Domenico Roberti

Anonymous sale, London, Christie's, 11 December 1987, lot 147 (as by Ghisolfi) where acquired by the present owner.

The catalogue illustration for the capriccio scene of ruins is slightly brighter than the original, and the coastal landscape is slightly greener in tone than the catalogue illustration suggests. Both canvases have been relined, and this has not overly flattened the paint surface which is overall in good condition. However, there is evidence of the paint lifting from its canvas around the edges and at points across both paintings; most notably there are small areas of paint loss to the coastal scene centre left and in the lower right hand corner. The original canvas of the capriccio scene has torn and come away from the relining top left. A number of old, restored damages can be made out across the canvases, amounting to about ten on each painting. The most notable of these is a damage of approximately 10cm2 in the centre of the ruins to the left hand side of the capriccio scene, a damage of approximately 15cm by 7cm. in the sky centre left of the capriccio scene and a diagonal tear of approximately 12cm. to the upper right of the coastal scene. The paint surface on both paintings is clean and the colours remain vibrant. Some of the retouchings to the scattered damages on the paintings are visible to the naked eye, but inspection under UV light reveals some further retouchings and strenthenings to the ruins and sky in both scenes. The figures and foreground in both paintings are better preserved with large tracts of the painting remaining original. Both offered in a gilt wood frame in good condition.
"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 smaller variant of the first view, formerly in the collection of Peter Vischer-Sarasin (1751-1823) was sold London, Christie's, 6 July 1990, lot 10 (canvas, 99.5 x 135.3 cm.) as by Giovanni Ghisolfi. The figures in that work may be by the same hand as those in the present pair. The composition of the pendant is indebted to the smaller canvas (86 x 125 cm.) by Ghisolfi himself formerly in the Galleria Rospigliosi in Rome, in which the ruins and classical fragments on the right hand side of the composition are also to be found ¹.  The classical relief with horses and soldiers is inspired by that on the Arch of Titus in Rome, while the statue of the river god is based upon that in the Museo Pio-Clementino in the Vatican.

We are grateful to David Ryley Marshall for confirming the attribution to Roberti on the basis of photographs, and for suggesting  a date of execution circa 1690-1700. Roberti became a member of the Congregazione dei Virtuosi in Rome in 1678 and later its head in 1704, and a member of the Academy of Saint Luke in 1688.

 

1. For which see A. Busiri Vici, Giovanni Ghisolfi (1623-1683). Un pittore milanese di rovine romane, Rome 1992, p. 74, no. 27, reproduced.