Charles Rogers (L.625), his mount and attribution: il Guercino.;
John MacGowan (L.1496);
Bears unidentified collector's mark on the backing: GHS;
purchased by a European private collector,
by inheritance to the present owner

Laid down on an old mount. The sheet has yellowed somewhat and there is a very slight band of discoloration to the four edges of the sheet, most probably created by an old mount. There are some small white/gray stains to the upper left quarter. The iron gall ink has begun to sink into the sheet in places and has created some small losses and cracks to the sheet around David's eyes, the tip of his nose and around his left shoulder. A small area has been made up in his headdress. Otherwise the image remains strong throughout this energetic sheet. Sold in a modern giltwood frame.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

This very finished study for a three-quarter-length figure of King David playing his harp does not seem to relate to any surviving paintings by the artist.  Guercino often subjected his compositions to a lengthy process of revision and refinement which also continued in the painted work, and his drawings therefore generally represent stages on the way towards the final solution.  In the present sheet, drawn solely in pen and ink, a medium which allowed Guercino a rapidity of execution, the artist has, however, drawn a controlled, detailed and complete study, which must convey a true image of its painted counterpart, if such a work ever existed.  On stylistic grounds, the drawing seems close to Guercino's works dating from the late 1620s.