Luigi Garzi

With Central Picture Gallery, New York;
From whom acquired by the family of the present owners.

Tightly glue relined and surface has been slightly pressed as a result. under a dirty, discolored old varnish. overall the paint surface has been well retained in figures, foreground and landscape. the darker pigments of the foliage and rocks at left side have sunken and lost some of their definition. under UV light: can't see through the old, dirty varnish. there are a few retouches on top of the old varnish- in foliage at left and in foreground lower right. these are over old losses which, when you look closely, can be seen with the naked eye. some other small retouches at lower left corner and a few on figures. this painting has not been attended to in a long time and would benefit from a light cleaning and sensitive restoration. In an elaborately carved and gilt wood frame.
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.

Born in Pistoia, Luigi Garzi left for Rome at the age of fifteen where entered the workshop of Andrea Sacchi, the leading figure in Rome's classical Baroque movement.  There he received the classical training, influenced by Nicolas Poussin and Alessandro Algardi, that would remain fundamental the artist's style for the duration of his career.  Though perhaps best known for his frescoes and large scale commissions, Garzi also produced easel pictures such as the present work and his appointment as President of the Accademia di San Luca, Rome in 1670 bears testament to the acclaim enjoyed by the artist among his contemporaries.