S***R***

Copper panel is flat. Overall painting has lovely retention of paint surface and coloration. U.V. reveals some tiny retouches here and there. There is one small area of retouching around the branch that grows out from underneath the rock formation, possibly to fill in an old loss. It appears that much of the rock formation is under a varnish that would make any retouches there impossible to read under U.V. All retouches and varnish have been applied very well, and no further work is recommended. Painting may be hung in present state. In a carved and gilt wood frame with minor abrasions.
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.

The present painting has many characteristics that are in keeping with Salvator Rosa's style from the 1640s, when the artist, working in Florence, was very much under the influence of the Bamboccianti and Herman van Swanevelt.  In this painting, as in Rosa's Grotta con Cascata d'Acqua, in the Pitti Gallery, Florence, the artist has included a dramatic rock formation through which figures and a sunlight landscape are visible.  In Il Ponte, also in the Pitti, Rosa again includes a fantastic rock to anchor the composition.  The horsemen in Il Ponte are also comparable to those in the present picture.  The palette in all three pictures, and the way the artist has depicted the trees and leaves, are also typical of Rosa's work from these years.