...]’; 

Pictures that are Heirlooms, ms list, n.d.: ‘“La Pescatrice” oval by Elisabetta Sirani/ 1638–1664’;

Pictures at Windlestone, ms. list, 1909, as hanging in East Hall, no. 12: ‘Elisabetta Sirani’; with annotation: ‘Has been attributed to Albano’;

Catalogue of the Pictures at Windlestone, ms. list, n.d., no. 12: ‘Elisabetta Sirani (1638–1664)/ La Pescatrice (oval)/ Elisabetta Sirani was a pupil of Guido Reni.’;

Manuscript notebook, early 20th century and before 1922 (date when the Fabritius was purchased by the NACF), as hanging in the East Hall, no. 28 (crossed out and renumbered ‘25’): ‘Elisabetta Sirani/ La Pescatrice, oval [...]/ Found in a banker’s office, Florence, 1829.’;

G. Ewald, in Jahrbuch der Staatlichen Kunstsammlungen in Baden-Württemberg, 1975, p. 347;

G. Ewald, ‘Unknown works by Baldassare Franceschini, called Il Volterrano (1611–1689)’, The Burlington Magazine, CXV, no. 842, May 1973, p. 276 (as ‘una Pescatrice coll'amo e con un pesce, figurata per la Fraude’);

C. McCorquodale, Catalogue of an Important Group of Drawings by Baldassare Franceschini called Il Volterrano, Sotheby’s, London, 3 July 1980, under lot 55;

G. Ewald and M. Kopplin, Von Manierismus zum Barock, Italienische Gemälde des sechzehnten und des siebzehnten Jahrhunderts aus dem Besitz der Staatsgalerie Stuttgart, exh. cat., Staatsgalerie, Stuttgart, 11 December 1982 – 13 February 1983, under no. 17, p. 52 (as ‘una Pescatrice coll'amo e con un pesce, figurata per la Fraude’);

M. Privitera, ‘Disegni del Volterrano per i dipinti di Ferdinando Ridolfi’, Paragone, LI, 33–34, 607–609, September–November 2000, pp. 68–69 and 78–79;

M.C. Fabbri, A. Grassi and R. Spinelli, Volterrano Baldassare Franceschini (1611–1690), Florence 2013, pp. 216, 345 and 363–64, no. OP 78 (listed under Lost Works).