Salvator Rosa

Queen Christina of Sweden,
thence by inheritance to Cardinal Decio Azzolini;
Prince Livio Odescalchi, album page number 18;
thence by descent to Prince Ladislao Odescalchi;
with Galerie Gerda Bassenge, Berlin, 1974, no. B18

M. Mahoney, The Drawings of Salvator Rosa, New York/London 1977, vol. I, p. 151, no. 3.11, reproduced vol. II, fig. 3.11

Drawing laid down on the Odescalchi album page, numbered in pen and ink. Within black chalk framing lines. (album page measures 226 by 166 mm). Slight grey foxing on the lower half on the sheet. Overall in good condition. Sold in a modern wooden and gilded frame.
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.

According to Michael Mahoney, these small figure drawings by Rosa are fragments cut from larger sheets which probably originally included several similar studies. On stylistic grounds, he dates these works before 1635, to the time when according to De Dominici both Rosa and Domenico Gargiullo, called Micco Spadaro, worked in the bottega of Aniello Falcone.  Although the works of the two artists are to some extent similar at this time, as Mahoney has noted, 'Rosa's hand can be distinguished from Spadaro's by the greater firmness of Rosa's pen line.  In all of Spadaro's sketches the rendering of the outlines is quavering.'¹ 

1.  See Mahoney, op. cit., vol. I, p. 145