8 King Street, St. James's, London, SW1Y 6QT, United Kingdom
电话: +44 (0)20 7839 9060
传真: +44 (0)20 7839 2869
荣誉呈献
拍品专文
In 1935, when acquired by the Detroit Museum of Art, this picture was believed to be a newly rediscovered work by Raphael. During the subsequent campaign of restoration, the naked foot of Saint Sebastian was revealed, proving that the picture was a fragment of a larger altarpiece, probably a Sacra Conversazione with the Madonna and Child amongst Saints with a donor in prayer beneath. The presumed signature, the primary reason for the attribution to Raphael, had not altered during the cleaning process, and was therefore considered genuine.
In 1948, Federico Zeri reported the discovery of a cache of around 200 photographs (op.cit.), probably dating to the end of the nineteenth century, and possibly once belonging to a dealer or scholar. Amongst these images was an altarpiece with the Madonna and Child enthroned on a pedestal, flanked by Saint Sebastian to her left and the Archangel Raphael with Tobias to her right. Below the Virgin’s throne and on the pedestal, a Latin inscription read: 'Franciscus. Ugucionus. De. Pergula. Quadrerius / Ac. Exercitus. Magr. // Mi. Et. Exc///.Emtissimi.D / Guidiubaldi. Urbini. Ducis Santeq. Ro. Ec. Genera. / Capita. Tpre. San. D. N. D. Iulii. II. Sacellum. Hoc. Beate. Vir. / Arcan. Raphaeli. Divoq. Sebast. Erexit. Ano. D. M. V. I'. Beneath this inscription appeared a donor in prayer, before a frieze, and this lower section was recognised by Zeri as the Detroit Raphael.
After studying the altarpiece as a whole, Zeri concluded that it could not have been painted by Raphael but rather by one of the Nardini brothers, probably Gerolamo. However, this re-attribution raised the question of the signature, which had survived the restoration process and was therefore believed to be genuine. In response to this, Zeri turned his attention to the epitaph below the Madonna which read: 'Arcan. Raphaeli. Divoq. Sebast. Erexit. Ano. D. M. V. I'. This final line is that which appears just over the donor and corresponds to the signature in the fragment. Given that there was no evidence of a signature in the photograph of the entire altarpiece, that final sentence of the epitaph, which contains the word 'Raphael' already, must have been transformed into the signature that is now visible.
相关文章
Sorry, we are unable to display this content. Please check your connection.
THIS REPORT HAS BEEN PREPARED BY AN OUTSIDE RESTORER
This painting remains stable beneath a cloudy varnish. Much of the original paint is discernible, despite heavy restoration; it appears that the important passages remain in a reasonable condition.
Support: The painting has been adhered to the present cradled panel. It is not clear how much, if any, of the original support remains intact. All but one of the cradle battens is jammed, though the painting remains very flat and appears structurally sound.
Paint layer: There is a broad horizontal band of restoration in the green area of the upper background. On close examination, all of the important elements of the paint layer appear robust with drawing and detail in a fair condition: for example in the donor’s features, the inscription and throughout the frieze. There is a small area of minor recent damage in the central left background, to a tiny area in the sitter’s face.
Varnish: Ultra-violet fluorescence examination confirms the observations noted above and reveals strengthening to the black costume, around the edges and scattered elsewhere.