Topic: Artist

This seems to be a modello by Valerio Castello. You might also wish to send high-res images to Camillo Manzitti and Anna Orlando, as these are the leading experts on Castello.

Nicholas De Gaetano, Entry reviewed by Art UK

Completed, Outcome

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The Collection have commented: 'We have updated our records to say the artist is possibly Valerio Castello. The picture certainly suits their style. As you say the work is a modello, do you have a suggestion as to the destination or whereabouts of the final work? The painting was donated in 1886 and there is a note on the electronic file which states 'Given as a Tintoretto!', there is no information relating to this note or as to why this was later doubted as no artist is currently recorded.'

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Jacinto Regalado,

If this is by Castello, it can be no later than 1659, when he died, so the current date of "late 17th century" should be changed. As per the NICE Paintings entry, the work was attributed to him in the 18th century and early 19th century. The final version, if extant, may be in private hands in Italy or possibly Peru. Castello is known to have painted this subject more than once.

Tamsyn Taylor,

That woman with her head turned back, viewed from under her chin, is a standard Valerio Castello device, occurring in several Adorations, in Finding of Moses, Moses striking the Rock, Rape of the Sabines, Slaughter of the Innocents etc.

Anton Zakharov,

This painting strikes me as a possible work of Sebastiano Mazzoni.

His characteristic unusual dynamism is quite evident here. The pose of the woman with her head turned back who is raising her right hand so expressively can be compared with that of the kneeling woman in "The Sacrifice of Jephthah's Daughter":

The treatment of the drapery seems to support this hypothesis as well. It can be also added that the bold head of the courtier standing to the left of the king is very similar to the one that can be seen here:

Moreover the focus on the architectural details and the presence of the statue in the upper central part of the composition bring this modello very close to the painting in the collection of the Detroit Institute of Arts that bears an attribution to the circle of Sebastiano Mazzoni. Needless to say that the positioning of the statue against a sky background is the exact same for "The Sacrifice of Jephthah's Daughter" by Mazzoni.

Anton Zakharov,

Corrections to my previous comment:
< a possible work by Sebastiano Mazzoni>
< the bald head of the courtier>

One can even argue that it is the same model who is depicted here:

If this modello is by Mazzoni the current date of "late 17th century" fits nicely. The old attribution to Tintoretto suggests the Venetian origin of the painting in Wolverhampton. "The judgment of Solomon" by Castello is executed in completely different style, without paying much attention to the architectural wonders of the king's palace where the Biblical scene takes place:

but of course there might be the other version.

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