The canvas has been recently relined and the relining is sound. The painting has been recently cleaned, restored and revarnished. The surface has survived quite well, with much of the impasto, especially on the white chemise, well preserved. There are some restored damages, on the nose and cheek of the old man, and another on his forehead, and just below the left eye of the woman and on her jaw; the feather of her capo has been lightly retouched. There is also some thinness in the left background. Sold with a gilt frame, in good 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."

A prolific painter and draughtsman, Fontebasso was a pupil of Sebastiano Ricci and was heavily influenced by Giambattista Tiepolo. During a brief stay in Bologna, he assimilated the local adaptation of tenebrism, as shown in the present work. Though he was celebrated during his lifetime for history painting and frescoes (he was invited to Saint Petersburg to the court of Catherine II in 1761), Fontebasso was also successful in genre scenes. Compositionally the painting should be compared to a Warrior and a boy with a medal in a private collection in Verona, in which the design is similar but reversed.¹

We are grateful to Dottoressa Marina Magrini for endorsing the attribution on the basis of photographs.


1. See M. Magrini, Francesco Fontebasso, Vicenza 1988, p. 221, cay. no. 228, reproduced plate 89.