Remigio Cantagallina

Laid down on paper that has been hinged to a modern mount. The sheet has very slightly discolored and there is evidence of some localized light brown staining and surface dirt throughout. There are three vertical crease lines to the center of the sheet and some abrasions to the sheet's extremities. The iron gall ink has eaten away at areas of the sheet where it has been applied most densely, such as the lower left quarter and the foliage in the tree, upper left as well as the framing line, lower center. The medium remains in otherwise stable condition with the image strong. Sold in a giltwood 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.

Cantagallina was a pupil of Giulio Parigi and is one of the most recognisable of the group of landscape artists active in Florence in the early 17th century.  He was also a printmaker, and played an important role in encouraging Jaques Callot to master the art of etching.  Described by Filippo Baldinucci, as "famous for his landscape drawings in pen," he was influenced by the northern artist, Paul Bril, whose work he could have encountered either in Rome or when traveling with his brother to the Low Countries. For two other landscape drawings by Cantagallina see lots 119 and 130.