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222

Salvator Rosa

Four Men Moving a Boulder, Two Onlookers

Salvator Rosa

Salvator Rosa

Four Men Moving a Boulder, Two Onlookers

Four Men Moving a Boulder, Two Onlookers

Salvator Rosa

Arenella, Naples 1615 - 1673 Rome

Four Men Moving a Boulder, Two Onlookers


Pen and brown ink and wash over black chalk;

bears numbering in brown ink, verso: N 33

140 by 111 mm; 5 1/2 by 4 3/8 in

Hinged to an old decorative mount which has subsequently been hinge mounted to a modern cream mount. There is some very minor toning and light foxing to the sheet and a small repaired tear and small repair to the left edge and another to the lower centre. The combination of media remains in very good condition throughout, with the image strong and luminous. Sold unframed.


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.

Thomas Lawrence (L.2445);
Charles Fairfax Murray, London;
Victor Winthrop Newman;
with American Art Association, Anderson Galleries, 12 April 1930, no. 180;
Ernest Clifford Peixotto (San Francisco 1869 - 1940 New York),
by descent to his daughter;
with Doyle, New York;
with Mia Weiner, New York, Old Master Drawings, 1990, no. 27,
where acquired 1990

M. Mahoney, The Drawings of Salvator Rosa, New York, 1977, vol. I, p. 298, cat. no. 24.20, and reproduced, vol. II

O. G. Boetzkes, Salvator Rosa: Seventeenth-Century Italian Painter, Poet, and Patriot, New York 1960, p. 188

Michael Mahoney dates the present drawing to the middle of the artist's Florentine period, circa 1645.