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Auction Description for Sotheby's: Master Paintings & 19th Century European Art

Master Paintings & 19th Century European Art (185 Lots)

by Sotheby's


185 lots with images

January 27, 2017

Live Auction

New York, NY, USA

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FOLLOWER OF TIZIANO VECELLIO, CALLED TITIAN | The Madonna and Child

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Description: oil on panel, unframed

Condition Report: The following condition report has been provided by Karen Thomas of Thomas Art Conservation LLC., 336 West 37th Street, Suite 830, New York, NY 10018, 212-564-4024, info@thomasartconservation.com, an independent restorer who is not an employee of Sotheby's. This picture has suffered from strong cleaning, leading to loss of detail and substantial wear to the paint overall. To address these defects, an imprecise restoration that only undermines the appearance further has been carried out. The broad restoration attempts to reconstruct the modeling and contours of the forms without teasing any real information from the remaining original; it is likely safe to assume that the restoration conceals a good deal of wear but also a fair amount of original paint. The left portion of Mary's red garment is the least restored area, giving the truest sense of the best-preserved portions of the painting. Tenting following the horizontal grain is visible throughout but appears stable. The varnish is thick and somewhat cloudy. The support has been thinned and trimmed, additions have been added to the perimeter and a cradle attached to the reverse. Stress from the restrictive nature of the cradle has caused horizontal cracks to develop across the surface. "This lot is offered for sale subject to Sotheby's Conditions of Business, which are available on request and printed in Sotheby's sale catalogues. The independent reports contained in this document are provided for prospective bidders' information only and without warranty by Sotheby's or the Seller."

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MILANESE SCHOOL, 16TH CENTURY | Salvator Mundi

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Description: oil on panel, unframed

Condition Report: Oil on panel, unframed. The work is very slightly concave from left to right. There is a structure built onto the back of the panel for support. There is a vertical crack to the panel extending almost from top to bottom through the face and body of Christ to the left of Christ's proper right eye. Additional smaller panel cracks extending from the top edge are evident, including one extending through Christ proper left eye to the bottom of his hair. Some minor undulation to the left side of the panel especially in the shoulder of Christ where the panel is noticeably convex. The surface is abraded with evidence of losses, abrasions, and craquelure throughout. Nicks and losses are evident at all edges of the panel. Little retouching is evident under UV light.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.

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SPANISH SCHOOL, 16TH CENTURY | The Madonna and Child

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Description: oil on panel, unframed

Condition Report: Oil on panel, unframed. It appears that the original panel has been inset into a larger panel. The dimensions of the painted panel are 36.5 by 50.5 cm. The panel itself is slightly concave from left to right. Evidence of panel cracks extending vertically are visible, especially from the top edge through the Madonna's hair and ear; also in the Madonna's face. Craquelure, pigment separation, and discolored retouches are visible throughout the work. Under UV light, retouching to the aforementioned vertical panel crack as well as around the virgin's ear. Additional strengthening to the darks in the virgin's cloak; retouches to the abrasions in the Madonna's chest, breast, hand and throughout the Christ child and his clothing. The Madonna's face is covered by a lightly fluorescing varnish. The background does not appear to have been retouched, but is abraded.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.

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PIETRO DI FRANCESCO DEGLI ORIOLI | Saints Bernardino, Blaise, Peter, Paul, Anthony Abbot and Catherine of Siena, with the coats-of-arms of the Piccolomini and Pannocchieschi d’Elci families

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Description: tempera and gold on panel

Condition Report: The following condition report has been provided by Karen Thomas of Thomas Art Conservation LLC., 336 West 37th Street, Suite 830, New York, NY 10018, 212-564-4024, info@thomasartconservation.com, an independent restorer who is not an employee of Sotheby's. Overall this painting appears to be in fair condition, with the individualized depictions of the saints holding up relatively well over time. It appears the panel was altered at some point in time, possibly including the removal of a central figure such as an Ecce Homo, bringing together the remaining sections and perhaps adding the coats of arms at the ends. Several campaigns of retouching include restoration of losses — likely the result of old worm tunneling throughout the panel — along a meandering crack that extends across the support, as well as what appears to be overly broad retouching to conceal wear or losses in some of the saints' garments. Areas of lifting are found along the aforementioned crack. The arches separating the saints were originally executed in punched gold leaf but have been overpainted with a decorative motif that almost completely covers the original patterned gilding but skirts the red and gold cherubim hovering between the saints. The opacity of the overpaint, which seems to include the blue-green background as well, makes it difficult to determine the level of preservation of the underlying gilding. An uneven, very glossy and discolored natural resin varnish imparts an amber cast. The horizontally grained wood panel support displays a moderate vertical convex warp. From the reverse a secondary piece of wood is visible, probably added to stabilize and reinforce the support, covering old wood worm damage. While cleaning to remove the greasy-looking varnish and restoration would reveal defects that are now hidden by overpaint, the overall appearance would improve, particularly with a more focused restoration. Stabilization of the wood support should also be considered to prevent further losses. "This lot is offered for sale subject to Sotheby's Conditions of Business, which are available on request and printed in Sotheby's sale catalogues. The independent reports contained in this document are provided for prospective bidders' information only and without warranty by Sotheby's or the Seller."

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MASTER OF THE SAN NICOLÒ TRIPTYCH | Saint Prosdocimus of Padua

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Description: oil on panel, laid down on artist's board, gold ground

Condition Report: The following condition report has been provided by Karen Thomas of Thomas Art Conservation LLC., 336 West 37th Street, Suite 830, New York, NY 10018, 212-564-4024, info@thomasartconservation.com, an independent restorer who is not an employee of Sotheby's. The painting, in sound condition overall, has been removed from its original wood panel support and given a new support of compressed fiberboard. Wear, most noticeable in the saint's face, may be a result of process of the structural intervention. Retouching to compensate for losses and abrasion is visible with the naked eye due to being slightly off-color from the original. This includes a series of spots down the center of the torso, portions of the gloved hands, and a few patches of the red hem. Smaller losses are scattered throughout the figures depicted in the hem of the outer garment. Several long, slightly diagonal vertical cracks are visible in raking light, remnants of the original wood panel; this may indicate a thin layer of the wood is still extant beneath the new support. An even, near-matte varnish coats the surface. The painting is stable and may be displayed in its current state. Cleaning and new, better-matching retouching could have some positive affect on the appearance but is not strictly necessary."This lot is offered for sale subject to Sotheby's Conditions of Business, which are available on request and printed in Sotheby's sale catalogues. The independent reports contained in this document are provided for prospective bidders' information only and without warranty by Sotheby's or the Seller."

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ORAZIO BORGIANNI | A study of a woman, head and shoulders, possibly Saint Mary Magdalene

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Description: oil on canvas

Condition Report: Oil on canvas, with an old lining. There is some thinness and minor abrasion in the background and hair, but the face of the subject remains clear. In areas, the canvas weave is visible. Under UV light, the majority of the work is covered by a varnish that obscures the picture surface. There is an area of retouching at upper left. Minor scattered retouching in the subject's eyes, the shadows of her eyes, center of her forehead, and to address the visible canvas weave in her face. Framed in a gilt framed and ready to hang in its current condition.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.

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VENETIAN SCHOOL, 16TH CENTURY | Orpheus

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Description: oil on panel, unframed, the upper right corner made up to complete the rectangle

Condition Report: Oil on panel, in a thin wooden frame. The upper right corner has been added at some point in time. Horizontal panel cracks are evident throughout the work, some extending from the left edge to right edge. There is a small loss to the panel to the left of Orpheus, in the red cloak near the center left edge. Surface dirt and dust. Minor abrasions throughout. Under UV light, retouches to the previously mentioned abrasions and panel cracks are evident throughout the work.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.

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NORTH ITALIAN SCHOOL, CIRCA 1600 | Christ carrying the Cross

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Description: oil on canvas

Condition Report: Oil on canvas, lined. The picture surface is covered by a stable web of craquelure that is slightly textured. Surface dirt. Minor abrasions throughout. Under UV light, the varnish fluoresces green and impedes the reading of the work. However there are scattered retouches visible over this varnish, especially at the edges to address frame abrasion and to address stretcher bar marks along the lower edge. Additional scattered retouches visible in and around Christ's face, including a 3 inch vertical area of retouching in Christ's hands at the left, and strengthening to the crown of thorns. In a wooden frame.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.

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FOLLOWER OF RAPHAEL | Portrait of Pope Leo X

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Description: oil on canvas

Condition Report: Oil on canvas, relined. The picture surface is somewhat flattened and the background somewhat thin. Evidence of 2 previous tears in the background at left; a tear at the top of the subject's head; and two tears in the background at right between the subject and the top of the chair. The varnish is unevenly applied and drips are visible to the bottom half of the canvas. Frame abrasion as well as scattered areas of pigment separation. Under UV light, the work is covered by a green fluorescing varnish that obscures the majority of the surface. This varnish has been cleaned from the subjects face, arms, hands, and the papers and bell at lower left. The aforementioned tears - in the background at right, in the subjects head, and in the background at left - fluoresce. Additionally, a few small scattered dots and dashes of retouching are visible in the work.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.

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CIRCLE OF BERNARDINO LUINI | Three flute playing angels with two putti in flight above

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Description: oil on canvas

Condition Report: Oil on canvas, lined. The work appears to have been transferred. The surface is covered by a thick, yellow, discolored varnish. There are areas of retouching scattered throughout the work that are visible to the naked eye. There are also losses visible at all edges. Under UV light, while the majority of the work is covered by a green fluorescing varnish there are retouches visible, mainly at the edges and through the upper center area of the work. The flute playing angels are, for the most part, free from visible retouching. In a gold wood frame. 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.

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FOLLOWER OF ANTHONY VAN DYCK | The Crucifixion

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Description: oil on copper, nailed to a wooden support

Condition Report: Oil on copper, nailed to a wooden support that is cradled. The edges of the copper, along with the nails, are visible along the left and right edges. There is some minor undulation to the copper, especially at the center where it is very slightly convex. There is a small dent near the Baptist's proper right elbow. The picture surface is in overall good condition aside from small scattered losses that have been retouched and are visible to the naked eye. These are visible in the sky; at the proper left shoulder of the virgin; to the left of the Baptist's face; and in the face of the horse at left. Some thinness to the panel at upper left. Under UV light, the aforementioned retouches fluoresce under UV light. Additionally there are a few small scattered dots and dashes of retouching throughout. In overall good condition and ready to hang.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.

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ANTONIO DE PEREDA Y SALDAGO | Putti holding flowers and an orb

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Description: oil on canvas

Condition Report: Oil on canvas, lined. The picture surface is pressed. The craquelure, mainly in the dark blues along the top, has minor texture. The surface appears clean. Under UV light, there are fine scattered retouches throughout the picture. Areas of more retouching include the olive branch and floral still life at far left; the seraphim's head at lower center left; the area around the central putti's legs; the lower right corner; and a 1" x 2" area in the white of the Virgin's robes. The work presents well and is ready to hang in its current state. In a gold carved frame.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.

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FLEMISH SCHOOL, 17TH CENTURY | A kitchen in a convent

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Description: oil on panel

Condition Report: Oil on panel. The panel is slightly convex from top to bottom. The work is comprised of two horizontal panels, connected by a piece of canvas on the reverse. Retouching to this panel crack isvisible through the center of the work. The work is covered by a dull varnish. Surface dirt and dust. There are minor scattered dents, as well as visible minor losses. Under UV light, retouching is visible throughout the work. Larger areas include: a few of the nun's faces at left; the habit and face of the nun at center; the proper left arm and right knee of the figure at right; and throughout the background. In a thin gold frame.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.

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ROMAN SCHOOL, 16TH CENTURY | The Madonna and Child with the Infant Saint John the Baptist

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Description: oil on copper, unframed

Condition Report: Oil on copper, unframed. The copper is relatively flat aside from bumping and slight bending at the lower right corner; there is tape adhesive visible at all four edges verso. There are losses visible at the extreme edges, including a larger loss near the upper left edge as well as near the right lower edge. The surface appears to be in overall good condition aside from some minor surface dirt. Under UV light there are scattered pinpoint retouches visible throughout the Virgin Mary, Christ, and Saint John the Baptist. There are slightly larger areas of retouching in the extreme foreground.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.

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CIRCLE OF BERNARD VAN ORLEY | Agony in the garden

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Description: oil on panel, rounded top

Condition Report: Oil on panel, with a rounded top. The surface is in generally good condition. There is a minor dent to the panel at the proper left shoulder of the man in red at lower left. Minor surface dirt and dust. Under UV light, minor dots of retouching are visible in the upper third of the work. A slightly larger area of retouching at Christ's elbows. Minor dots and dashes of retouching through the gentleman in red at lower left and along the lower edge. Generally, the work presents well and can be hung in its current condition. In a carved, painted frame with velvet detail. 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.

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ITALIAN SCHOOL, 17TH CENTURY | A blind man, probably Homer, with a child

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Description: oil on canvas

Condition Report: Oil on canvas, not lined. The canvas is relatively slack on the structure. There is one wax hash to the back of the canvas at upper right verso; an additional patch that's upper center, just to the right above the blind man's head wrecked out. Surface dirt and dust. A stable web of widely spaced craquelure. 32 inch long vertical scratches to the surface at lower left corner; an additional horizontal scratch with associated loss. An area of discolored retouching in the subjects forearm, as well as in his hand. Under UV light, the majority of the work is obscured by a green fluorescing varnish. The aforementioned areas at upper left and two upper right above the subjects had florescence. Additionally two dots in the subjects proper left beard; two areas along the left center edge; as well as fluorescing around the aforementioned scratches at lower left. A few small scattered additional dots and dashes of retouching.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.

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GIUSEPPE MARIA CRESPI | The Infant Saint John the Baptist

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Description: oil on canvas

Condition Report: Oil on thickly woven canvas. There is a loss, approximately 1 inch long, along the upper right edge, above St John's fingers. The surface is in generally good condition aside from a stable web of craquelure; surface dirt and dust; and a slightly dirty varnish. Older retouches in Saint John's face, neck and shoulders have lightened with time. Under UV light, scattered retouches are visible throughout the work. A larger area of retouching at upper right corner; small scattered retouches in the background and around the contours of Saint John's face; an area to the left of his ear; and a few slightly larger areas of retouching in the center of his chest, his armpit, and his proper right wrist. And additional horizontal line of retouching, approximately 4 inches long, visible at lower left corner. In a black wood and gilt frame.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.

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ROMAN SCHOOL, 17TH CENTURY | Saint Paul

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Description: oil on canvas

Condition Report: Oil on canvas, with a relatively new lining. The work is on coarsely woven canvas and the structure, especially the top bar, appear period. The surface, while dirty, appears to be in overall good condition. The stretcher bar marks are still visible, as is a repaired tear in the upper left quadrant. Minor frame abrasions at the extreme edges and scuffs and minor dents to the picture surface. A stable web of craquelure. A potential pentimenti at lower right corner. Under UV light, the varnish fluoresces green and obscures the majority of the picture surface. The varnish has been slightly cleaned away in the upper left quadrant; a few additional areas, mainly around the subjects face. Newer retouching visible at the lower left corner and a few scattered dots at the extreme edges.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.

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BOLOGNESE SCHOOL, LATE 17TH CENTURY | The flight into Egypt<br /> 

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Description: oil on canvas, unframed

Condition Report: Oil on canvas, lined. Unframed. The original canvas is somewhat coarse; the edges of the original canvas are visible at the edges, as the work is not framed. The work is somewhat flattened by the lining; there are some areas of abrasion and thinness, especially in the darker passages. The surface is clean. Under UV light, there are retouches scattered throughout the work. Larger areas of retouching are visible along the lower right edge; a horizontal line extending across the center of the picture plane; in the shadows around the virgin and Joseph; and diagonal lines to address previous potential folds of the upper right and left corners.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.

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ANTWERP SCHOOL, 17TH CENTURY | A wooded river landscape with two geese in the foreground

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Description: oil on panel

Condition Report: Oil on panel. The panel is relatively flat, with a slight curve curvat the top and bottom edges. The surface presents very well; the detail remains fresh, as do the colors. Under UV light, there are relatively few retouches visible. Some older retouches are visible to the left of the central tree. Additional darker dots and dashes of retouching are visible in the center of the tree trunk as well as in the leaves at center top. The work presents well and is ready to hang in its current condition. In a faux tortoise frame.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.

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FLEMISH SCHOOL, 17TH CENTURY | Adam and Eve

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Description: oil on panel, unframed

Condition Report: Oil on panel, unframed. The panel is cracked horizontally across the entire surface through the center of both figures' bodies. The upper corners of the panel have been nicked and are slightly lower than the other parts of the panel The surface is fresh and probably recently cleaned. There is craquelure throughout especially evident in the trees and figures of the upper half of the work. The varnish remain slightly tacky. Under UV light there are both older and younger retouches evident throughout.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.

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FRENCH SCHOOL, 16TH CENTURY | Portrait of a gentleman, traditionally identified as François de Valois, duc d'Alençon, bust-length, with a green background

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Description: oil on panel

Condition Report: Oil on panel. While some abrasion is visible, the picture presents well and the detail, especially in the subject's face and jewelry, remains strong. Under UV light, the bottom 2 inches of the work have been retouched. Additional feathered retouchings are visible in the subject's costume, mainly at right. There is a vertical line of retouching through the subject's proper right forehead and cheek, though not his eye. Additional small feathered retouching in his proper left forehead and cheek. Minor retouching to address his hair and the area around his feather hat. Scattered retouching in the background. Overall the work presents well and is ready to hang in its current condition. In a dark, ripple cut wood frame.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.

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HANS SCHÖPFER THE ELDER | Portrait of a woman, bust-length

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Description: oil on panel

Condition Report: Oil on cradled panel. The picture surface is covered by a yellow varnish. Surface dirt and dust. There is some thinness, especially in the background, though the subject's fur wrap retains some of its original detail. Under UV light, there are widely scattered retouches to the background at upper right and upper left. Minor, feathered retouching to the subjects face addresses the vertical craquelure as well as the contours of her nose, chin and eyebrows. Some minor additional strengthening to the costume and in the subject's hands. Overall the work presents well. In a carved wooden frame.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.

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EDWAERT COLLIER | Portrait of a gentleman, three-quarter length, in a black cape, holding a glove, standing in front of a curtain

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Description: oil on canvas

Condition Report: Oil on canvas, lined. The paint surface has been generally well retained and the figure presents well. There is some thinness in the right and left sides of the hair and in areas of the background. Minor frame abrasion is visible along the upper edge. Under UV light, there is retouching throughout the work. Larger areas of retouching are visible along the upper edge and in the subject's cheeks, nose, forehead, and the lower sections of his hair. Additional retouches visible throughout his costume and the background. The painting has been restored, and is ready to hang in its current condition. In a black frame with gilt inner rim; some nicks and 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.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.

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GASPAR PEETER VERBRUGGEN THE YOUNGER | Still life with hollyhock, carnations, and various flowers in a vase on a plinth with a melon, cherries, grapes and plums on a ledge

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Description: oil on canvas

Condition Report: Oil on canvas, with a relatively new lining. The picture surface is in generally good condition. There is the stable web of craquelure, but the picture retains its original detail and, in places, impasto. The color remains bright and fresh. Under UV light, very little retouching visible. There are scattered small retouched, mainly to address darker pigments and shadows. There is a three-quarter inch line of horizontal retouching at center left edge; a 1 inch by half inch area in the left part of the melon in the lower right quadrant; and an approximately 2 inch line below the center of the urn on the stone ledge. In an elaborately carved and gilt gold frame.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.

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CIRCLE OF TOBIAS STRANOVER | Lemurs, a scarlet macaw, a red-billed parrot and a cockatoo, in an exotic landscape

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Description: oil on canvas

Condition Report: Oil on canvas, lined. Your surface is clean though somewhat flattened by the lining. Thinness is evident especially at the upper left corner, where there are also a few visible retouches. Additional thinness throughout the whites. Under UV light, there are scattered small areas of retouching throughout the sky. There is a horizontal line of retouching to the macaw's neck; otherwise scattered dots and dashes of retouching throughout the landscape and figures. Framed and ready to hang.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.

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JOHANN FALCH | Forest floor still life with snails, a lizard, a grasshopper, moths and a snake

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Description: oil on panel

Condition Report: Oil on panel. Panel is beveled on the reverse. The surface is in overall good condition. A stable web of barely perceptible craquelure is visible, in line with the age of the work. There is a small dent to the panel at the center right edge of the green leaves; there is no loss associated with this dent. The colors are bright and fresh. Under UV light, the majority of the work is covered by a green fluorescing varnish. There is an area of florescence at the center lower edge, below the snail. There are three pinpoint dots of florescence visible in the upper right quadrant. Additional pinpoint retouches visible to the left of the grasshopper and along the extreme lower left edge. This work presents very well and is ready to hang in its current condition. In a ripple cut and faux painted wood frame.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.

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JACOB FOPPENS VAN ES | Still life with a basket of fruit and a squirrel, glasses, and a cut melon on a tabletop

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Description: oil on panel

Condition Report: Oil on panel. Cradled and somewhat convex, especially evident at top and bottom edges. There are 2 horizontal panel cracks, visible to the naked eye. They extend across the surface: one through the glass and below the squirrel's head, the other along the top edge of the basket. Aside from panel cracks, the majority of the still life is in overall good condition. Under UV: additional small scattered spots of retouching throughout the background and along the edges.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.

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ATTRIBUTED TO ANGELUCCIO | Two landscapes with travellers

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Description: a pair, both oil on canvas

Condition Report: Travelers in a landscape, a bridge and fields beyond: Oil on canvas, lined. The picture surface is clean and fresh, though somewhat pressed by the lining. A subtle, almost imperceptible, web of craquelure is visible throughout the work. Surface dirt and dust. Under UV light, there are scattered areas of retouching throughout the landscape; additionally there are dots and dashes throughout the sky to address prior craquelure and potential loss. A larger area of darkly fluorescing pigment at the lower right corner. Travelers in a rocky landscape before a waterfall: Oil on canvas, lined. The picture surface is in overall good condition aside from an overall flattened appearance due to the lining. A subtle, almost imperceptible, web of craquelure is visible throughout the work. Surface dirt and dust. There is some thinness in the upper corners of the sky. The edge of the painted surface is visible at upper left in the current framing. Under UV light, there is retouching visible throughout the picture surface, some older and some newer. Older retouching is mainly in the sky. Dots and dashes and small areas of retouching visible throughout the landscape and also in the shadows. A larger area of retouching, possibly associated to a previous tear, visible at the top of the rocky landscape where it meets the tree at right. In black wood frames with carved and gilt outer and inner trim. numerous nicks and 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.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.

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ROMAN SCHOOL, 18TH CENTURY | Classical scene with a queen being offered jewelry, possibly Cleopatra

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Description: oil on canvas

Condition Report: Oil on canvas, with an old sympathetic lining. The canvas is somewhat slack on the stretcher. The work is covered by a dull, dirty varnish. There is a stable web of craquelure over the picture surface; in some areas the separation is more evident, such as in the greenery over the reclining female figure. There are small, scattered, discolored retouches visible throughout the work. Small dots of pale paint are visible scattered in the figure at far left. Frame abrasions visible along the lower edge. Under UV light, the majority of the work is covered by a green fluorescing varnish. There are older retouches visible at the upper left edge and along the upper edge. Small, newer retouches visible in the chaise longer, near the reclining figures shoulder and in the face of the standing figure at left. In a gold wood frame. 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.

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ANDREA LOCATELLI | Bandits in a rocky landscape: a pair

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Description: a pair, both oil on panel

Condition Report: Each oil on panel. The panel is beveled on all four sides on the reverse. The surface of each work is in generally good condition aside from surface dirt and dust and a dull varnish. There is a small loss in the sky at far right of the work with the soldier; this is mainly covered by the current framing. Very minor frame abrasions visible. Under UV light, no discernible retouching is visible under the varnish. Framed in elaborately carved and gilt wood frames and ready to hang in their current condition. 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.

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MATTEO ROSSELLI | Diana the Huntress

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Description: oil on canvas

Condition Report: Oil on canvas with an old lining. The surface has been flattened by this lining. There is a stable web of craquelure, with associated minor losses, especially in the sky at right. There is a small loss above the dog and some scattered retouching that has discolored and is visible to the naked eye. Under UV light, there is a green fluorescing varnish over the majority of the work, though it has been cleaned from the figure and the sky. There are scattered dots of retouching. Some strengthening to the leaves around the sky at upper right and a line of strengthening in the background at left, as well as in the shadows of Diana's belt.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.

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ANTHONY OAKSHETT | Still life of peaches, pears, quince, figs, melon and other fruit

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Description: oil on canvas

Condition Report: Oil on canvas, not lined. The work is in overall excellent condition. There are three bumps along the center lower edge, likely due to something being caught between the stretcher bar and the canvas. Under UV light, there are no apparent retouches visible, though the varnish is somewhat drippy and streaky. Framed in a gold and black wood frame. The picture presents very well and is ready to hang.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.

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ATTRIBUTED TO MARCO RICCI | A capriccio view of San Giorgio Maggiore, Venice

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Description: oil on canvas

Condition Report: Oil on canvas, lined. The picture surface is somewhat pressed by this lining. There are visible, slightly discolored retouches, mainly in the darker clouds along the top edge. In some areas the canvas weave is slightly visible, mainly in the sky. The surface appears clean. Under UV light, there are retouches scattered evenly throughout the picture. Larger areas are visible at the upper left corner and in the sky around the watch tower at left. The figures in the foreground and the majority of the watch tower remain under the old varnish, which fluoresces green and is difficult to read through. The larger area of retouching at the lower left corner and at the base of the watch tower, as well as in the foreground at lower right. The work can be hung in its current condition. In an elaborate carved gilt frame. 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.

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MARCANTONIO SARDI | Landscape with soldiers and dogs near a river, a town in the distance

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Description: oil on canvas

Condition Report: Oil on canvas with an old sympathetic lining. Stable web of cracquelure over the entire surface including circular cracquelure in the upper left quadrant. Scuff marks in the tree at far left and along the central left and lower right edges. Surface dirt and dust and a dirty varnish. Under UV light, some scattered spots of retouching to address cracquelure and previous 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.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.

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CARLO COPPOLA | The massacre of the Innocents

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Description: oil on canvas, unframed

Condition Report: Oil on canvas, unframed and lined. The stretcher is slightly torqued, especially at the lower corners. The surface appears to have recently been cleaned, and is in overall very good condition. There is a stable web of very fine craquelure visible throughout the picture surface. Minor areas of abrasion and accompanying loss, especially at the upper left corner and along the right side of the lower edge. Overall the surface presents well. Under UV light, there is scattered retouching visible throughout the work. This retouching is most evident along the upper edge and throughout the sky, though additional small scattered dots and dashes of retouching are visible throughout the figures the horses and the architecture in the background.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.

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ATTRIBUTED TO LUIGI GARZI | Alpheus and Arethusa

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Description: oil on canvas

Condition Report: Oil on canvas, lined. The canvas is somewhat slack on the stretcher. The stretcher is torqued at the lower left corner. Minor bumping at the upper corners. The surface is clean and fresh. A stable web of craquelure is visible over the entire surface; stretcher bar marks are also visible. Minor areas of pigment separation, especially in the blue of Arethusa's dress. Minor abrasions at the extreme edges. Under UV light, the majority of the work is obscured by a green varnish though there are scattered, older areas of retouching especially in the landscape along the lower edge.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.

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GENOESE SCHOOL, 17TH CENTURY | Christ and Saint Mary Magdalene

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Description: oil on canvas, unframed

Condition Report: Oil on canvas, not lined. The canvas is an old, coarse weave. There is bumping and pulling to the canvas throughout. There is a 3 inch tear at the center of the left edge. Additional scattered areas of loss along the center left edge and in the dress of the female at left. Losses along the stretcher bar marks are visible. A tear at lower right corner associated to the stretcher bar. And additional indent and tear to the canvas to the right of Christ's face. Additional scattered areas of loss including two larger areas with an associated area of retouching stretching vertically through the center of the canvas. The work is in untouched original condition and requires conservation.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.

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GIUSEPPE ZOCCHI | Architectural <em>capricci</em> with figures among classical ruins: a pair

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Description: a pair, both oil on canvas

Condition Report: Oil on canvas, one of the pair recently strip-lined (archway at right). The canvas is somewhat slack on the structure and there is some undulation and bumping visible especially at the top edge due to the stretcher bar. The surface is relatively fresh. Minor surface dirt. Under UV light there are scattered small areas of retouching throughout. The most notable areas are retouching to the afore-mentioned stretcher bar marks at the upper edge; in the upper left and right corners; along the left stretcher bar marks in the sky; A 6 inch long diagonal line of retouching in the sky to the right of the birds; and a 2 inch rectangular area in the sky just above the center horizon line. Additional small scattered areas of retouching visible. The work is in overall good condition and ready to hang. Oil on canvas, with an older lining. The work is relatively taught on the frame, though there is some pulling evident at the center of the right edge. The surface is an overall good condition aside from flattening associated to the lining. Some thinness in the sky. Surface dirt and dust. Some minor abrasions along the lower left edge in the architecture. Under UV light, there is retouching throughout the piece. 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.

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CARLO INNOCENZO CARLONE | The Sacrifice of Iphigenia

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Description: oil on canvas, unframed

Condition Report: Oil on canvas, with a glue lining. Unframed. The paint surface is in generally good condition aside from a slightly yellowed varnish; surface dirt and dust; and a semi-circular dark line extending from the upper right corner into the picture plane, visible in the catalog image. Under UV light, relatively few retouches are visible. Those that are visible are concentrated in the flesh of the central reclining figure; the white drapery; and the flesh tones of the crouching figure at right. Overall the picture presents well. 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.

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FOLLOWER OF FRANCESCO DE MURA | The Adoration of the Magi

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Description: oil on canvas, unframed

Condition Report: Oil on canvas, lined. The surface, while flattened, presents well. Surface dirt and dust; a dirty varnish; a stable web of craquelure visible throughout the surface. Minor abrasions visible at lower right corner as well as along the extreme edges. Under UV light, scattered dots of retouching are visible throughout the upper half of the work. The web of craquelure below the putti at upper center has been retouched, as have craquelure in the Virgin's face and shoulder and in Jesus. Additional scattered dots and dashes of retouching visible in the foreground. In a gilt wood frame.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.

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CIRCLE OF BÉNIGNE GAGNERAUX | The origin of painting

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Description: oil on canvas

Condition Report: Oil on canvas, lined. The picture surface is in overall fair condition aside from surface dirt; a dirty varnish; and widely spaced craquelure more visible throughout the surface. The picture surface is also somewhat flattened from the relining and there are scattered small abrasions especially in the black dog at lower left, in the goat half at lower right, and in the roof of the house at upper right. Under UV light, the surface is covered by a thick green fluorescing varnish that obscures the majority of the work. There is some minor retouching to the craquelure visible.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.

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AFTER CHARLES DE LA FOSSE | The Rest of Diana; The Abduction of Proserpine: a pair

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Description: a pair, both oil on canvas

Condition Report: Each oil on canvas. Each work is in overall fair condition aside from surface dirt and dust; a stable web of craquelure; a dirty varnish; and abrasions from framing at the edges. DIANA: Minor bumping and pulling, especially noticeable at lower right. There is a 1 1/2 inch long vertical loss along the lower right edge. PROSERPINE: Minor bumping, especially at the upper left corner. Frame abrasions, especially along the lower and right edges; minor losses at center left edge. Small area of retouching with associated losses in the water at lower right. Under UV light, there are scattered areas of old retouching in both works.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.

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JEAN-FRANÇOIS-PIERRE PEYRON | Belisarius receiving hospitality from a peasant

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Description: oil on canvas, laid on board, unframed

Condition Report: Oil on canvas, laid on board, unframed. The surface is flattened and dirty. Areas of pigment separation, craquelure, repaired tears and accompanying losses throughout. Minor punctures and/or losses near upper center and at upper left. Scattered retouches throughout have discolored and appear lighter than the rest of the work. Under UV light, retouching is visible along the extreme edges. The varnish has been selectively cleaned from the lighter pigments, including the white dress and wrap of the baby at center; the seated woman at lower center; and the table cloth at lower right. Scattered retouches appear throughout, including to address the aforementioned tears. 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.

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JEAN-FRÉDÉRIC SCHALL | Mademoiselle Duthé Dancing (Rosalie Gérard, 1752-1820)

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Description: oil on panel, irregular shape

Condition Report: Oil on panel. The panel is somewhat convex from left to right. While the surface is slightly abraded, the figure presents well and retains detail in her costume. Under UV light, there are scattered retouches to the background, particularly at the lower left corner. The majority of these retouches appear to be older. The figure's proper left hand has been retouched, and additional small areas of retouching are visible in her costume, along her right cheek line, the contours of her nose, and the left part of her face. Overall the picture presents well and could be hung in its current condition. In a gilt plaster frame.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.

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FOLLOWER OF JEAN-BAPTISTE PERRONNEAU | Portrait of a lady holding cornflowers

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Description: pastel on parchment

Condition Report: Pastel on vellum. The vellum has been mounted onto a wooden structure, as if a canvas. There are small pieces of wood that have been attached to the top and bottom of the structure to fit the current framing. The vellum is ripped at the extreme upper left corner; there's also an additional rip at the center of the top edge. These ribs appear to be in an extension to the original vellum. The surface of the work is in overall good condition aside from scattered dots of discoloration throughout the composition. Framed and ready to hang.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.

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STUDIO OF SIMONE PIGNONI | The Penitent Magdalene

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Description: oil on canvas

Condition Report: Oil on canvas, lined. The picture presents well. There are some slightly discolored retouches visible in the figure's shoulder, chest and arm, forehead and nose. Under UV light, the majority of the work is obscured by a green fluorescing varnish. Retouches are visible at all four edges. The aforementioned discolored retouches in the figure's shoulder, chest and arm all fluoresce, as do a few additional scattered retouches through her forearm, fingers and at her shoulder. There is extremely fine retouching to the figure's hair - seemingly older and to strengthen the composition - and face, likely to address the canvas weave. The work presents well and can be hung in its current condition. In and elaborately carved gold frame.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.

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ATTRIBUTED TO DOMENICO MAGGIOTTO | A head study of a bearded man in a red fur lined cap 

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Description: oil on canvas, unlined

Condition Report: Oil on canvas, not lined. The canvas is somewhat coarse and slightly loose at the center of the work. There is undulation and bumping to the canvas. Small abrasions, mainly related to the frame, visible at the extreme edges. There is a small area of potential lifting in the background at left. Surface dirt and a dirty varnish. A stable web of craquelure and stretcher bar marks visible. Under UV light, a thick varnish has been applied unevenly and fluoresces. There is some old retouching to the subject's forehead and the left part of his beard just below his jawline.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.

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FOLLOWER OF DOMENICO FETTI | The Penitent Magdalene

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Description: oil on canvas

Condition Report: Oil on canvas, lined. The canvas is somewhat slack on the structure. There are small surface scuffs and minor abrasions scattered in the lower half of the picture. Stretcher bar marks and craquelure are visible throughout. The work is under a thick layer of varnish. Under UV light, the surface is obscured by the thick green fluorescing varnish. There is some retouching visible in the lower right corner.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.

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FLORENTINE SCHOOL, 17TH CENTURY | Saint Michael, half-length

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Description: oil on canvas, unlined

Condition Report: Oil on canvas, with an old lining. The surface is flattened, and covered in a stable web of craquelure that has some dimensionality. Scattered retouches, especially at upper left and in the red cloak, have discolored with time and are visible to the naked eye. Minor pinpoint losses visible in the hair of Saint Michael. Surface dirt and a dirty varnish. Under UV light, the aforementioned retouches fluoresce. The majority of the work is covered by a green fluorescing varnish that impedes observation. However St. Michael's face, neck and hand have been cleaned of this varnish and have minor scattered retouching throughout. In a gilt and painted frame.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.

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