FLAMINIO TORRE | The Nativity

In the collection of the family of the present owner since at least 1950.

The painting has been relined, the paint surface is dirty and the varnish is discoloured and streaky in parts. It is in overall good condition. There are small paint losses caused by flaking in the upper left, upper right, lower right and lower left, and a superficial surface scratch in the Madonna’s forehead, approx. 5cm. long, all visible in the catalogue illustration. Inspection under ultraviolet light appears to reveal very little retouching - there is a small patch in the cheek of the figure, upper right, and some small spot retouchings in the Madonna’s outstretched palm, in the white drapery below the Child, and also possibly in Joseph’s fingers and around the Madonna’s nose.
"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 present work is arguably Flaminio Torre's most accomplished, in which his effective use of strong shadows imbues the scene with an intense sense of drama and pathos, brought to focus in the warm light emanating from the Christ Child lying in the manger at the centre of the composition. Torre was first a pupil of Giacomo Cavedoni, and then studied under Simone Cantarini, whose workshop he inherited in 1648. A decade later, he was in Modena, working for Alfonso IV as superintendent of the Galleria Estense, where his curatorial duties included copying the works of other painters. Torre is known to have been an outstanding copyist, and is thought to have produced works in collaboration with his master, and copies after him, as well as other admired artists, such as Guido Reni.¹

We are grateful to Prof. Daniele Benati for proposing an attribution to Flaminio Torre on the basis of photographs, and for describing the work as a capolavoro by the artist.

1 See E. Negro and M. Pirondini, La Scuola di Guido Reni, Modena 1992, pp. 391–408.