Possibly Antonio Amici Moretti, Rome, in 1690;
Roy Clyde Gardner, Mississippi, circa 1970;
By whom bequeathed in 2004 to the Mississippi Band of Choctaw Indians, until 2010.

Possibly A. Giammaria and L. Spezzaferro, Archivio del collezionismo romano, Pisa 2009, p. 54.
F. Petrucci, Pier Francesco Mola (1612-1666): Materia e colore nella pittura del ‘600, Rome 2012, p. 390, cat. no. B118, reproduced.

The canvas is thinly lined. A dramatic profile portrait reads well, though some of the details in the shadows have sunken. Minor abrasions on left edge, not visible when framed. Inspection under UV reveal some scattered spots of retouching to the beard, as well as a repair at center right that is rectangular shaped, and has a on the reverse of the canvas. Another spot of repair is on the sitter's right cheek, while scattered smaller spots of repairs are on the bottom of his neck. Painting can hang in its present state and is offered in an ebonized frame with some carved, gold decorations.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

A native of the Ticino, Mola moved to Rome with his family when he was four and would grow to become a renowned Baroque artist. With the exception of two extended trips, one to Venice and the another to Bologna, Mola otherwise remained in Rome until his death. Mola has a vast oeuvre, which includes portraits of diverse ancient literary figures. Although their identities  vary from portrait to portrait, the sitters were all portrayed as elderly bearded figures deep in thought wearing a wreath of laurel on their heads. This painting has traditionally been said to represent Socrates, but Francesco Petrucci presented in the artist's monograph that it could be Homer.¹ Regardless of its subject, Mola's talent as an artist is evident here in the fine detail of the beard and the pronounced features of the face. It has been suggested that this work was conceived as a preliminary for a larger composition, which might explain the proportions of the head.²

1. F. Petrucci, Pier Francesco Mola (1612-1666): Materia e colore nella pittura del ‘600, Rome 2012, p. 390, cat. no. B118.
2. Ibid.