Florence 1577 - 1621
ALEXANDER THE GREAT CUTTING THE GORDIAN KNOT
Black chalk and brown wash, heightened with white;
bears old attribution on the album page in pen and brown ink, lower centre: Cristoforo Allori;
also bears inscription in black chalk on the back of the mount: Coll. Gaburri
228 by 173 mm; 9 by 6¾ in
Laid down. The sheet has been torn around the edges, more evident at the right margin. Wash has been applied around the edges of the mount near the edges of the drawing to 'make-up ' the uneven edges.
There is a crease or repaired tear in the upper right section. There is an area of abrasion around the sword and other areas where there are minor losses and thinning of the paper. The chalk and wash remain strong and vibrant despite the condition issues.
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.
Possibly Francesco Maria Niccolò Gabburri (1676-1742), Florence
This intriguing composition, executed in a combination of black chalk and wash, might be a scene of martyrdom. It has not been possible to connect this to any of Allori's painted compositions nor confirm its subject but it is a lively and dynamic scene drawn with confidence and flair.
Cristofano Allori, son of the painter, Alessandro Allori, was one of the leading artists in Florence in the 17th Century. Early in his career he was much admired as a portrait painter but later he concentrated on religious subjects and biblical narratives. He was influenced by Ludovico Cigoli and Domenico Passignano, who were both producing works that were more naturalistic and less mannered than their artistic predecessors.