Giovanni Maria delle Piane, called Mulinaretto

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 painting is framed and was painted as an oval, even though it has been subsequently lined as a rectangle. The lining is more or less efficient. The paint layer is quite dirty and is in need of some cleaning and restoration. In general however, it is in very nice condition. There is a damage in the background in the dark hair in the center right and few spots of restoration which have been added in the chest on the left side. Other than this, restorations do not appear to have been applied in any number. The paint layer is very dirty and should be properly cleaned in order to reveal a considerably cooler palette.
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.

Della Piane was one of the leading portraitists of the late Baroque in Italy, becoming court painter to the Farnese at their courts at Parma and Piacenza, and later to the Bourbons at Naples (no doubt due to the artist's relationship with Elisabetta Farnese, the mother of Carlo VII of Naples, whom he had painted numerous times).  He was trained in his native Genoa by Giovanni Battista Merano, and later, during a sojourn in Rome, by Giovanni Battista Gaulli, called Baciccio.  His style was eminently suited to royal taste, amalgamating the French manners of Rigaud and Largillierre with a uniquely Italian approach to ornament and lighting.  The present canvas exemplifies his work, beautifully composed and lit, and painted in an oval format, then much in fashion both in France, and in Genoa (see D. Sanguineti, "Genovesi in Posa," in Pittura e Decorazione a Genoa e in Liguria nel Settecento, ed. E. Gavazza and L. Magnani, Genoa 2000, pp. 315-330, figs.474, 477, 479, 483 for examples of oval portraits by other Genoese artists).

We are grateful to Anna Orlando who has attributed the present painting to the artist based on photographs.