Attributed to Filippo Parodi (1630-1702) Northern Italian, probably Venice, late 17th century

Noble collection, Spain;
Christie's London, 5 November 2009, lot 88

Overall the condition of the sculptures is good, with some wear and dirt to the surfaces consistent with age. The figures are carved in sections and joints are slightly visible in areas, notably at the arms and legs; some of these are slightly open but stable. There is some stable splitting to the wood consistent with the material, including to the backs of two of the figures. There are a few minor losses, including three of the figures having lost one finger each. There is some minor evidence of past worming in areas, which has led to small areas of loss to one of the figure's proper left arm and a section of his drapery on the proper left side. There is wear to the gilding of the figures throughout, including some flaking. Areas of loss to the gilding include: to one of the figures' proper right little finger, to another figure's proper left thigh around the joint; to another figure's forehead and proper left leg where there is craquelure; and another figure's proper left shoulder. There are nicks and scratches throughout, and the surface has darkened in areas, which adds to the dramatic effect. The later wood bases are in good condition with some general wear, including: some chips to the paintwork, some abrasions at the edges and high points; and some slightly open but stable naturally occurring splits. The figures are not permanently attached to the bases.
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This magnificent group of gilt wood sculptures follow the famous models by Pietro Tacca, which show four Moors chained and forced into submission, surrounding the base of the commemorative statue of Ferdinando de’Medici in Livorno. The present figures are rare, wooden versions of a similar type. Due to their high quality of finish, it is unlikely that these were mere models for later marble works, as has been suggested in the past.

Significantly, two apparently related figures are published as being in the Salzburger Barockmuseum: these were attributed to Gianlorenzo Bernini because of the relation they bear to the fountains of the Four Rivers and of the Moors on the Piazza Navona in Rome. However, as the present figures, they are evidently derived from the Tacca models.

With their twisting forms and shining golden surface, the present figures accord to the Rococo taste, and comparisons can immediately be drawn to the work of Filippo Parodi and his son, who were famous for working with large gilt wood figures. The figures would probably have been commissioned for a temporary monument, to commemorate a victory over the 'Oriental Other', which the present Moors represent. One possible candidate for such an event might be the victory of the Doge of Venice, Francesco Morosini, over the Turks. Parodi, who was previously commissioned by Morosini for a commemorative bust, may well have been the artist of choice for the Doge to commemorate his battle, and the carving of the figures support that attribution.

An expertise by Ulrich Heiss MA, dated January 2011, is available upon request. 

RELATED LITERATURE
K. Rossacher, Die Metamorphose: Künstlerenwürfe des Römischen Barock, dem Gedenken Gianlorenzo Berninis, exh. cat. Salzburger Barockmusuem, Salzburg, 1979; K. Rossacher, Visionen des Barock: Entwürfe des 17. und 18. Jahrhunderts. Salzburger Barockmuseum, Sammlung Rossacher, Gesamtkatalog, Salzburg, 1983