GIOVANNI BATTISTA SALVI, CALLED SASSOFERRATO | The Madonna in Prayer

The canvas is lined, the paint surface is dirty and the varnish is very discoloured. There are a handful of losses in the upper left and right corners, along the upper margin and along parts of the lower margin. All four corners, in fact, have been made up. There is a shallow diagonal surface scratch approx. 5 cm. long in her red sleeve, and several discoloured spot retouchings visible scattered in her hands and neck. Inspection under ultraviolet light confirms these, and reveals further very small retouchings in the Madonna's face and to each corner, but little other intervention is visible under the opaque varnish. In overall good condition. Offered in a carved and gilt wood frame with some losses.
"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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

The composition of the Madonna in Prayer is one of Sassoferrato's most celebrated and was repeated by him in numerous variations that differ primarily in the Madonna's drapery and headdress. The Counter Reformation's increased emphasis on veneration of the Virgin and the huge upsurge in literature and art surrounding the Marian cult meant Sassoferrato's intense and moving depictions of the Madonna were much in demand. Of this particular variant, six versions are known, of which the present work can be considered the finest due to its superior dimensions and framing of the Madonna within the composition to include more of her bust and her arms. 

We are grateful to Professor François Macé de Lepinay for endorsing the attribution to Sassoferrato on the basis of photographs.