- 34
Salvator Rosa
Description
- Salvator Rosa
- jacob watering laban's flock
Pen and brown ink and wash
Provenance
Possibly Queen Christina of Sweden;
by inheritance to Cardinal Decio Azzolini;
Marchese Pompeo Azzolini;
Prince Livio Odescalchi;
by descent to Prince Ladislao Odescalchi;
with Pandora Old Master Inc., New York, from whom bought by the present owner in 2006
Literature
M. Mahoney, The Drawings of Salvator Rosa, 1977, vol. I, pp. 671-72, no. 79.1, reproduced vol. II, fig. 79.1;
L. Salerno, L'opera completa di Salvator Rosa, Milan 1975, p.101, under no. 209
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."
Catalogue Note
Mahoney, in his catalogue of Rosa's drawings, refers to the style of the present sheet as free and luminously washed and suggests a date of around 1666 (see Literature). This suggestion is based on stylistic comparisons with Rosa's drawings executed in preparation for three paintings exhibited in August 1666.1 The present sheet, as well as another study in the same media, A figure seated in a landscape with a watering flock (Mahoney no. 79.2) also from the collection of Ladislao Odescalchi, are preparatory for a lost painting by Rosa, formerly in the Ellesmere collection (fig.1). Our drawing is very loosely executed, and demonstrates abundantly the artist's abilities in the use of the pen and the generous wash. The drawings of Rosa's late period are characterised by this impetuous use of line, which is less descriptive but very effective and bold. By the late 1660s Rosa's eyesight was begining to weaken and, as Mahoney pointed out, this could have contributed to some of the changes in his style at that stage of his life.
1. M. Mahoney, The Drawings of Salvator Rosa, 1977, vol. I, pp. 663-670, group 78, reproduced vol. II. Rosa displayed his paintings in markets for new paintings, and regularly showed them at the public exhibitions held in Rome each year in March in the Pantheon and August in San Giovanni Decollato, in the cloister of the church.