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 painting certainly requires some restoration. It will improve noticeably with the right effort. The very waxy varnish has bloomed, and one can see pale streaks running horizontally throughout the work. These will be easily removed if the work is cleaned. There are a few restorations visible under ultraviolet light, in the right hand of Christ, and in the hair to the left of the chin, and in a few other spots. However, these are probably not the only restorations, and it is not clear what the results of cleaning would be. Hopefully, once the milky varnish, surface dirt layer and old discolored restorations are removed, the condition of the work will not be as troubled as it seems at present. However, there are some indications that the work has been abraded, at least in the right wrist. The panel is unreinforced on the reverse, and is visibly curved from right to left.
"This lot is offered for sale subject to Sotheby's Conditions of Business, which are available on request and printed in Sotheby's sale catalogues. The independent reports contained in this document are provided for prospective bidders' information only and without warranty by Sotheby's or the Seller."

This intriguing painting appears to be by an artist either working in Venice in the 16^th century or by someone clearly influenced by that school, particularly the worksℱ of Titian.  It has been suggested that this painting could be of Spanish origin and attributions to both Eugenio Cajes and Juan Fernández de Navarrete, called El Mudo, have been suggested.&💮nbsp; El Mudo was a court painter for Philip II and, due to his patron’s preference for the Venetian manner of painting, adopted this style so successfully that he became known as the “Spanish Titian.”