Anonymous sale, London, Sotheby's, 11 December 1996, lot 42 (as by Franceschini);
There acquired by the present collector.

D.C. Miller, Marcantonio Franceschini, Turin 2001, p. 197, under cat. no. 95 (as a workshop replica, perhaps partially retouched by the artist himself).

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. Although this work certainly needs some attention, it is in good condition in many respects. It may have never been cleaned and is extremely dirty. The paint layer is extremely healthy in areas throughout. However, there are numerous losses running vertically on the left side, in the red robe in the lower left and in the tree on the far left. None of these losses interrupt the head of the woman. In addition, there is a visible break in the canvas, which runs from the center of the top in the wing of the angel to the upper right side. At present, the work does not appear to be lined. The tacking edges have been repaired, but future conservation should probably include lining to correct the surface problems and instability. Properly restoring the picture would be very fruitful.
"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."

The composition of this painting is related to Franceschini’s other treatment of the same subject in the Galleria Nazionale di Palazzo Spinola, Genoa.¹  As Miller observes, the pose of the angel, which is very similar in both paintings, is derived from the figure of Romulus appearing to Proculus in the mural by Agostino Carracci in the Palazzo Magnani, Bologna.

 

1.  See 𝐆D. Miller, under Literature, p. 197, cat. no. 95, reproduced in color plate XXVII.