Luca Giordano, called Fa Presto

Unframed. The edges are rather uneven: there are some nicks to the upper edge and two small horizontal tears to the centre of the right and left edges. Some very very tiny pin prick holes in the centre, only visible when held to the light, to the left of the triton's ear. There is some thinning of the paper above the lower right corner. Some of the white heightening has oxidised. The chalk is still strong and less orange/ more red 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. 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 drawing and lots 22, 24 and 25 bear the same numbering on the recto and similar numbering on the verso, along with the pencil inscription: Giulio Romano.  Large figural study sheets of this type constitute a homogeneous stylistic group within Giordano's work, and often show the young artist copying the works of earlier masters: paintings, as well as sculptures, both Antique and Renaissance.  The earliest seem to have been drawn while Giordano was in Rome in the early 1650s, but he continued to favour this technique well into the 1670s.  It seems that these finished studies, often handsome and drawn on large sheets of paper, were produced to be sold on their own merit. In his early years, Giordano was a highly experimental artist and his style seems to have evolved quite quickly, so the fact that he continued to make these very distinctive, large drawings over a considerable period suggests that these works were very popular with his patrons and collectors.  They are drawn in red chalk, sometimes, as in the present sheet, heightened with white, on paper prepared with the powder of the red chalk rubbed into the surface, creating the subtle tint seen here.