Tommaso Maria Conca

With Crispian Riley-Smith, London; acquired in 2001

Sold in a modern wooden gilded frame. Laid down. There is an old vertical fold at the centre of the sheet, and what appears to be a horizontal fold near the very top margin, which has torn slightly at either side. A small hole to the right of the centre, on the trunk of the furthest tree. There are some small tears from the edges, particularly at the top, but the drawing itself is not affected, and overall the condition is good.
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.

Tommaso Maria was the nephew and pupil of Sebastiano Conca, and is best known for his Carraccesque paintings of mythological subjects.  This scene is one of the artist's few forays into biblical themes; the sphinx, hieroglyphs and the grecian-style signature all betray Conca's interest in the ancient world.  Another treatment of the subject by the artist is in the collection of the Accademia Nazionale di San Luca, Rome, although there the family are amongst Roman, rather than Egyptian relics.¹

1. See S. Rudolph (ed.), La pittura del 1700 a Roma, Milan 1983, no. 199