Giovanni Coli, Filippo Gherardi

Anonymous sale, New York, Sotheby's, 30 January 1998, lot 42, where acquired by the present collector.

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 was probably restored in the last 25 years and with a fresh coat of varnish and some small repairs to the frame, it could be hung as is. The canvas has a good lining which is nicely supporting the paint layer yet not compromising the texture of the canvas or paint. The paint layer is not over cleaned and the restorations address actual paint losses rather than the effect of poor restoration. These retouches are clearly visible under ultraviolet light. There is a horizontal break in the canvas running through the hind legs of the dog and one of the feet of the angel in the lower left. There are restorations in the lower right, in isolated spots in the kneeling leg of the figure in the lower center and also in his left shoulder. Additionally in the sky across the top edge and in the upper right corner there are fairly significant losses but they do not enter into the picture any more than approximately three inches. In the dark building in the upper left, again similar losses have been restored along the edges. However, apart from a group of retouches in the darkest color beneath Eliezar, there are no restorations of any note in the figure group. This is reason enough to be very encouraging about the condition.
"This lot is offered for sale subject to Sotheby's Conditions of Business, which are available on request and printed in Sotheby's sale catalogues. The independent reports contained in this document are provided for prospective bidders' information only and without warranty by Sotheby's or the Seller."

Giovanni Coli and Filippo Gherardi's artistic careers were unusual among Italian Baroque painters in that a good portion of their working life was spent producing collaborative works together. They were both born in Lucca and studied there with Filippo's father, Sebastiano Gherardi, and then with Pietro Paolini, before moving to Rome where they trained with Pietro da Cortona. Around 1662 they travelled to Venice where they remained for a number of years and worked primarily on the canvases for the ceiling of the library of the monastery of San Giorgio Maggiore. Their work assimilated the colours and techniques of the Venetian school, particularly reflecting the influence of Paolo Veronese. They eventually returned to Rome where they worked on a number of projects, most notably the frescoes in the gallery of the Palazzo Colonna.  In 1678 they returned to Lucca to paint a fresco for the cathedral, The Glory of the Trinity, which Gherardi completed alone following Coli's death in 1681.

The subject of this painting is taken from Genesis 24: 61-65 and represents the arrival of Rebecca at Abraham's house in Canaan where she was to meet her future husband, Isaac, for the first time. Abraham had sent his servant Elie to find a worthy wife for his son and, after praying for guidance, encountered Rebecca at a well where she offered to give him and his camels water.  He gave her jewelry and other gifts and received hospitality from her family before returning with her to Canaan.