Salvator Rosa

Prince Livio Odescalchi;
by descent to Prince Ladislao Odescalchi;
sale, New York, Christie's, 11 January 1994, lot 214, acquired at the sale

Michael Mahoney, The Drawings of Salvator Rosa, New York and London, 1977, vol. I, no. 66.4, reproduced vol. II

The drawing once had quite an extensive mold, it has since been restored and cleaned. The spots are still slightly visible, as is an area of darkening at the right center. The corners are laid down on an old backing sheet. The ink is a darker, greyer color than appears in the catalogue illustration.
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.

This characteristically free and energetic drawing is listed by Michael Mahoney as an early study for Rosa's Raising of Lazarus, one of five paintings with subjects relating to deliverance that were executed around 1662. Referring to the present work as: 'A dazzling early idea for the composition,' Mahoney therefore dates this sheet, and the others in the group, to the early 1660s. It should, however, be noted that the presence of what appears to be a monk as the central figure here suggests that Rosa may actually be re-using the base of his composition for The Raising of Lazarus to generate a new work.