Lot 11: BATTISTA DOSSI | The flight into Egypt

oil on poplar panel

66 cm by 87 cm

oil on poplar panel

The thick panel is constructed of two horizontal planks, the join between which is around 1 third from the bottom margin. The panel used to have two vertical supporting batons, tracks for which were cut into the reverse of the panel, these batons have now been removed. The panel is stable, the surface flat and the varnish is clear and even. There are no major damages visible to the naked eye, and only one fine hairline surface crack measuring 2 inches in length, at the centre left of the bottom margin. Inspection under ultraviolet light reveals two campaigns of restoration. Older restoration, of which there are signs of scattered retouchings, is hard to make out as the varnish on top of them fluoresces opaque. The newer campaign of restoration consists of small scattered retouchings and strengthenings throughout the panel surface, the most concentrated areas of which are along the aforementioned surface crack at the bottom margin, and along the right quarter of the panel join, running just under the houses at the right of the composition. Other areas with more retouchings are around the top of the trunk of the palm tree, and in the cheek, forehead, neck and breast of the virgin, and in the darker tones of the immediate foreground. In otherwise sound overall condition. Analysis of an image of the present work at the time of its sale in 1970 confirms that there is now some over paint in the foreground, and that the red pigment at the summit of the trunk of the palm tree is a later addition.
"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."

H. Mendelsohn, Das Werk Der Dossi, Munich 1914, p. 135 (as a copy of the Harck version);
F. Gibbons, Dosso and Battista Dossi, Court Painters at Ferrara, Princeton 1968, p. 237, mentioned under cat. no. 120 (as a copy of the Kress version);
A. Ugolino, 'Rivedendo la collezione Costabili di Ferrara', in Paragone, no. 24(489), November 1990, p. 59, no. L.110 (as another version of the Harck version);
A. Ballarin, Dosso Dossi, La Pittura a Ferrara negli anni del Ducato de Alfonso I, Cittadella 1995, vol. I, pp. 352–53, cat. no. 465 (as attributed to Battista Dossi), mentioned also under cat. no. 463, and p. 477, reproduced fig. 188;
R. Colby, 'Dosso's early artistic reputation and the origins of landscape painting', in Papers of the British School at Rome, vol. LXXVI, London 2008, p. 205, reproduced p. 359, plate 5, (as Dosso Dossi and Battista Dossi [?]).

Probably Cardinal Joseph Fesch (1763-1839), Rome (his label on the reverse - no. 98, as Mabuse);
Sterbini Collection, Rome;
Anonymous sale ('Dipinti provenienti dalla collezione Sterbini, proprietá di una famiglia romana'), Florence, Sotheby's, 21 October 1970, lot 16 (as Battista Dossi);
Private collection, Paris.