Anonymous sale, Zurich, Koller, 1-2 November 1975, lot 5425, as 'Studio of Domenichino'.

P. Malgouyres, Peintures françaises du XVII siècle. La collection du musée des Beaux-Arts de Rouen, Paris 2000, p. 31, under no. 21.

 

The canvas has a sympathetic lining which is stable. There is a restored vertical fold, possible a tear, about 30 cm in length near the upper right. There is a minor damge/scratch in the lower left. There are some fairly large localised areas of retouchings which are confined to the background: to the upper right in the sky, to the water at the centre right, to the upper left background and, to a lesser extent around the ark. These are not alarming, and are merely a collection of retouchings on and around an area of wear or slight thinness. There is some untreated wear along the lower margin. The figures are largely in very good conditoion, and what minor retouchings there are to them are mostly visible to the naked eye. The painting is in good overall 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. 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."

Another version of this composition, with some differences but of identical dimensions, is in the Musée des Beaux-Arts, Rouen and has been recently attributed to Nicolas Chaperon by Pierre Rosenberg and Philippe Malgouyres.¹ The principal difference between the two versions is in the Ark, which in the Rouen picture resembles the preparatory drawing in the Louvre, Paris, far more closely than it does in the present work (see fig. 1).² This may suggest that the present work was executed subsequent to the Rouen version.




1. See G. Tosatto et al., Nicolas Chaperon: Du graveur au peintre retrouvé, Nîmes 1999, p. 182, cat. no. 49, reproduced in colour p. 181.
2. Idem, p. 179, cat. no. 48, reproduced in colour p. 180.