Luca Giordano, called Fa Presto

All four corners of the sheet are missing. A loss to the centre of the left margin and nicks to the centre of the upper and left margin, all visible in the catalogue. A tear at the right margin, at the level of Christ's shoulder. Below that, a small area of thinning and a crease. Surface dirt at the left and lower margins and slight foxing to the left margin. A few small light brown stains at the bottom. A tiny spot stain between the heads of the figures. The catalogue illustration is much more yellowed than the original, the drawing itself being in pink preparation and red chalk. Overall the drawing is in good condition.
"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 drawing belongs to a homogeneous stylistic group within Giordano's oeuvre, consisting of large studies of small numbers of figures, executed in the distinctive medium of red chalk on light red tinted paper. These drawings are generally considered to be early works, datable to the 1650s, when he was working in Rome, although according to Scavizzi Giordano continued to use this technique until well into the 1670s.¹  The preparation of the page was achieved by rubbing powdered red chalk into the surface of the paper. The subjects are mostly taken from the antique or the works of earlier Italian artists, although some of these drawings are also based on works by his contemporaries which Giordano admired while in Rome. These drawings were always much appreciated by collectors who bought them as works of art in their own right.

1. See G. Scavizzi, 'New Drawings by Luca Giordano', in Master Drawings, vol. 37, no. 2, 1999,  p. 103