The colour of the catalogue illustration is too dark and blue in tone. The canvas is unlined. The paint surface is generally in good order, but has suffered a little from wear, particularly from the right hand side and in the lower left corner. The paint surface has developed quite a pronounced craquelure pattern which is quite dense in some areas. Inspection under ultra violet light reveals numerous areas of restoration to disguise the wear or the craquelure, for example the lower left hand corner. The paper and writing implement in the lower right hand corner and in particular to the background and right hand side. This lot is offered with the original brackets? giltwood frame in generally good condition.
"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."

This signed still life is a typical example of Antonio Cioci's interest in trompe l'oeil and interior spaces. The caricature drawing of the head upper left is closely reminiscent of the work of Franz Xaver Messerschmidt (1736 - 1783) who is known to have passed through Florence in 1765 on his return to Vienna from Rome. The Granduke of Florence at the time was Peter Leopold (later Holy Roman Emperor Leopold II), son of Emperor Francis I and Maria Theresa of Bohemia. Since Messerschmidt was called back to Vienna by Maria Theresa herself, it would seem likely that the artist would have stopped by the Florentine court to pay his respects to her son. It is here that Cioci is likely to have come into contact with the Austrian's idiosyncratic work.