Angelo Maria Rossi

The canvases are lined, the paint surfaces are dirty and the varnishes are discoloured. They are both in overall fair condition. The former: there are some paint losses due to frame abrasion on the lower right-hand margin and upper centre. Inspection under ultraviolet light reveals areas of retouching in the foreground and in the sky, particularly in the upper and lower right corners, as well as areas of strengthening to the fruits and vegetables, in particular the artichokes, the grapes and the small pears. The latter: there are scattered areas of losses on the left-hand side around the ham, lower left below the mushrooms, on the right-hand side above the jug, and in the upper right. Some of these areas have been filled in with now discoloured retouching. Inspection under ultraviolet light reveals these, as well as strengthening to the crab and the shadows below the fish lower centre, to some of the central vegetables, and to areas in the sky and ground. Both offered in plain painted and gilt wood frames with losses.
"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."

Rossi's œuvre was originally grouped under the pseudonym 'The Pseudo-Fardella', due to stylistic similarity with works by the Sicilian painter Giacomo Fardella di Calvello. The artist was later referred to as 'Pittore di Carlo Torre' on the basis of a signed pair of still lifes painted in circa 1662 for the Milanese writer Carlo Torre (circa 1620-79).¹ We now know the painter to be Angelo Maria Rossi, following Giuseppe Cirillo's discovery of the monogram A.M.R. on various canvasses ascribed to the artist.² 1. See G. Cirillo and G. Godi, Le nature morte del 'Pittore di Carlo Torre' (Pseudo-Fardella) nella Lombardia del secondo Seicento, Parma 1996, pp. 90-92, reproduced in colour plates 64-66.
2. See G. Cirillo, 'Angelo Maria Rossi alias 'Pittore di Carlo Torre'', in Parma per l'Arte, vol. IX, Fascicolo 1-2, 2003, pp. 77-79.