Property from a Private Collection
(Rocchette, Sabina 1630 - after 1710 Rome (?))
JUDITH DISPLAYING THE HEAD OF HOLOFERNES TO THE BETHULIANS
oil on canvas
29 by 39⅝ in.; 73.6 by 100.5 cm.
The canvas is lined. The image reads strongly beneath a crisp and clean varnish. Overall the painting appears to be in good and stable condition with areas of detail well preserved, and it can certainly hang as is. Inspection under UV reveals very small and fine spots of retouching evenly scattered here and there throughout, some to address the canvas weave. There are also small spots of retouching to the standing figure at left, and there are slightly more concentrated areas in the architecture at upper right, in the sky at upper right, in the back of the reclining female figure in the lower right foreground, and in the architecture at upper center. Offered in a decoratively carved 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.
Robert Clive, 1st Baron Clive of Plassy;
Thence by bequest to his secretary, Sir Henry Strachey (1737-1810), 1st Bt. Sutton Court;
Thence by descent;
Anonymous sale ("The Property of a Nobleman"), London, Sotheby's, 27 April 2006, lot 83 (as French School, 17th Century);
E. Schleier, "Nuove proposte per Girolamo Troppa pittore," in Arte Cristiana, May-October 2012, pp. 253-255, reproduced figs. 18-19 (as Roman School, late seventeenth century, possibly attributed to Girolamo Troppa).
We are grateful to Francesco Petrucci for endorsing the attribution to Troppa on the basis of photographs and for suggesting that this painting can be dated to the artist's first years in Rome, circa 1660-1665.