The following condition report has been provided by Hamish Dewar, an independent restorer who is not an employee of Sotheby's. Structural Condition The artist's canvas has been lined and this is ensuring an even and secure structural support. Paint surface The paint surface has a reasonably even varnish layer and a number of retouchings are visible under ultra-violet light. The most significant of these are: 1) an area in the clouds and sky in the lower left of the composition, the horizontal area of which measures approximately 12 x 3 cm and the two vertical lines running down from each end of this area measure approximately 9 x 2 cm and 6 x 2 cm. I assume that this area of retouching covers a tear or fracture to the canvas and these retouchings appear rather clumsy and perhaps larger than is really necessary. 2) A thin diagonal line on the edge of the pink draperies in the upper right of the composition which is approximately 3 cm in length and are just to the left of this in the pink draperies which measures approximately 2.5 x 2.5 cm. 3) An area on the left thigh of 'Truth' which measures approximately 3 x 1 cm. 4) A number of retouchings in and adjoining the four spandrels and a number of other small scattered retouchings. Summary The painting is therefore in stable condition and no further work is required for reasons of conservation. A number retouchings have, however, been applied in the past.
"This lot is offered for sale subject to Sotheby's Conditions of Business, which are available on request and printed in Sotheby's sale catalogues. The independent reports contained in this document are provided for prospective bidders' information only and without warranty by Sotheby's or the Seller."

This recently discovered bozzetto was painted by Giaquinto during his sojourn in Spain as Primer Pintor to Ferdinand VI from 1753 to 1762.  The ceiling for which this acted as a study or presentation piece has not been identified which suggests that the final work was either destroyed or the project never actually begun. One can, however, suppose from the subject that this was a secular rജather than religious commission.

In this Allegory of the Vanquishing of War Truth occupies the foremost position, enthroned amongst the clouds and accompanied by her defining attribute of the sun, with her foot resting on the globe, whilst winged Time falls away to her right.  The putti on her left hold two of her other attributes, the mirror and a balance, whilst those above her bear down on her with a bunch of palms and a laurel crown to symbolise that ultimate victory is always hers.  Beneath her on the far left Prudence sits holding her mask and sickle and next to her the figure of Hope rests upon her anchor.  At far right a burning heap of weapons and armour signifies the triumph of these𒀰 three virtues over w💫ar.

Giaquinto's most important commissions in Spain were the frescoes he executed for Ferdinand VI at the Palacio Real, the bozzetti for which survive in the Prado, Madrid.¹  The compositions of the Prado bozzetti are much more ambitious in size, figure number and detail than the present work but they nevertheless share a similar compositional format in which the figures, or figure groups, are built up within the swirls of delicately shaded pa꧋stel clouds set against vibrant blue skies interposed with shafts of brilliant light.  They also share a complicated allegorical programme, distinctive loose brushwork and use of vibrant colours.

1. A. Pérez Sánchez, Corrado Giaquinto y España, exhibition catalo🙈gue, Madrid 2006, p. 232-3, 248𒈔-9, nos. 61 and 68.