Paolo de Matteis

With Charles Storer Ltd., London;
Anonymous sale, London, Sotheby's, 29 October 1958, lot 25 (as G.B. Castiglione) for £95 to Lloyd;
With Wildenstein, New York (as Luca Giordano);
From whom acquired by the J. Paul Getty Museum, Los Angeles, in 1970;
By whom de-accessioned, New York, Christie's, 21 May 1992, lot 29, where acquired by the present owner (as Paolo de Matteis).

Minneapolis, The Minneapolis Institute of Arts, The J. Paul Getty Collection, 1972, cat. no. 32 (as Luca Giordano).

M. Milkovich, Luca Giordano in America, exh. cat., Memphis 1964, p. 39;
O. Ferrari and G. Scavizzi, Luca Giordano, Naples 1966, vol. II, p. 368, listed under the subject "Migrazione";
B. Fredericksen, Catalogue of the Paintings in the J. Paul Getty Museum, Malibu 1972, pp. 52-53, no. 57;
O. Ferrari and G. Scavizzi, Luca Giordano, Naples 1992, 2nd edition, vol. I, p. 359, under cat. no. A718, reproduced vol. II, p. 861, fig. 940 (all the above as by Luca Giordano).

The painting is slightly less contrasted than it appears in the catalogue. The canvas has been relined and the lining still holds well. The painting was quite recently cleaned and restored, probably by the J. Paul Getty Museum (by whom it was de-accessioned in 1992), and the varnish probably dates from around the same time. The paint surface has been a little flattened by the relining process but much of the brushwork has survived intact. There is some cracking and thinning in some of the darker areas, but overall the paint surface is in good condition. It was not possible to view the painting under ultra-violet light but there do not appear to be any significant damages. Any restoration is minimal and consists of localised retouchings, a little more concentrated in the sky, and none are obvious to the naked eye. The painting can be hung as is. The gilt wood cassetta-style frame is in good condition overall, though with superficial knocks and damages.
"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."

The subject is taken from Genesis 24. Abraham wanted to find a bride for his son Isaac and sent out his servant Eliezer to search for a young maiden amongst Abraham's kinsfolk. Tired and thirsty Eliezer prayed for some water and came across Rebecca at a well, a subject often depicted in baroque painting. After picking her as the suitable candidate for Isaac, Rebecca set off with Eliezer for her new life in Canaan, as illustrated in the present work.

Fredericksen (see Literature) lists this work as Giordano's prime version of the composition, though Ferrari and Scavizzi downgrade the primacy of this version in their 1992 monograph. Several variants by Giordano are known, including a copper in the Prado. A smaller version is in the Pinacoteca Provinciale in Bari, and other examples are in Braunschweig and formerly in the Brass collection in Venice. However, already by 1972 the attribution to Giordano had been questioned: Fredericksen reports Zeri's oral opinion that the present work could in fact be a copy by Francesco Solimena after Giordano. When comparing this work with the Bari treatment of the subject it seems clear that the handling and execution are not by Giordano and are by a very accomplished artist active one generation later. The attribution to De Matteis, which seems entirely convincing, was first proposed at the time of the 1992 sale when the Getty Museum de-accessioned the work (see Provenance). De Matteis' hand is clearly evidenced by the carefully drawn, round faces of the figures. In line with the advent of 18th-century taste, his soft modelling and luminosity mark a progression away from Giordano's more hurried brushtrokes. Other examples of De Matteis repeating Giordano's compositions include a signed and dated Triumph of David from 1714 which is based on Giordano's original  from circa 1686 in Temple Newsam House, Leeds.¹

We are extremely grateful to Professor Riccardo Lattuada for endorsing the attribution and for his help in cataloguing this lot.


1. The De Matteis was sold Rome, Christie's, 14 December 2004, lot 611; for the Giordano Triumph of David see O. Ferrari and G. Scavizzi, op. cit. 1992, vol. I, p. 319, cat. no. A417, reproduced vol. II, p. 696, fig. 548.