Lot 2058 Dα

The present canvas is a replica of Tanzio Varallo´s David with the Head of Goliath, but shows significant variations compared to the famous original as Marco Tanzi has shown. Gianoli´s canvas is larger than the prototype and the composition differs in in the relationship between the figures and space. Other obvious differences can be noted in the choice of colour palette, in the details of the costumes, as well as in the expression of David, which is much more dramatic in Gianoli´s version.
The work shows strong similarities to other paintings by Gianoli: The gigantic head of Goliath strongly resembles some of the characters included in canvases for the Confraternity of Santa Marta in Varallo, executed by Gianoli between 1668 and 1671. In particular, the figure in the centre of the Accompaniment of the condemned (inv. 715) and the two on the left margin of the Procession (inv. 714) are closely related to the head of our giant. Further, there are similarities between David´s features, and a Self portrait as Saint Jaques (Marseille, art market), as well as a Self-portrait as a pilgrim, in the XXXII Chapel of Sacro Monte in Varallo (1655), which displays the same rendering of the rather swollen eyelids, the small fleshy lips and the strong nose.
Some recently discovered documents open up interesting insights into the possible provenance of this work. Following the death of the 10th Marchese di Soncino (Milan, 1818), Massimiliano Giuseppe Stampa, two inventories of his picture gallery were drawn up. Both lists mentioned a David, certainly connected to the Tanzio da Varallo one: In one of the inventories, the painting is described as a copy after Tanzio, in the other it is described as a work by the School of Daniele Crespi, after Tanzio da Varallo. Tanzi proposes that the Milanese inventories could describe the painting in question, certainly a derivation with its own artistic quality.
The painting will be included in the forthcoming monograph on Tanzio da Varallo by Filippo Maria Ferro.