The Dealer's Eye | London

The Dealer's Eye | London

View full screen - View 1 of Lot 46. SALVATOR ROSA  |  A STANDING HALBERDIER.

Property from Stephen Ongpin Fine Art, London


Lot Closed

June 25, 01:44 PM GMT


8,000 - 12,000 GBP

Lot Details


Property from Stephen Ongpin Fine Art, London


Arenella, Naples 1615 - 1673 Rome


pen and brown ink and wash over traces of black chalk

unframed: 147 x 90 mm.; 5¾ x 3½ in.

framed: 340 x 295 mm.; 13⅜ x 11¾ in.

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Jonathan Richardson, Senior, London (L.2184), with his shelfmark (L.2983 and L.2984) and on his mount;

Probably his sale, London, Christopher Cock, 22 January to 8 February 1747;

Alexander Scott Carter, Toronto (according to a note on the backing sheet);

Anonymous sale, London, Sotheby’s, 26 November 1970, lot 42;

John Appleby, Jersey;

His estate sale, London, Christie's, 4 November 2010, lot 50.

M. Mahoney, The Drawings of Salvator Rosa, New York and London 1977, vol.I, p. 440, no. 45.8; vol.II, fig. 45.8 (as whereabouts unknown);

R.W. Wallace, The Etchings of Salvator Rosa, Princeton 1979, p. 168, no. 37a (not illustrated);

P. Bellini and R.W. Wallace, ed., The Illustrated Bartsch. Vol.45 – Commentary: Italian Masters of the Seventeenth Century, 1990, p. 393 under no. 057 (Bartsch 44).

"This delightful sheet is a quintessential example of Salvator Rosa’s draughtsmanship, in which the artist has combined the careful use of pen and brown ink with deftly applied touches of brown wash, achieving both luminosity and carefully modulated areas of shadow in the process. Besides its inherent artistic merits this drawing also has a particularly distinguished provenance having once belonged to the British artist and collector of Old Master Drawings, Jonathan Richardson Senior (1667-1745)."

Alexander Faber

This is a preparatory study for an etching by Salvator Rosa from his celebrated Figurine series, a group of sixty-two etchings of soldiers, peasants and other figures, depicted either individually or in groups of two, three or more. These etchings, which were published with a dedication to the artist’s friend and patron, the Roman banker and collector Carlo de’ Rossi, can be dated to Rosa’s years in Rome, around 1656-1657. It has been suggested that, apart from helping to spread Rosa’s fame, these Figurine etchings may also have served to rebut the claims, made by the artist’s critics, that he was merely a landscape painter without the ability to depict figures. As Richard Wallace has noted, ‘Rosa was very touchy about his reputation as a figure painter...With the Figurine he undoubtedly meant to show everyone, including his detractors...that he could master the human figure in an almost infinite variety of poses and expressive states.’ Often acquired as a complete set of prints and bound into albums, Rosa’s Figurine etchings remained popular with collectors well into the 18th century.

Around forty of Rosa’s preparatory drawings for individual etchings in the Figurine series survive. All are of identical dimensions to the etchings, and in most respects very close to the final print, albeit in reverse. Other preparatory drawings by Rosa for his Figurine etchings are today in the collections of the Teylers Museum in Haarlem, the Istituto Nazionale per la Grafica in Rome, the Metropolitan Museum of Art and the Pierpont Morgan Library in New York, the National Gallery of Art in Washington, D.C., the British Museum and the Victoria and Albert Museum in London, the Royal Library at Windsor Castle, and elsewhere.