Italo-Flemish School, 17th Century

R.H. Randall Davies;
sale, London, Sotheby's, 10 February 1947, lot 66

The drawing is mounted within an early double-sided window mount. On both sides, the drawing on the other side shows through to some extent. Particularly in the inscription, ink has eaten into the paper a little in some places. Paper otherwise slightly discoloured, but generally 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 spontaneous sketchbook page has been attributed at different times to various artists working in Rome in the middle of the 17th century, including Agostino Tassi, Goffredo Wals and Salvator Rosa, and must surely originate from this milieu.  Another possible candidate is Cornelis de Wael, an artist originating from Antwerp, and although no totally comparable works by him can be identified, it does seem most likely that this is actually the work of a northern, rather than Italian, artist.  

It is not clear who the 'Catarina de Wael' referred to in the inscription was, nor what the word written below her name ('Beniem'?) signifies, but the remaining parts of the inscription raise the intriguing possibility that one of the figures depicted is meant to be none other than Salvator Rosa, possibly dressed as Pascariello, the lead character in a Neapolitan masque that was presented in Rome in the Carnival of 1639, with Rosa, much to the delight of the Romans, in the starring role.  Rosa was a passionate actor, and around 1645-49 he depicted himself in the costume of Pascariello, wearing a black stocking cap, in a famous self portrait.¹

^1. C. Volpi, Salvator Rosa, Rome 2014, p. 466, no.141, reproduced