LUIGI SABATELLI | The Valley of Dry Bones. Ezekiel 37: 1-14

Vertical crease running down the centre of the sheet. Crease in the lower right corner. Light brown stains across the sheet and slight discolouration. Pen and ink and chalk remain reasonably fresh.
"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."

The present drawing depicts the Old Testament biblical narrative of The Valley of the Dry Bones from Ezekiel 37: 1-14.  The story recounts a vision revealed to the prophet Ezekiel, where he sees himself standing in a valley full of dry human bones.   Ezekiel is commanded to carry a prophecy and the bones connect into human figures, then become covered with flesh and skin. God reveals the bones as the People of Israel in exile and commands the Prophet to carry another prophecy in order to revitalize these human figures.  Ezekiel has been chosen to resurrect them and to bring them to the Land of Israel. Sabatelli was born in Florence and trained for five years in Rome, where he came under the influence of the French Academicians, in particular David and his pupil Fabre, but also others such as François-Guillaume Ménageot.  By 1808 his reputation was sufficiently high for him to be appointed to the Academy of Brera in Milan, a post which he maintained for forty years.  Increasingly famous for his numerous paintings and frescoes executed on a grand scale, he returned to Florence in 1819-20, where he painted his most celebrated work, the vast tondo of the Council of the Gods, in the vault of the Sala dell'Lliade in the Palazzo Pitti.