Salvator Rosa
Ten small studies on a single mount
Estimate
15,000 - 25,000 USD
Lot Details
Description
Salvator Rosa and Attributed to Salvator Rosa
(Naples 1615 – 1673 Rome)
Ten small studies on a single mount
Various media, including pen and brown ink and wash over black chalk and black chalk heightened with white on blue paper
The mount: 416 by 267 mm; 16⅜ by 10½ in.
The largest: 92 by 95 mm; 3⅝ by 3¾ in.
The smallest: 52 by 64 mm; 2 by 2½ in.
Dr. Carl Robert Rudolf (1884-1974), London (L.2811b) on the mount;
Paul (1902-1998) and Helen Bernat (1908-1993), their collectors mark, not in Lugt,
their sale, New York, Christie's, 11 January 1994, lot 261;
with W.M. Brady & Co., Inc., New York, 1994,
where acquired by Diane A. Nixon
Barnard Castle, County Durham, Bowes Museum, Neapolitan Baroque and Rococo Painting, 1962, cat. 48, only nos. 2 and 9 reproduced;
Washington, D.C., National Gallery of Art, Private Treasures: Four Centuries of European Master Drawings, 2007, (not in catalogue);
Northampton, Massachusetts, Smith College Museum of Art; Ithaca, New York, Herbert F. Johnson Museum of Art, Drawn to Excellence: Renaissance to Romantic Drawings from a Private Collection, 2012-2013, no. 44 (entry by Michael Mahoney)
M. Mahoney, The Drawings of Salvator Rosa, 2 vols, New York 1977, no. 1, vol. 1, p. 345, cat. 29.5, not ill.; no. 2, vol. 1, p. 337, cat. 28.7; no. 3, vol. 1, pp. 518-19, cat. 58.6, not ill.; no. 4, vol. 1, p. 220, cat. 12.8, not ill.; no. 5, vol. 1, pp. 409-10, cat. 40.16, not ill.; no. 6, vol. 1, p. 220, cat. 12.9, not ill.; no. 7, vol. 1, p. 248, cat. 19.3, not ill.; no. 8, vol. 1, p. 701, cat. 82.16, not ill.; no. 9, vol. 1, pp. 297-98, cat. 24.19; no. 10, vol. 1, p. 701, cat. 82.17, not ill.
As Michael Mahoney notes, and as one might expect from an album page of this sort, the ten individual drawings that make up this one object “are studies of thematic or figural motifs cut from larger pages, frequently with a fragmentary portion from an adjacent study…harvested from larger sheets of a variety of dates.”1 Mahoney dates four of the drawings2 which illustrate Rosa’s “much admired, energetic, scurrying pen style of his most advanced years", after about 1649, whilst dating three other sketches3 to his earlier development, due to their more restrained touch. The two outliers from a stylistic and technical standpoint are both executed on blue paper and drawn with less confidence than the other eight. Mahoney tentatively attributes these two drawings to Rosa, noting that their subject and style are reminiscent of Rosa’s earliest drawings, however they are uncharacteristically drawn on blue-gray paper.
See lots 37 and 47 for two further drawings by Salvator Rosa.
1.See Exhibited, Northampton and Ithaca 2013, p. 46
2.Ibid., pp. 48-49; No. 1 Standing Woman, Right Arm Upraised, Her Left Arm Holding a Sheaf (?); No. 3 A Kneeling Woman, Seen from the Rear and Facing Right; No. 5 A Fallen Warrior Crawling Forward; No. 7 A Warrior Fallen on His Back and Pierced by a Lance
3.Ibid., No. 4 A Seated Youth, Facing Left and Resting His Head on His Right Arm; No. 6 A Seated Male Figure Slumped to the Left with His Knees Drawn Up; No. 9 A Three-Quarter-Length Standing Man Wearing a Cap and a Turbaned Woman Seated Facing Right and Approached by a Hooded Figure
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