The following condition report has been provided by Simon Parkes of Simon Parkes Art Conservation, Inc. 502 East 74th St. New York, NY 212-734-3920, simonparkes@msn.com , an independent restorer who is not an employee of Sotheby's. This copper panel is flat, has been nicely maintained and is supported on the back by an oval structure. The paint layer has been cleaned, retouched and varnished. The retouches are visible under ultraviolet light and address a few isolated spots in the sky around the putti on the left side particularly, in the blue dress of the Madonna and in the landscape on the far right and beneath the fur on the shoulders of the king on the far right. These damages and restorations are isolated and in general the condition seems to be very good. If a small loss in the distance on the right were to be retouched the picture could be hung as is.
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.

The Rest on the Flight into Egypt 𝄹in the Musée des Beaux-Arts, Caen, (inv. no. M.139), an oil on copper roundel dated to 1673, could perhaps indicate a similar date for our painting.

Giacomo Cotta studied initially under Ciro Ferri, who worked in Bergamo during the first half of the seventeenth century. The Roman artist's style and technique were to have a profound effect on the development of Cotta's mature style. He later worked for a brief period in the studio of Frederico Agnelli in Milan and Cotta married Agnelli's daughter Margherita around 1649. His career continued to prosper in Milan and he even produced a series of paintings for Maria Anna of Austria. He spent the later part of his career in Bergamo and his most important commissions there were a Sacrifice of Abraham for the Church of the Capuchins and a Death of Saint Joseph for S. Giuseppe. After 💮the death of his wife in 1670, he entered the priesthood.

Now largely known for being the teacher of the flamboyant portrait painter Giuseppe Ghislandi (1655-1743), Cotta was an accomplisꦿhed painter of canvases and frescoes ಞand was also a prolific printmaker and engraved several of his own works.