Jusepe de Ribera, called Lo Spagnoletto

Unframed. Laid down. The sheet is not in perfect condition- it has been exposed to the sun and the ink is rather sunk. The lower part of the sheet has been restored, and there are small repaired holes thoughout the paper, particularly in the upper margin. There are some water-type stains on the reverse of the backing sheet.
"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."

This previously unknown drawing by Ribera, of a saint tied to a tree, shares its subject with another in the Wallraf-Richartz Museum, Cologne but appears to be more vigorous and freely drawn.¹  Stylistically it is closer in the handling of the pen and wash to The Martyrdom of St Bartholomew, now in the Pierpont Morgan Library, New York.²  That drawing bears the inscription: Giuseppe Ribera l'anno 1649, which although not in Ribera's handwriting records, according to Jonathan Brown, a plausible dating.  Manuela Mena, in her entry for the Cologne drawing (see note 1), writes that both Walter Vitzthum and Jonathan Brown suggested the identification of the figure with Saint Bartholomew even though, as in the present example, he is not portrayed with his usual attribute, the knife with which he was flayed.  Jonathan Brown has suggested that such drawings should be seen as figure studies which could be adapted, rather than as specific preparatory studies for a composition.

1.  Inv. no. 1913/175; see Jusepe de Ribera, exhibition catalogue, Naples, Castel Sant' Elmo et al., 1992, p. 356, no. 2.48, reproduced

2.  Inv. no. 106; Idem, no. 2.49, reproduced