Private Collection (and sold, Sotheby's, London, November 23, 2000, lot 49, illustrated)
Richard Green, London
Property of a Gentleman of Title (and sold, Sotheby's, London, November 15, 2006, lot 262, illustrated)
Acquired at the above sale by the present owner

The following condition report was kindly provided by Simon Parkes Art Conservation, Inc.: This painting has been recently restored. The canvas is not lined. The stretcher has been replaced. There are restorations in the sky beginning in the center and running through to the right side, but these seem to be very isolated. In addition there is a vertical line of restoration running to the right of the stick in the ground. Given the fact that the remainder of the picture is in such beautiful state and that there are no structural issues, it is probably fair to assume these retouches address pentiments, the likes of which can be seen around the trees on the left and right. It is more than likely that this is cosmetic restoration; nonetheless, it needs to be mentioned.
"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."

Throughout his career, Sorbi found inspiration for his paintings in the villages of Tuscany around his native Florence. Almost always, theatrical figures in eighteenth century costumes are set against bright landscapes observed directly from nature. Set on the banks of the Arno looking across at the foothills of the Pratomagno, Saltarello cavalluccio epitomizes Sorbi's colorful historicizing genre scenes set in the Tuscan countryside.

The naturalistic observation and historical idealization so evident here is reflective of the Macchaioli ideals that Sorbi would have been exposed to while training at the Florentine Academy.  The Macchiaioli were opposed to the academic teaching style of the art academy, espousing instead the emerging French realist style, and these artists were also united politically in championing the Risorgimento, the cause of Italian unification, which came in 1871. The present work reflects both of these ideals. On the one hand, Saltarello Cavalluccio is formally quite modern, inspired by the French plein air and realist painters. The landscape itself has been painted from direct observation, outside of the studio, and rendered in vigorous brushstrokes and luminous palette. The Macchiaioli derived their name from the word macchia, meaning a spot or dab, used in 1861 by a critic to describe their technique of juxtaposing broad patches of color.

The figures, shown in period dress, reveal Sorbi's wish to depict Italy as a harmonized whole, in which camaraderie prevails and the classes live in harmony. In this vision, the nobility as well as local villagers share the pictorial space, enjoying a summer's afternoon on the banks of the Arno. The eighteenth century costumes serve to lift the scene out of the present and on to a more timeless plane, harking back to the fêtes champêtres of Antoine Watteau or Nicolas Lancret.

Regardless of any underlying messages, intended or not, Sorbi's colorful and playful paintings were enormously popular during his own lifetime, so much so that Adolphe Goupil, the renowned Parisian art dealer, signed an exclusive contract with the artist in 1872. Sorbi found recognition at home, too, and was awarded the highest Italian accolade, the Commendatore del Regno.