Alessandro Turchi, called Orbetto

Anonymous sale, "Property of a Nobleman", New York, Sotheby's, 28 May 1999, lot 46. 

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 picture has recently been restored and could easily be hung in its current state. The canvas has been lined with a non-wax adhesive. The paint layer is stable, and the paint layer certainly seems very healthy under visual inspection. Under ultraviolet light, one can see that the condition is very good in the torso and face of David. There is an elaborate break in the canvas in the lower center, which begins towards the bottom edge in his crimson tunic, running upwards through his forearm into his ribcage, across through the nose of Goliath, continuing down through the hand holding Goliath's chin and finally extending towards the lower left corner. This is obviously regrettable, but it is an isolated damage. The condition throughout the remainder of the picture is spectacularly good. In my opinion, it is preferable to have an isolated structural damage such as this rather than many of the other ills that can befall older pictures. The restorations have slightly discolored in places, but the condition is impressive nonetheless.
"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."

Alessandro Turchi’s David with the head of Goliath is a commanding and highly impressive image. In an earlier treatment of the subject, now in a private collection, Turchi painted David in a crouched position beside a tent, its ropes pinned behind him, his sword at his feet, and his drapery billowing dramatically at his shoulder.¹  Here, in contrast, the figure is shown against a dark background with no accoutrements, other than the sling hanging from David’s left hand.  The intense chiaroscuro effect instead provides the drama, bathing David in white light from left and creating a scene that is stark and imposing, yet simple.

The beautifully painted torso and arms are powerful and mature, yet through his treatment of David’s face, Turchi betrays the hero’s youth.  David's expression, though determined, is humble rather than victorious.  The tension in his shoulders and the musculature of the upper arm convincingly convey the weight of the giant’s head in his grasp as he leans backward in order to counter its burden.  The drapery too is superb, the violet tunic and white undershirt, coiled so beautifully around the rope belt, fall in naturalistic folds that balance the composition at right.  The thickness of the fabric and painterly treatment of the highlighted folds are almost reminiscent of Guercino.

Born in Verona, Turchi received his initial training in the studio of Felice Brusasorci before moving to Rome circa 1614.  In many early documents, the artist is recorded as “Orbetto”, meaning "little blind one".  The moniker likely dated back to Turchi’s youth, when he would guide his blind father, Silvestro, who had lost his sight in an accident at work.  By 1619 Turchi had settled permanently in Rome, becoming a member of the Accademia of San Luca of which he would be elected Principe in 1637, testament to his high standing among his contemporaries and almost certainly indicative of his affiliation with the powerful Barberini family.  

1.  D. Scaglietti Kelescian, Alessandro Turchi, dello l'Orbetto, 1578 - 1649, exhibition catalogue, Milan 1999, p. 25, reproduced fig. 25.