Filippo Gagliardi active in Rome in the second half of the 17th Century and Atttibuted to Giovanni Benedetto Castiglione Genoa 1609 - 1664 Mantua

Possibly Francesco Maria Balbi, Palazzo Balbi, Genoa (as Filippo Napolitano and Castiglione, according to Marshall, under Literature);
Private collection, Genoa;
Commendator Luigi Galli, Carate Brianza by 1955;
Private collection, Rome.

F. Zeri, La Galleria Pallavicini in Roma, Catalogo dei dipinti, Florence 1959, p. 83 (as Castiglione and a follower of Codazzi);

L. Salerno, Pittori di paesaggio del Seicento a Roma, Rome 1977, vol. II, p. 513 (as Castiglione and an artist close to Codazzi);

G. Briganti in I Pittori Bergamaschi, Il Seicento, I, Bergamo 1983, p. 700, cat. no. 91, reproduced p. 729, figs. 1-4 (as Viviano Codazzi and Castiglione);

D.R. Marshall, Viviano and Niccolò Codazzi and the Baroque Architectural Fantasy, Milan 1993, p. 530, cat. nos. FG6-9 (as Gagliardi and Castiglione).

The catalogue illustration is very representative of these four works in real. These large, grand works are very dirty and definitely require a standard surface clean. The colours are well preserved beneath the dirt and would look spectacular if they were revealed, the ethereal white of the angels and the yellows and blues in the costumes are particularly luminescent and splendid. The paint layer has been lightly pressed by a recent relining and at an angle one can see the texture of the canvas weave, but this is not at all disturbing to the overall appearance. The paint is in stable condition, with no apparent flaking. Closeup inspection with a spotlight reveals some tiny holes of damage in the paint layer which have been overpainted. There are also some small discoloured retouchings which are only detectable at very close proximity to the canvas, and otherwise blend smoothly into the overall composition. Number one in the order of the catalogue illustration has an area of old surface damage along the lower edge, especially towards the right hand corner, all of which has been repaired and is not noticeable from a normal viewing distance. Number three in the order of the catalogue illustration has some frame rubbing damage on the lower and side edges. This particular picture also retains a beautiful impasto despite its relining. Inspection under UV light shows up older and newer cosmetic retouchings throughout the canvas, mostly to the very dark areas, which have "sunken" with age and thus require strengthening to enhance their original form. The four works in the group are sold in four identical modern wooden frames, all in pristine condition, their plain polished surfaces contrasting with the exuberance of the paintings themselves.
"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."

Datable to the 1650s, these large architectural capricci form a set of of four Orders: Doric, Ionic, Corinthian and Solomonic. The architecture is by the same hand as the set of four in the Galleria Pallavicini, Rome, now thought to be Filippo Gagliardi. The figures have long been thought to be by Giovanni Benedetto Castiglione, known as Grechetto, but recently both Dr Mary Newcome and Dr Timothy Standring have independently cast some doubts on this attribution. Both feel that while the figures may not be by Castiglione, they are also too elegant and refined to be by his son, Giovanni Francesco. It is conceivable that Castiglione had a number of artists, including his brother Salvatore or his other son Francesco, working alongside him in the workshop.