Valerio Castello Genova 1624 - 1659

Presumably Gustaf Adolf Sparre (1746-1794), etc., but not identifiable in his 1794 inventory, and probably hung in Kulla Gunnarstorp.

Kristianstad, 1977, no. 2, as by Pietro da Cortona.

Göthe, 1895, p. 11, no. 2, as by Pietro da Cortona;
Kjellberg, 1966, p. 344, as by Pietro da Cortona;
Hasselgren, 1974, p. 124, reproduced p. 162, as Pietro da Cortona;
C. Manzitti, Valerio Castello, Turin 2004, p. 156, no. 141, reproduced, p. 258, under no. D41.

The painting is slightly lighter, less contrasted and yellower in tone than it appears in the catalogue illustration. The canvas has quite a stiff relining and the paint surface somewhat flattened as a result. The painting appears quite recently cleaned and the varnish is shiny and even. The paint looks rather abraded in some of the mid- and darker tones but this is in large part due to it being painted in a sketchy style. There are no significant damages and inspection under ultra-violet light shows retouchings along the extreme edges (particularly along the lower edge). Some other minor scattered localised retouchings on the figure of the kneeling man lower centre, on the fire, in the white clouds and lighter areas of the sky, on the head of God the Father and on the angel upper right. Further localised strengthenings are visible in some of the dark folds. Stretcher marks are visible along all four edges in raking light. On the whole the brushwork has retained its freshness and the painting is in reasonably good condition, its sketchy appearance being intentional (not unfinished). This lot is offered in an elaborate neo-classical carved and gilt wood frame (see catalogue illustration).
"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."

Traditionally ascribed to Pietro da Cortona, this picture was recognized as a work by Valerio Castello by Nicholas Turner on the basis of an old photograph kept at the Witt Library, London.  Camillo Manzitti, who was the first to publish it,  dates it to the mid-1650s, and suggests that it may have belonged to a series dedicated to recurrent Old Testament themes.¹ We are grateful to Mary Newcome-Schleier for confirming the attribution on the basis of photographs.

A drawing sold New York, Sotheby's, 28 June 2001, lot 41, is likely to be a preliminary idea for the composition (see fig. 1).²

1.  See under Literature.
2.  Idem, p. 258, no. D41, reproduced.