Domenico Piola

Unframed. The drawing is generally in very good condition. At the lower margin two places where the drawing has been made up, one at the lower left corner. There are some slight greyish spots on the upper right corner and a very slight indication of the writing on the verso comes through. Surface dirt at the upper margin. Overall the drawing is in good condition and the original is much stronger and a darker brown than the yellowed image in the catalogue.
"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."

A very finished study with abundant use of wash, this does not seem to be connected with any surviving paintings by Domenico Piola.  Mary Newcome Schleier suggests that the high degree of finish implies that it might have been preparatory for a print.  Domenico Piola spent his life mostly in Genoa, except for a working trip to Milan, Piacenza, Bologna and Asti in 1684-5.  He and Gregorio de Ferrari, his son-in-law, were the leading artists in Genoa in the second half of the 17th century, and their drawings and paintings had a far-reaching influence on the next generation of Genoese painters.