Salvator Rosa

Major Anton Roger;
Acquired from the above in 1801 by Prince Alois I of Liechtenstein (1759-1805).

Sammlungskatalog (manuscript), 1805, no. 91, as Salvator Rosa;
G. F. Waagen, Die vornehmsten Kunstdenkmäler in Wien, Vienna 1866, p. 262 as Salvator Rosa (?);
J. Falke, Katalog der Fürstlich Liechtensteinischen Bilder-Galerie im Gartenpalais der Rossau zu Wien, Vienna 1873, p. 47, cat. no. 392, as Pierfrancesco Mola;
J. Falke, Katalog der Fürstlich Liechtensteinischen Bilder-Galerie im Gartenpalais der Rossau zu Wien, Vienna 1885, p. 35, cat. no. 246, as Mola;
A. Kronfeld, Führer durch die Fürstlich Liechtensteinsche Gemäldegalerie in Wien, Vienna 1931, p.  69, cat. no. 246, as Mola;
A. Pigler, Barockthemen, Budapest 1974, vol. II, p. 322, as Mola.

The canvas has been relined, but this has not overly flattened the paint surface. The paint surface is secure and in good condition, though rather dirty and under a discoloured varnish. Five horizontal restored tears to the centre of the canvas, falling between the sky and the central figure group are visible due to the unevenness of the paint surface and in some cases discolouration of the retouchings. Also visible are two possible old restored tears or folds to the canvas which run vertically approximately 6cm. in from the left and right hand margins, and measure approximately 60cm. each. There are some scuff marks to the lower left hand corner of the painting. Inspection under UV light is impeded by the aforementioned, reflective varnish but does confirm the aforementioned retouchings and further reveals a 4cm. wide stretch of retouchings along the majority of the upper margin and to the lower right hand corner, as well as extensive scattered retouchings to the sky and to the right and left hand side of the painting. Aside from retouchings to Leander's left arm and some sensitive strengthenings to her clothing, retouchings to Hero's torso, forehead and hair, and some scattered spot retouchings to the remainder of the figures, the foreground group seem to remain largely original. Offered 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. 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."

Despite the 1805 inventory of the Liechtenstein collection tentatively attributing the work to Salvator Rosa, it has until now always been considered to be by Pierfrancesco Mola. However, on the basis of style the work fits convincingly into Rosa's Florentine period. Set in a landscape which is charcteristic of the artist, the pose of Hero and her shawl waving in the wind find parallels with two paintings from the same period, a Pan and Syrinx and a Latona and the Lycian Fishermen, both in private collections.¹ There exist two works on paper by the artist of possibly the same subject; one listed as in the Galerie Gerda Bassenge, Berlin in 1974 and the other recorded in the Witt Collection, London.²

It seems that Prince Alois I bought a number of items from Major Anton Roger's collection, including two paintings by Joos van Craesbeeck and another in the style of Philips Wouwerman sold Amsterdam, Christie's, 1 April 2008, lots 134 and 148 respectively.


We are grateful to Dottoressa Caterina Volpi for endorsing the attribution and for proposing a date of execution in the 1640s. Dottoressa Volpi will include the work in her forthcoming catalogue raisonné on the artist.


1.  See Salvator Rosa, tra mito e magia, exhibition catalogue, Naples 2008, p. 150, cat. no 31, and p. 152, cat. no. 32, both reproduced.
2.  See M. Mahoney, The Drawings of Salvator Rosa, New York & London 1977, vol. I, p. 549, cat. nos. 63.12 and 63.13, both reproduced vol. II.