Carlo Innocenzo Carlone

With P. & D. Colnaghi and Co. Ltd., London, by 1967.

A.B. Brini and K. Garas, Carlo Innocenzo Carloni, Milan 1967, p. 125.

The canvas has an old glue lining, it is firmly stretched and stable. The paint surface is in good condition with lovely areas of impasto remaining. There are two minor scratches in the lower left corner. The paint surface is a little dirty and the varnish slightly yellowed though this does not affect the reading of the painting. There is a fine dark line curving through the sky upper right as visible in the catalogue image. Inspection under UV reveals very few minor retouches, mostly concentrated in the flesh tones of the central reclining figure, the white drapery and the flesh tones of the crouching figure at right. Otherwise the surface is very good. Offered unframed.
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.

This painting is a preliminary sketch for Carlone’s ceiling fresco in Schloss Ludwigsburg, the grand residence of Eberhard-Ludwig, Duke of Württemberg.  The fresco depicting the Sacrifice of Iphigenia was part of a larger decorative scheme for the Ahnensaal (Ancestors’ Hall), painted in 1730-33, representing scenes from Roman and Greek mythology, and allegories of the arts and sciences.