The canvas is unlined. This picture probably hasn't been restored in over twenty years and has an older varnish which has dried and discolored. There are a few small retouches which are visible both under UV and to the naked eye, and should be easily re-adjusted. These are visible towards the right edge of the canvas in a straight line along the far right mushroom, and in the black highlights of the mushroom group at bottom right, as well as a couple other small lines of retouching at right. The picture should clean quite well and will require minimal new retouches. Overall in healthy state. In a carved faux gilt wood frame.
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 eponymous works of this anonymous artist are two canvases in the Molinari Pradelli collection, Bologna.¹ Based on stylistic similarities with other north Italian artists from this moment, notably Simone del Tintore, it is likely that he was active in the second half of the seventeenth century. Recently, however, Giuseppe Cirillo has hypothesized that this hand may be connected with that of Marco Antonio Rizzi (1648-1723), who was active in Piacenza.² Alberto Cottino has also tentatively supported this identification in a 2007 survey of Italian still life painting.³

A consistent theme throughout the Master of theꦛ Second Molinari Pradelli Pendant's accepted body of work is his characteristic use of quickly applied white highlights to his various still life elements, as well as the stark lighting of the objects, and the manner in which the still-life elements are artificially arranged on a single plane upon a stone ledge in the immediate foreground. 

1. G. Cirillo and G. Godi, Le Nature morte del “pittore di Carlo Torre” (Pseudo Fardella) nella Lombardia del secondo Seicento, Parma 1996, pp. 39—42, ff. 25-8.
2. G. Godi, Fasto e rigore: la natura morta nell'Italia settentrionale dal XVI al XVIII secolo, Milan 2000, p.162. An example of Rizzi's work was sold London, Sotheby's, 10 July 2008, lot 198.
3. A. Cottino, Natura Silente, Nuovi Studi sulla Natura Morta Italiana, Turin 2007, p. 104