3
OLD MASTER PAINTINGS & SCULPTURE
PART II
Thursday 29 January 2015
AUCTION
Thursday 29 January 2015 at 4.00 pm
20 Rockefeller Plaza
New York, NY 10020
VIEWING
Saturday 24 January 10.00am – 5.00pm
Sunday 25 January 1.00pm – 5.00pm
Monday 26 January 10.00am – 5.00pm
Tuesday 27 January 10.00am – 5.00pm
Wednesday 28 January 10.00am – 5.00pm
AUCTIONEER
James Hastie #1244430
PROPERTIES FROM
The Estate of William W. Appleton
The Louise Bloomingdale and
Edgar M. Cullman Collection
The Forbes Collection
The Helena Goldsmith Trust
The Former Collection of
Cecile Lehman Mayer
The Metropolitan Museum of Art
The Art Gallery of Ontario,
Deaccessioned to Benefit Art
Purchases at The AGO
Sold to Benefit The Art Acquisition
Fund of The Seattle Art Museum
The Collection of Arthur and
Charlotte Vershbow
AUCTION CODE AND NUMBER
In sending absentee bids or
making enquiries, this sale should
be referred to asSNUFFY-3709
AUCTION RESULTS
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CONDIT IONS OF SALE
This auction is subject to
Important Notices,
Conditions of Sale and
to reserves.
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3 AuctionInformation
6 InternationalOldMasterPaintingsDepartment
7 SpecialistsforthisAuction
10 AuctionCalendar
11 ServicesforthisAuction
12 PropertyforSale
98 ImportantNoticesandExplanationofCataloguingPractice
99 BuyingatChristie’s
101 HandlingandCollection
102 ConditionsofSaleandLimitedWarranty
104 SaleroomsandOfficesWorldwide
106 Christie’sSpecialistDepartmentsandServices
111 AbsenteeBidsForm
112 CatalogueSubscriptions
114 Index
CONTENTS
f r o n t c o v e r :
Lot 223 (detail)
i n s i d e f r o n t
c o v e r :
Lot 224 (detail)
o p p o s i t e a u c t i o n
i n f o r m a t i o n : Lot 215
o p p o s i t e
c o n t e n t s : Lot 270 (detail)
o p p o s i t e o l d
m a s t e r p a i n t i n g s
d e p a r t m e n t : Lot 231 (detail)
p a g e 1 2 :
Lot 288
p a g e 1 3 :
Lot 271
b a c k c o v e r :
Lot 233
INTERNATIONAL OLD MASTER & BRITISH PAINTINGS DEPARMENT
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Elvire de MaintenantInternational Director, Paris
Olivier LefeuvreHead of Department, Paris
Anke Charlotte HeldSenior Specialist, Amsterdam
Manja Rottink Senior Specialist, Amsterdam
Sarah de ClerqHead of Department, Amsterdam
Francis RussellDeputy Chairman
Paul RaisonDeputy Chairman
James Bruce-GardyneInternational Director,Head of Private Sales
John StaintonInternational Director, Head of British Paintings
Nicholas WhiteInternational Director Chairman’s Office
Sandra RomitoSenior Specialist
Clementine SinclairHead of Evening Sale
Alexis AshotSpecialist (Private Sales)
Freddie de RougemontHead of Day Sale
Assunta von MoyAssociate Specialist
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LONDON
EUROPE
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Henry PettiferInternational DirectorHead of Department
Yuan FangJunior Specialist, Hong Kong
ASIA
7
SPECIALISTS FOR THIS AUCTION
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Nicholas HallCo-Chairman, New York (Auction)
Will RussellSpecialist, Head of Depatmant
OLD MASTER PAINTINGS
EUROPEAN SCULPTURE
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OLD MASTER PAINTINGS DEPARTMENT
10
28 JANUARY
OLD MASTER PAINTINGS PART INEW YORK
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RENAISSANCENEW YORK
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25 MARCH
DESSINS ANCIENS & DU XIXÈME SIÈCLE & THE I.Q. VAN REGTEREN ALTENA COLLECTION PART IIIPARIS
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13 MAY
THE I.Q. VAN REGTEREN ALTENA COLLECTION PART IVAMSTERDAM
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8 DECEMBER
OLD MASTER & BRITISH PAINTINGS EVENING SALELONDON, KING STREET
9 DECEMBER
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AUCTION CALENDAR 2015TO INCLUDE YOUR PROPERTY IN THESE SALES PLEASE CONSIGN TEN WEEKS BEFORE THE SALE DATE. CONTACT THE SPECIALISTS OR REPRESENTATIVE OFFICE FOR FURTHER INFORMATION.
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14
PROPERTY FROM THE LOUISE BLOOMINGDALE AND EDGAR M.
CULLMAN COLLECTION
201
CIRCLE OF BALTHASAR VAN DER AST (MIDDELBERG 1593/4-1657 DELFT)
Tulips, carnations, an iris, a dog rose, a cyclamen, roses, a pansy and other fowers in a roemer with a caterpillar and a butterfy
oil on panel
10Ω x 8 in. (26.7 x 20.3 cm.)
$25,000-35,000 £16,000-22,000� €21,000-28,000
P R O V E N A N C E :
Gilbert Kahn Collection, as Ambrosius Bosschaert.
with Knoedler, New York, according to a label on the reverse.
with Van Diemen Gallery, Amsterdam, c. 1969.
with Johnny van Haeften, London, where acquired in 1995 by the family of
the present owner.
L I T E R A T U R E :
L.J. Bol, ‘Een Middelburse Breughel-groep. V. Cristoffel van den Berghe:
bloemen en landschap’, Oud Holland, LXXI,1956, pp. 186, 188, fg. 2, 203,
as Christoffel van den Berghe.
L.J. Bol, Holländische Maler des 17. Jahrhunderts nahe grossen Meistern:
Landschaften und Stilleben, Braunschweig, 1969, pp. 52, 53, fg. 44 (reprint
p. 48, fg. 40) as Christoffel van den Berghe.
15
PROPERTY OF A PRIVATE COLLECTOR
203
CIRCLE OF LOUIS DE CAULLERY (CAMBRAI 1555-1622 ANTWERP)
King Nimrod ordering the construction of the Tower of Babel
oil on panel
18√ x 24æ in. (48 x 62.9 cm.)
$15,000-20,000 £9,600-13,000� €13,000-16,000
P R O V E N A N C E :
with Michel Segoura, Paris, where acquired in
1990 by the present owner.
203
PROPERTY OF A PRIVATE COLLECTOR
202
STUDIO OF JAN VAN KESSEL II (ANTWERP 1626-1679)
The Garden of Eden, with the Fall of Man
oil on copper
9¡ x 12 in. (23.8 x 30.5 cm.)
$25,000-35,000 £16,000-22,000� €21,000-28,000
202
16
204
204
STUDIO OF SIR ANTHONY VAN DYCK (ANTWERP 1599-1641 LONDON)
Study of a head of a man
oil on paper, laid down on canvas
15 x 14 in. (38.1 x 35.6 cm.)
$20,000-30,000 £13,000-19,000� €17,000-24,000
Dr. Hans Vlieghe, to whom we are grateful,
attributes the present painting to the studio of
Sir Anthony van Dyck after frst hand inspection
and dates it to Van Dyck’s second Antwerp
period (1627-1632). On basis of a photograph,
Dr Christopher Brown has not excluded an
attribution to the master himself (private
communication).
PROPERTY FROM THE HELENA GOLDSMITH
TRUST
205
BONAVENTURA PEETERS (ANTWERP 1614-1652 HOBOKEN)
A Rowing Vessel approaching a Zeeland States Yacht fring a salute, in choppy sees off Vlissingen, with other shipping beyond
signed ‘B. Peeters.’ (lower center, on the
driftwood)
oil on panel
21æ x 28º (55.3 x 71.7 cm.)
$30,000-50,000 £20,000-32,000� €25,000-40,000
P R O V E N A N C E :
Mr. Carel Goldschmidt, Mount Kisco, New York,
by 1965, and by descent.
This painting is one of several works that
Bonaventura Peeters showing the Dutch harbor
at Vlissingen. On the horizon in the distance
are the St. Jacobstoren, the Gevangentoren,
the Stadhuis, and the Stadsmolen. The bustling
port of Vlissingen, base for the Dutch East India
Company, is the subject of at least three other
painted compositions by Peeters, including a
picture in the Musée des Beaux-Arts, Strasbourg
(inv. 431, wrongly described as depicting Hoorn).
It was also the only harbor in the Northern
Netherlands to be visited by dolphins, here
visible at left.
205
17
PROPERTY OF THE ART GALLERY OF
ONTARIO, DEACCESSIONED TO BENEFIT ART
PURCHASES AT THE AGO
206
DORDRECHT SCHOOL, 1634
Portrait of a girl, half-length, holding a glove
inscribed and dated ‘ÆTATIS : 7 : AN 1634’ (lower
left)
oil on panel, oval
18º x 13 in. (46.3 x 33 cm.)
$10,000-15,000 £6,400-9,500� €8,100-12,000
P R O V E N A N C E :
(Possibly) John FitzPatrick, 1st Baron Castletown
of Upper Ossory and by descent to his daughter
Cecilia Emily Emma FitzPatrick, later Mrs. Lewis
Strange Wingfeld, as Hals (according to a label
on the reverse).
Frederick William Fitzgerald, by bequest in 1949
to
The Art Gallery of Toronto.
E X H I B I T E D :
Winnipeg, Winnipeg Art Gallery, 29 March-28
May 1958, as Cuyp.
Brantford, Glenhyrst Arts Council, 30 October-22
November 1963, as Cuyp.
PROPERTY FROM THE LOUISE
BLOOMINGDALE AND EDGAR M. CULLMAN
COLLECTION
207
JAN JOSEFSZ. VAN GOYEN (LEIDEN 1596-1656 THE HAGUE)
Travelers on a dune by a bridge, a village beyond
signed and dated ‘IV GOIEN 1628’ (lower right)
oil on panel
12 x 23¬ in. (30.5 x 60 cm.)
$15,000-25,000 £9,600-16,000� €13,000-20,000
P R O V E N A N C E :
(Possibly) Max Kann, Paris.
(Possibly) Anonymous sale; Hôtel Drouot, Paris, 22
April 1896, lot 21 (950 FF to Kleinberger).
(Possibly) with Franz Kleinberger, Paris.
(Possibly) Baron Königswarter, Vienna; his
sale, Berlin, 20 November 1906, lot 26 (8900
Reichsmarks).
Anonymous sale; Galerie Hugo Helbing, Munich,
15 June 1909, lot 44 (950 Reichsmarks).
C. Chr. E. Meyer, Berlin; his sale, Lepke, Berlin, 11
March 1913, lot 72 (1150 Reichsmarks).
with Mathiesen, Hamburg.
Anonymous sale; Paul Graupe, Berlin, 26 January
206
207
1935, lot 670 (2300 Reichsmarks).
with W.E. Duits, Amsterdam, 1935.
with Christophe Janet, New York, 1984.
with Johnny van Haeften, London, where
acquired by the family of the present owner.
E X H I B I T E D :
New York, Christophe Janet Ltd., The Intimate
vision: as seen through a selection of seventeenth
century Dutch paintings, 19 March-21 April 1984,
no. 23.
L I T E R A T U R E :
C. Hofstede de Groot, A Catalogue Raisonné of
the works of the most eminent Dutch painters of
the seventeenth century, London, 1907-1913,
VIII, pp. 124 no. 479 and possibly p. 185 no. 723.
H. Gerson, ‘De Meester P.N.’, Nederlandsch
Kunsthistorisch Jaarbeok, I, 1947, illustrated.
H.-U. Beck, Jan van Goyen: 1596-1656,
Amsterdam, 1973, II, no. 1066.
18
208
208A
PROPERTY OF A PRIVATE COLLECTOR
208
WILLEM VAN MIERIS (LEIDEN 1662-1747)
Portrait of a gentleman, traditionally identifed as James Butler (1665-1745) 2nd Duke of Ormonde, KG KT
signed and dated ‘W.V. Mieris / Fecit Ao 1705’ (lower right)
oil on silvered copper
5¿ x 4 in. (13 x 10.2 cm.)
$25,000-35,000 £16,000-22,000� €21,000-28,000
P R O V E N A N C E :
J. Lawrence; Christie’s, London, 17 July 1911, lot 120.
Anonymous sale; Sotheby’s, Monaco, 5 December 1991, lot 132 ($14,699).
with Noortman, Maastricht, 1992.
L I T E R A T U R E :
C. Hofstede de Groot, A catalogue raisonné of the works of the most
eminent Dutch painters of the seventeenth century based on the work of
John Smith, London, 1928, X, no. 370, p. 201.
208A
DIRCK HALS (HAARLEM 1591-1656)
A boy singing and playing the clapper
signed in monogram ‘DH’ (center right, in ligature)
oil on panel
5½ x 4½ in. (14 x 11.4 cm.)
$10,000-15,000 £6,400-9,500� €8,100-12,000
P R O V E N A N C E :
Dr. Georg Adolf Remé, Hamburg; his sale, Hans W. Lange, Berlin, 7-9 April
1938, lot 15.
with D. Katz, Dieren, 1940, where acquired by the family of the present
owner, 15 January 1940, as Frans Hals.
L I T E R A T U R E :
B. Nehlsen-Marten, Dirck Hals 1591-1656: Oeuvre und Entwicklung eines
Haarlemer Genremalers, Berlin, 2003, no. 370, fg. 215.
Britta Nehlsen-Marten records that at the 1938 sale the present work bore a
date of 1636.
19
PROPERTY FROM AN ESTATE
210
CARSTIAN LUYCKX (ANTWERP 1623-AFTER 1657)
A woodcock, partridge, kingfsher, fnches and a cat, with a decoy whistle and a wooden snare
oil on panel
12º x 17 in. (31.1 x 43.2 cm.)
$15,000-20,000 £9,600-13,000� €13,000-16,000
P R O V E N A N C E :
E. Warneck, Paris; sale, Galerie George Petit, Paris,
28 May 1926, lot 41, as Jan Fijt (catalogue by F.
Lugt; 64,000 FF to M. Max Kuan).
with Newhouse Galleries, New York, as Jan Fyt,
where acquired by the family of the present
owner.
E X H I B I T E D :
Dallas, Meadows Museum, Private Views: Flemish
and Dutch Paintings from Dallas Collection, 19
April-27 May 1990, as Jan Fyt (catalogue by S.A.
Sullivan).
L I T E R A T U R E :
E. Greindl, Les peintres famands de nature morte
au XVIIe siècle, Brussels, 1983, p. 353, no. 269,
as Jan Fyt.
We are grateful to Fred Meijer of the RKD,
The Hague, for confrming the attribution to
Luyckx on the basis of photographs (private
communication, 24 April 2014).
PROPERTY OF A PRIVATE COLLECTOR
209
ANTHONY CLAESZ. II (AMSTERDAM 1616-1652)
Roses, tulips, and other fowers in a glass vase with insects and a lizard in a stone niche
signed and dated ‘Anthony . Claesz fecit . 1641.’
(lower right)
oil on panel, arched top
21æ x 15 in. (55.3 x 38.1 cm.)
$40,000-60,000 £26,000-38,000� €33,000-48,000
P R O V E N A N C E :
with Newhouse Galleries, New York, according to
a label on the reverse.
We are grateful to Fred Meijer, of the RKD in
The Hague, for confrming the attribution on
frst hand inspection (29 October 2014).
209
210
20
211
212
211
FOLLOWER OF DAVID TENIERS II
A gin distillery with an elderly man buying gin from a woman
oil on oak panel, unframed
19æ x 26 in. (50.1 x 66 cm)
$8,000-12,000 £5,100-7,600� €6,500-9,600
P R O V E N A N C E :
Anonymous sale; Christie’s, London, 29 October
2008, lot 39, as ‘Follower of Teniers’ (£6,800).
This composition is known in another, weaker
version, which was offered at auction c. 1976
with a full attribution to David Teniers (according
to a Witt Library mount).
212
ABRAHAM STORCK (AMSTERDAM 1644-1708)
A river landscape with a ferry in the foreground, other shipping beyond
signed ‘A: Stork’ (lower center, on the ferry)
oil on panel
9√ x 14 in. (25.1 x 35.5 cm.)
$40,000-60,000 £26,000-38,000� €33,000-48,000
P R O V E N A N C E :
Oberstleutenant Mettlerkamp and Oberalten
Martens; sale; E.Harzen, 9 May 1825, lot 9 (to
Johannes Nodt).
Richard Green, London, 1980.
Private collection, Great Britain.
21
213
213
CIRCLE OF THE BRUNSWICK MONOGRAMMIST (ACTIVE ANTWERP, SECOND QUARTER OF THE 16TH CENTURY)
A brothel scene
oil on panel
11¡ x 16√ in. (28.9 x 42.8 cm.)
$40,000-60,000 £26,000-38,000� €33,000-48,000
E X H I B I T E D :
Arnhem, Gemeentemuseum (according to a label
on the reverse).
Other versions with similar compositions are
recorded in the Gemäldegalerie Berlin, the
Staedel, Frankfurt, the Hermitage, St. Petersburg
and in the Museo Correr, Venice.
The identity of the artist remains a subject of
debate, and he has in the past, been suggested
by such scholars as Max Friedländer, to be the
youthful Jan van Hemessen. The majority of
recent scholars however consider the most likely
candidate to be Jan van Amstel (Amsterdam
c. 1500-c. 1542 Antwerp), thought to have been
the brother of Pieter Aertsen and married to the
sister-in-law of Pieter Coecke van Aelst.
PROPERTY FROM PRIVATE BELGIAN
COLLECTION
214
CIRCLE OF DENIJS VAN ALSLOOT (BRUSSELS BEFORE 1573-1625/6)
A winter landscape with skaters on a frozen river
oil on canvas, unframed
15 x 17√ in. (38 x 45.5 cm.)
$15,000-20,000 £9,600-13,000� €13,000-16,000
P R O V E N A N C E :
Acquired before 1980 by the parents of the
present owner.
214
22
infuenced heavily by the style and compositions
of the elder Frans, as particularly evident in the
present panel.
The subject of ladies writing and receiving letters
was taken up by Frans I more than six times,
from the 1660s to the end of his career, as was
the theme of a doctor attending a swooning
young woman. The motif of a gray parrot on a
stand is taken from the composition that Otto
Naumann calls Frans I’s most popular subject,
that of a woman feeding a parrot, of which
two of the fnest examples are preserved in
the National Gallery, London (fg. 1) and the
Leiden Collection, New York. The dramatically
lit velvet curtain and stool in the immediate
foreground at left function as an effective
repoussoir for the painting, playing with the
notion of the illusionistic nature of the pictorial
space, which was itself a popular theme among
the fjnschilders. Van Mieris II likely found his
inspiration for this motif in his grandfather’s
work as well, as it appears in several of his
paintings, including his celebrated The Cloth
Shop of 1660 (Vienna, Kunsthistorisches
Museum).
Age painter Frans van Mieris II, the cause of the
young lady’s distress is clear to the viewer – the
opened letter which has fallen to the ground in
front of her, addressed to ‘Meluff Sara Spoor.’
While the doctor takes the elegantly dressed
young woman’s pulse, unable to comprehend
why it has quickened so suddenly, the old
woman standing next to him is able to see what
the doctor cannot – she gestures to him with
one hand placed over her heart, revealing the
true nature of the woman’s ‘illness.’
Both depictions of people receiving letters,
weighty with the dramatic potential of the
messages they might contain, and images
of foolish doctors tending to their lovesick
‘patients’ were particularly popular among
the genre scenes of the fjnschilders, or ‘fne
painters,’ a group of 17th-century Leiden
artists distinguished by their highly realistic,
meticulously fnished paintings. Frans van Mieris
II, one of the last important painters to work
in this style, came from a long family tradition
of fjnschilders. His grandfather, Frans van
Mieris I, was a student of Gerrit Dou and an
internationally regarded master in his lifetime,
and his father, Willem van Mieris, is also among
the best-known exponents of the genre. Both
Willem van Mieris and Frans van Mieris II were
P R O V E N A N C E :
Mrs. Edward Romilly, London; (†), Christie’s,
London, 23 March 1878, lot 125 (158 gns. to
Lesser).
Private collection, Switzerland; (†), Christie’s,
London, 7 April 1995, lot 20A (£43,300).
with Salomon Lilian, Amsterdam, where acquired
by the present owner.
The fgure of a doctor trying to determine the
illness that ails his patient, unable to see that
she is afficted with nothing more serious than
lovesickness, was a popular comedic theme
in Dutch genre painting of the 17th century.
In the present work by the late Dutch Golden
PROPERTY OF A PRIVATE COLLECTOR
215
FRANS VAN MIERIS II (LEIDEN 1689-1763)
The Doctor’s Visit
signed and dated ‘F.V. Mieris Fecit Ao 1713 .’ (lower left) and inscribed ‘Meluff/ Meluff Sara Spoor/
te / Leiden’ (lower center on the letter)
oil on panel
19Ω x 16¿ in. (49.5 x 41 cm.)
$70,000-100,000 £45,000-64,000� €57,000-80,000
Fig. 1 Frans van Mieris, A Woman in a Red Jacket feeding a Parrot, c. 1663 © National Gallery, London / Art Resource, NY
24
216
A BRONZE BUST OF A BOY
PROBABLY FLEMISH, 16TH CENTURY
On a later ebonized base
5 in. (12.7 cm.) high
$5,000-8,000 £3,200-5,100� €4,000-6,400
25
217
A BRONZE BUST OF BACCHUS
ITALIAN, EARLY 16TH CENTURY
Depicted with an ivy headband, on a later socle
5Ω in. (14 cm.) high
$8,000-12,000 £5,100-7,600� €6,500-9,600
219
A BRONZE FIGURE OF A STANDING WOMAN
ITALIAN, 17TH CENTURY/ 18TH CENTURY
On a rouge-griotte marble stand
9 in. (22.9 cm.) high
$3,000-5,000 £2,000-3,200� €2,400-4,000
26
218
A BRONZE FIGURE OF CHRIST AT THE
COLUMN
ITALIAN, 17TH CENTURY
5Ω in. (14 cm.) high
$3,000-5,000 £2,000-3,200� €2,400-4,000
218
219
220
A BRONZE FIGURE OF VENUS AT THE BATH
ITALIAN, AFTER THE ANTIQUE, 18TH CENTURY
Depicted leaning on an urn and standing on her
right foot
9 in. (22.9 cm.) high
$3,000-5,000 £2,000-3,200� €2,400-4,000
27
28
221
FOLLOWER OF ROGIER VAN DER WEYDEN, C. 1513
Portrait of Jean de Bourgogne, Bishop of Cambrai
oil on oak panel
14 x 8æ in. (35.5 x 22.3 cm.)
$50,000-70,000 £32,000-45,000� €41,000-56,000
P R O V E N A N C E :
Anonymous sale; Sotheby’s, New York, 24
January 2002, lot 138, as Burgundian School,
circa 1470.
John of Burgundy (c. 1418-80) was the
illegitimate son of John the Fearless (Dijon 1371-
1419) by Agnès de Croÿ. His mother’s nephew,
Philippe de Croÿ, was one of Rogier van der
Weyden’s patrons (see his Portrait Diptych in
the Koninklijk Museum voor Schone Kunsten,
Antwerp). John studied with Antoine Haneron
at Leuven, and in 1437 became Provost of Saint-
Pierre at Lille. He was consecrated at Hesdin in
May 1440 by Jean Chevrot, and made his entry
into Cambrai on 10 July 1442, although he left a
month later, never to return, preferring to live in
Brussels and Mechlin. The identity of the sitter is
confrmed by a drawing in the ‘Recueil d’Arras’
(fol. 96; see fg. 1) of nearly the same likeness,
with minor differences. The coat of arms bearing
the feur de lys and bars references the court of
Burgundy, and the dividing line signals John’s
illegitimate status. The three blue lions and gold
feld reference Cambrai and the Cambrésis.
We are grateful to Dr. Lorne Campbell his
assistance with cataloguing this painting, and
for suggesting that the panel probably originally
formed the left wing of a half-length diptych,
and that it is likely based on a lost original by
Rogier of c. 1460. Dendrochronological analysis
of the oak panel by Professor Peter Klein of
Hamburg University has revealed that the earliest
date of the painting could be 1503. However it
is more probable that the panel was used after
1513 (written communication, 5 November
2014).
Fig. 1John of Burgundy, Bishop of Cambrai, from ‘the Recueil d’Arras’ / Biblothèque Municipale, Arras, France / Bridgeman Images
29
This hitherto unknown panel is an exceptionally
rare example of early French painting, a feld
that suffered losses from revolutionary turmoil
as much as from centuries of neglect caused by
change in artistic tastes. Its delicate execution,
the sculptural quality of the fgures, and its
bright color scheme evoke the work of the
Master of Moulins, today convincingly identifed
as Jean Hey, the court painter to the powerful
duke Pierre II of Bourbons who was praised by
the chronicler Jean Lemaire des Belges as one of
the foremost artist of his day. Jean Hey’s elegant
courtly style spread across the Bourbonnais and
Lyon regions and fnds undisputed echoes in this
Ecce Homo. This panel is especially reminiscent
of a picture of the same subject from 1494
now in the Musées Royaux des Beaux-Arts de
Belgique in Brussels, commissioned by Jean
Cueillette, a former court offcial to the duke of
222
CIRCLE OF JEAN HEY, FORMALLY CALLED THE MASTER OF MOULINS (FL. 1494-1504)
Ecce Homo
oil and gold on walnut panel, arched top, in an
integral frame
12Ω x 9√ in. (31.7 x 25.1 cm.)
inscribed ‘ECCE HOMO’ (lower center)
$60,000-80,000 £39,000-51,000� €49,000-64,000
Bourbons and by then secretary to King Charles
VIII of France. The present work shares with the
Brussels panel its subject, depicting the moment
after the scourging during which Christ is
presented to the people, and its restrained sense
of pathos. Considering that the present Christ
faces left, and given the original function of
the Brussels picture, it is possible that this work
would have had a pendant or served as a diptych
alongside a Mater Dolorosa mourning at the
torments inficted on her son, a portrait showing
a donor in prayer in front of the suffering Christ,
or another similar image. The intimately-sized
panel would certainly have functioned as an
object of private devotion, whose purpose and
emotional appeal are underscored by the lack of
narrative details which allow the viewer to focus
on Christ’s quiet acceptance of his fate and the
beautiful crying angels beside him.
30
P R O V E N A N C E :
Anonymous sale; Christie’s, London,
21 October 2001, lot 65, as ‘Follower of Lucas
van Valkenborch’.
223
CIRCLE OF LUCAS VAN VALCKENBORCH I (LEUVEN AFTER 1535-1597 FRANKFURT AM MAIN)
Portrait of Freiherr Ernst Löbl of Greinburg, full-length, aged 15
with inscription ‘Herz[...] Ernnst Löbl Freijherr / auf Greinburg. / AETATIS SVAE ·
15 · / ANNO · 1609 · ‘ (upper right) and with the sitter’s coat-of-arms
(upper right)
oil on canvas
73 x 36 in. (185.4 x 91.5 cm.)
$80,000-120,000 £51,000-76,000� €65,000-96,000
This engaging portrait of a young boy depicts
one of the last members of the Barons Löbl zu
Greinburg. Dashingly attired, the teenager seems
both proud and nervous, a complex emotional
demeanor which is captured astonishingly well
by the artist. The Löbl, or Loeble, family originally
came from the Alsace and Swabia but came
to settle in Austria by the early 16th century.
Johann Löbl, who had been appointed royal
treasurer (Pfennigmeister) to Archduke Ferdinand
of Austria in 1524, acquired Greinburg and the
surrounding lands from Julius Count zu Hardegg
in 1531. All members of his family were raised to
the peerage by Archduke Maximilian of Austria
on 13 June 1590 and given the hereditable
status of baron (Freiherr). The family line ended
with Johann Bernard Löbl, who died in 1649
without issue.
While more remains to be discovered about
the sitter, he must have been one of the last
members of the family living at Greinburg, which
was sold in 1621 to Baron Leonhard Helfrich
von Meggau. Situated in Upper Austria, it had
been erected between 1488 and 1493 as one of
the frst castles in the German-speaking region.
Under Johann Löbl the building took most of its
present-day form. After several changes of hands
after 1621, the castle was acquired in 1822 by
the Dukes of Saxe-Coburg and Gotha, becoming
their offcial residence.
Georg Matthäus Vischer, Greinburg, in Topographia Austriae superioris modernae, 1674.
32
PROPERTY FROM A PRIVATE EUROPEAN COLLECTION
224
MARTEN RIJCKAERT (ANTWERP 1587-1631)
A wooded landscape with Hercules and Cacus; and A mountainous river landscape with the Prodigal Son
oil on copper
11 x 14æ in. (27.5 x 37.4 cm.) a pair (2)
$150,000-180,000 £96,000-110,000� €130,000-140,000
P R O V E N A N C E :
Private collection, France.
Private collection, Germany.
33
These previously unpublished landscapes have
been examined frsthand by Dr. Luuk Pijl, who
endorses the attribution to Marten Rijckaert
(written communication, 12 November 2011).
The scion of a dynasty of Antwerp painters,
Marten Rickaert was the son of David Rijckaert I
and uncle to David Rijckaert II. In 1630, he sat for
Anthony van Dyck, whose portrait of him is today
in the Prado, Madrid.
Dr. Pijl has also identifed the subject of the
present coppers. The frst depicts the legend
of Hercules and Cacus, a rare appearance in
Northern European art, though it is the subject of
a famous woodcut of 1588 by Hendrick Goltzius.
The story, from Ovid, tells that during his tenth
Labor Hercules killed the fre-breathing monster
Cacus who had been terrorizing local cattle.
The second work shows the Prodigal Son, as
recounted in Luke 15:11-32, who has squandered
his inheritance and found himself alone in the
wilderness.
34
225
A GILT BRONZE FIGURE OF HERCULES
NORTH EUROPEAN, POSSIBLY LATE 16TH / EARLY 17TH CENTURY
The young Hercules depicted standing with his right fst clenched behind his back, while
holding his club over his left shoulder and gazing to his left; on an integrally cast oval plinth
8Ω in. (21.5 cm.) high
$10,000-20,000 £6,400-13,000� €8,100-16,000
P R O V E N A N C E :
Dr. A. von Frey, Berlin.
Camillo Castiglione, Vienna, no. 32.
Property of a Gentleman, sold Christie’s, London,
4 July 1989, lot 128 (£85,000).
Property of a Gentleman, sold Christie’s, New
York, 26 October 2001, lot 370 ($47,000,
including premium).
Private Collection.
L I T E R A T U R E :
L. Planiscig, Venezianische Bildhauer der
Renaissance, Vienna, 1921, pp. 297-300, fgs.
306-309.
id., Collezione Camillo Castiglioni, Catalogo dei
Bronzi: Con Introduzion e Note Descrittive di Leo
Planiscig, Vienna, 1923, no. 32.
C O M P A R A T I V E L I T E R A T U R E :
C. Avery, La Spezia, Museo Civico Amedeo
Lia - Sculture, Bronzetti, Placchetti, Medaglie,
La Spezia, 1998, no. 97.
When the present bronze fgure was discussed
by Leo Planiscig in his landmark study of
Venetian bronzes (loc. cit.) it was attributed to
Francesco da Sant’Agata on the basis of stylistic
comparisons with the signed boxwood fgure
(S273) in the Wallace Collection thought to
have been executed in 1522. Since that time, it
has been recognized as one of a group of small
bronzes attributable to a single artist who has
thus far defed a frm attribution, but who was
most recently given the name ‘The Master of
the Fitzwilliam Museum’ by Charles Avery (loc.
cit.). Most of the bronzes are of secular subjects
and a large proportion of them are gilded, as in
the present case. They all display a goldsmith-
like attention to detail, as is evident here in
the details of the hair, the facial features and
the punching of the club and base. The Seated
Hercules, in the Quentin Collection, illustrates
most of the same similarities in the modeling
and fnished details as the present bronze (M.
Leithe-Jasper and P. Wengraf, European Bronzes
from the Quentin Collection, exh. cat., The Frick
Collection, 28 September, 2004-2 January,
2005, no. 26, pp. 246-251).
Several bronzes by this master have appeared on
the international market in the past decade; they
include a seated Bacchus (Sotheby’s, 9 December
1993, lot 106, sold £95,000), another version
of the present model (Christie’s, 15 December,
1998, lot 130, sold £100,000), and two versions
of a Seated Hercules (Christie’s, 2 July 1996,
lot 171, sold £45,000 and 6 July 1999, lot 81,
sold £120,000 [the Quentin bronze mentioned
above]).
36
226
FOLLOWER OF ROGIER VAN DER WEYDEN, C. 1500
The Virgin Nursing the Christ Child
oil and gold on Baltic oak panel, in an integral
frame
11Ω x 8 in. (29.2 x 20.3 cm.)
$40,000-60,000 £26,000-38,000� €33,000-48,000
P R O V E N A N C E :
Private Noble collection, Europe; Sotheby’s,
8 December 2005, lot 207 (£31,200), where
acquired by the present owner.
L I T E R A T U R E :
P. Syfer-d’Olne et al., Catalogue of Early
Netherlandish Painting: Royal Museums of Fine
Arts of Belgium. The Flemish Primitives IV: Masters
with Provisional Names, Brussels, 2006, p. 151,
fg. 101.
Based on a composition by Rogier van der
Weyden, this sensitively painted image shows
the Christ Child holding a delicate fower which
appears to be a type of violet, symbol both of
Mary’s humility and Christ’s Passion. As told in
one legend, violets were once pure white until
they began to turn purple to echo the Virgin’s
anguish at the suffering of her Son.226
227
CIRCLE OF MICHIEL SITTOW (REVAL C. 1468-1525/6)
Saint Margaret of Antioch
oil and gold on panel
11º x 8º in. (28.6 x 21 cm.)
$10,000-15,000 £6,400-9,500� €8,100-12,000
P R O V E N A N C E :
with Newhouse Galleries, New York, as Flemish
School, c. 1500.
with J. & S. Goldschmidt, Frankfurt am Main,
where acquired on 30 May 1927 by
Mr. H.J.L. Stark, and by descent to
The Nelda C. and H.J. Lutcher Stark Foundation;
sold to beneft the acquisitions fund, Christie’s,
New York, 25 May 2005, lot 200 ($50,400),
where acquired by the present owner.
227
37
P R O V E N A N C E :
Anonymous sale; De Vuyst, Lokeren, 7 March
1998, lot 526.
Anonymous sale; Sotheby’s, Amsterdam, 2
November 2004, lot 46 (€62,400).
L I T E R A T U R E :
U. Härting, Frans Francken II, Freren, 1989, p.
276, no. 174, fg. 174.
Punched into the back of this large copper panel
is the mark of the Antwerp coppersmith Pieter
Stas, which consists of his initials inside a heart-
shaped design, along with the two hands which
were the symbols of the Antwerp guild. The
reverse is also inscribed with the date “Anno
1604”, and an inscription which reads “Guido
Vniu / del / Franch Ollan/ dese / n. 11.”
228
FRANS FRANCKEN II (ANTWERP 1581-1642)
The Last Judgment
signed and dated ‘D.I. F.FRANKEN FECIT /
INVENTOR Ao 1606’ (lower left)
oil on copper, the reverse stamped with the
makers mark of Peeter Stas (c. 1564-after 1616)
and the date 1604
26 x 19√ in. (66 x 50.5 cm.)
$40,000-60,000 £26,000-38,000� €33,000-48,000
verso (detail)
38
229
OTTO VAN VEEN (LEIDEN C. 1556-1629 BRUSSELS)
Four Allegories
inscribed ‘Fortuna dormienti plerumque / benigna.’; ‘Fortuna immeritis
plerumque benigna.’; ‘Manum admouentes inuocate Numina.’; and ‘Omnis
piger semper in egestate /[...] Proverb /Contemnuntur hi qui nec sibi, nec /
alijs, in quibus nullus labor, nulla / industria, nulla cura est. / Salust.’ (lower
centre)
oil on panel
9º x 13¬ in. (23.5 x 34.5 cm.) a set of four (4)
$40,000-60,000 £26,000-38,000� €33,000-48,000
P R O V E N A N C E :
Anonymous sale; Christie’s, London, 10 December 1993, lot 212.
Professor J.B.Trapp and Dr. Elizabeth McGrath of the Warburg Institute
have identifed the subject of these paintings as follows: the frst two
paintings show the unfair way that fortune favors the unworthy. The latter
two illustrate the moral that it is better to work hard and to trust in God
rather than to sit in poverty and misery lamenting the ironies of fate. An
emblem on the subject of ‘Fortune usually favors the sleeper’ is recorded
in A. Schöne (Emblemata, 1967, col.1798). The moral ‘Fortune regularly
favors the unworthy’ is a variation of the saying ‘casting pearls before
swine’. Manum admoventes invocate Numina is a translation into Latin of
one of the Spartan sayings of Plutarch; a looser translation might be ‘God
helps those who help themselves’. The last painting showing a pauper lost
in self-pity includes a lengthy inscription in Latin: ostensibly from Sallust,
it does not in fact correspond with any known work by that author. The
cabbages at the feet of the pauper were a symbol of poverty for Horace
and appeared in Vaenius’s Emblemata horatiana of 1607, although the
quotation does not appear to have been taken directly from Horace. The
landscapes may be the work of another hand.
39
PROPERTY FROM PRIVATE BELGIAN COLLECTION
230
JOHANN JOSEPH HARTMANN (MANNHEIM OR AUGSBURG 175≈-1830 COTTERD)
A wooded river landscape with travelers on a path, a town beyond
oil on copper
9¬ x 14¡ in. (24.5 x 36.6 cm.)
$20,000-30,000 £13,000-19,000� €17,000-24,000
P R O V E N A N C E :
Acquired before 1980 by the parents of the present owner.
40
of Germany and the Northern and Southern
Netherlands. In the realm of landscape painting,
which was frst truly born as a self-suffcient
genre only a few decades earlier, in the rocky
valleys of Patinir’s Wallonia, this migration had
a particularly earth-shaking effect; artists born
and formed in the Southern Netherlands, in the
unfltered infuence of Patinir and his followers
(Herri met de Bles and Pieter Bruegel I frst
and foremost amongst them), exported these
innovations to neighbouring lands. Landscapists
like Gillis Hondecoeter, Alexander Kierincx
and – above all – Gillis van Coninxloo took the
revolutionary new genre of landscape painting
which had been nurtured in Flanders during
the fertile years of the mid-16th century, and
brought them to the northern Provinces, sowing
the seeds of what would become one of the
most characteristic aspects of Dutch landscape
painting.
We are grateful to Dr. Luuk Pijl for confrming
the attribution on the basis of photographs, and
for dating the picture to c. 1595.by the present
owner.
231
GILLIS VAN CONINXLOO II (ANTWERP 1544-1606 AMSTERDAM)
An extensive wooded landscape with Christ healing the lame man, a village and a town by the mountains beyond
oil on panel, unframed
13¬ x 21æ in. (34.5 x 55.3 cm.)
$100,000-150,000 £64,000-95,000� €81,000-120,000
P R O V E N A N C E :
Private collection, Belgium, 1995.
Private collection, Germany.
Anonymous sale; Lempertz, Cologne, 21 May
2005, lot 625 (€105,000), where acquired by the
present owner.
Gillis van Coninxloo III is arguably the most
important landscape painter working in Northern
Europe during the second half of the 16th
century, and a key member of two important
schools – the Antwerp School, into which he
was born; and the Frankenthal School, which
he helped found and of which he can be
considered the leading artist. As such, he is one
of the most interesting and notable Flemish
artists of his generation. His move from Antwerp
to Frankenthal, and ultimately to Amsterdam,
belongs to the moment when the large-scale
migration of artists and other intellectuals,
spurred on by the religious tumult of the age,
shifted the currents of artistic and cultural
infuence, creating new and fruitful channels
of cross-pollination between the traditions
PROPERTY FROM A PRIVATE EUROPEAN COLLECTION
233
A POLYCHROME-DECORATED AND GILTWOOD FIGURE OF
SANTIAGO MATAMOROS
SPANISH, LATE 15TH/16TH CENTURY AND LATER
With a landscape background and all within a gothic tracery framework, the
frame associated
39Ω in. (100.3 cm.) high, 10Ω in. (26.7 cm.) wide, 20 in. (50.8 cm.) deep
$20,000-30,000 £13,000-19,000� €17,000-24,000
P R O V E N A N C E :
Josè Mar“a de Palacio y Abarzuza (1866-1940), Conde de las Almenas,
Madrid, 1927, sold, Art Association, New York, January 13 - 15, 1927, cat.
no. 260.
With Ercole Canessa, New York, 1928.
Saint Louis Art Museum, purchased from Ercole Canessa, 1928.
232
A POLYCHROME AND GILT-DECORATED LIMESTONE FIGURE OF
THE VIRGIN AND CHILD
FRENCH, POSSIBLY 14TH CENTURY
24Ω in. (62.2 cm.) high, 9º in. (23.5 cm.) wide, 6º in. (16 cm.) deep
$10,000-20,000 £6,400-13,000� €8,100-16,000
P R O V E N A N C E :
Louis Charles Timbal (1821-1880), Paris.
Joseph-Marie-Noel Valois (1855-1915), Paris.
Wildenstein & Co., New York, 1924.
Saint Louis Art Museum, purchased from Wildenstein & Co., 1924.
E X H I B I T E D :
Saint Louis, MO, City Art Museum of Saint Louis, Origins of Modern
Sculpture, March 30, 1946 - May 1, 1946
232
PROPERTY OF THE SAINT LOUIS ART MUSEUM, SOLD TO BENEFIT THE ACQUISITIONS FUND
(LOTS 232-236)
44
234
A PAIR OF CARVED LIMEWOOD
CANDELABRA STATUES OF ANGELS
GERMAN, CIRCA 1500
Dressed as acolytes, each holding a torch and
formerly with wings to backs
34 in. (86.3 cm.) high, 10 in. (25.4 cm.) wide,
10Ω in. (26.7 cm.) deep (the frst)
36º in. (92 cm.) high, 11æ in. (30 cm.) wide; 9 in.
(22.9 cm.) deep (the second) (2)
$8,000-12,000 £5,100-7,600� €6,500-9,600
P R O V E N A N C E :
Benoit Oppenheim, Berlin, 1911.
Frederic Stern, Inc. New York; purchased from
Benoit Oppenheim, c. 1928.
Friedrich B. Gutmann (c.1875?-1943),
Heemstede, Holland; purchased from Frederic
Stern, Inc.; exhibited at New York World’s Fair,
opening April 30, 1939
Heirs of Friedrich B. Gutmann, by inheritance; in
the possession of Frederick Stern, Inc., New York,
NY, USA, acting as administrator, 1943.
Saint Louis Art Museum, purchased from Frederic
Stern, Inc., sold on behalf of the Gutmann heirs,
1948.
E X H I B I T E D :
Saint Louis, MO, Saint Louis Art Museum, Art at
the Altar, May 31, 1994 - February 1, 1995
Buffalo, NY, Albright-Knox Art Gallery, Religious
Art from Byzantium to Chagall, December 13,
1964 - January 10, 1965
John Herron Museum of Art, Masterworks of
Sculpture, February 2 - March 18, 1956
235
A BRONZE RELIEF OF CAPILLIATA
COLLEONI
ITALIAN, AFTER TULLIO LOMBARDO, 19TH OR EARLY 20TH CENTURY
In a giltwood frame
31 in. (78.7 cm.) high, 19Ω in. (49.5 cm.) wide,
2 in. (5.1 cm.) deep
$6,000-9,000 £3,900-5,700� €4,800-7,200
P R O V E N A N C E :
C. and E. Canessa, New York, 1915
Saint Louis Art Museum, purchased from C.and E.
Canessa, 1921
234
235
45
236
A PAIR OF BRONZE GROUPS OF THE RAPE OF SABINES AND THE
RAPE OF PROSERPINE
FRENCH, THE FIRST AFTER GIAMBOLOGNA, THE SECOND AFTER FRANCOIS GIRARDON, LATE 18TH / 19TH CENTURY
Both on molded ormolu bases
24Ω in. (62.2 cm.) high, 10Ω in. deep (the Rape of Sabines group), without
base
21º in. (54.6 cm.) high, 9æ in. (24.8 cm.) wide (the Rape of Proserpine
group), without base (2)
$15,000-25,000 £9,600-16,000� €13,000-20,000
P R O V E N A N C E :
Baroness de Lareinty, Paris.
Seligmann, Rey & Co. Galleries, Paris.
Hugo W. Blumenthal, New York, NY, USA (1894-1969), purchased from
Seligmann, Rey & Co., 1919.
Klejman Galleries, New York, 1957.
Saint Louis Art Museum, purchased from Klejman Galleries, 1957.
E X H I B I T E D :
Saint Louis, MO, Washington University Gallery of Art, Giambologna’s
Conception of the Rape of the Sabine Women: A Study Exhibition in the
Connoisseurship of Bronze Statuettes, October 25 - November 14, 1971
L I T E R A T U R E :
C. Avery, Giambologna - The Complete Sculpture, Oxford, 1987, pp. 109-
114, 254, fgs. 104-107.
F. Souchal, French Sculptors of the 17th and 18th centuries - The reign of
Louis XIV, II, Oxford, 1981, no. 42, pp. 41-43, and the supplement, London,
1993, IV, no. 42, pp. 102-104.
These bronze groups, each representing a complex multi-fgure
composition, are derived from different sources but have been put together
to create a new, and highly decorative, pair. The Abduction of Proserpina
by Girardon was originally conceived as a marble as part of a commission
of four marble groups by different artists for the frst Parterre d’Eau at
Versailles (F. Souchal, French Sculptors of the 17th and 18th Centuries,
Paris 1981, p. 42). The Girardon group is dated 1699. The Rape of a Sabine
Woman is considered to be Giambologna’s greatest achievement in marble.
It was unveiled in the Loggia dei Lanzi, Florence, on 14 January, 1583 (C.
Avery, Giambologna: The Complete Sculpture, Oxford, 1987, pp. 109-114).
46
This Mater Dolorosa originally formed the left wing of a diptych, paired
with a Christ Crowned with Thorns. The composition probably derives from
Rogier van der Weyden, who had depicted similar Virgins, for example
in the Beaune Last Judgment (1443-51; Beaune, Musée de l’Hôtel-Dieu)
and the Triptych of Jean Braque (c. 1452-3; Louvre, Paris), that were then
popularized by his contemporaries and followers. The present composition
was itself in the past given to Rogier and his school, but was reclassifed as
Dieric Bouts by Max J. Friedländer (Die altniederländische Malerei, III, Berlin
and Leiden, 1925, p. 124). The composition was quite popular in Bouts’
workshop and several versions exist, including those in the National Gallery,
London and the Louvre, Paris (see Lorne Campbell’s entry in National
Gallery Catalogues. The Fifteenth Century Netherlandish Paintings, London,
1998, pp. 63-6). While several candidates have been proposed for the
Bouts prototype, the master’s original autograph work appears to be lost.
237
WORKSHOP OF DIERIC BOUTS (HAARLEM C. 1415-1475)
The Mater Dolorosa
oil on panel
16º x 10¬ in. (41.9 cm. x 27 cm.)
$40,000-60,000 £26,000-38,000� €33,000-48,000
P R O V E N A N C E :
Bernhard Rösler, Schwalmtal, by 1951 (along with the pendant Christ
Crowned with Thorns) and by descent to
Joyce Rösler, by whom given in 1978 to Dr. Eduard Bühl and by descent;
Christie’s, London, 8 December 2006, lot 179 (£54,000), where acquired by
the present owner.
47
238
BOHEMIAN SCHOOL, 15TH CENTURY
The Mater Dolorosa
oil and gold on panel
6æ x 5¬ in. (17.2 x 14.3 cm.)
$5,000-7,000 £3,200-4,500� €4,000-5,600
239
VENETIAN SCHOOL, 15TH CENTURY
The Deposition
tempera, oil and gold on poplar panel in an
engaged frame
20º x 14 in. (51.4 x 35.6 cm.)
$10,000-15,000 £6,400-9,500� €8,100-12,000
238
239
48
240
AMBROSIUS BENSON (LOMBARDY? LATE 15TH CENTURY-BEFORE 1550 BRUGES)
The Virgin and Child
oil and gold on Baltic oak panel
14Ω x 11º in. (36.8 x 28.6 cm.)
$60,000-80,000 £39,000-51,000� €49,000-64,000
P R O V E N A N C E :
Schulte, Stuttgart; sale, Helbing, Munich, 27-28 March 1935, lot 461.
Anonymous sale; Sotheby’s, New York, 28 January 2000, lot 10, where
acquired by the present owner.
L I T E R A T U R E :
G. Marlier, Ambroisius Benson, 1957, p. 331, no. 228 (under paintings not
seen by the author)
M.J. Friedländer, Early Netherlandish Paintings, 1974, XI, p. 97, no. 262, pl.
171.
Dendrochronological analysis of the oak panel by Professor Peter Klein of
Hamburg University has revealed that the earliest date of the painting could
be 1493. However it is more probable that the panel was used after 1499
(written communication, 15 May 2014).
241
ALESSANDRO TURCHI, CALLED L’ORBETTO (VERONA 1578-1649 ROME)
The Madonna and Child with the young Saint John the Baptist and Saint Francis
oil on copper
15Ω x 9√ in. (39.4 x 25.1 cm.)
$50,000-70,000 £32,000-45,000� €41,000-56,000
P R O V E N A N C E :
Anonymous sale; Dorotheum, Vienna, 9 April 2014, lot 740 as “Veronese
school, 17th century).
Private collection, Milan.
We are grateful to Dr. Daniela Scaglietti Kelescian, who endorses the
attribution to Turchi on the basis of frsthand inspection, and points out
that this is an autograph version of the composition whose prototype is
now in a private collection in Verona. Dr. Scaglietti Kelescian notes that
the present is the only known version painted on copper, and dates it to
Turchi’s frst years in Rome, c. 1613/1614.
240
241
49
242
243
242
GIROLAMO FIGINO (ACTIVE MILAN C. 1530-70)
Christ carrying the Cross
oil on panel, unframed
31æ x 21º in. (78.2 x 54.4 cm.)
$30,000-50,000 £20,000-32,000� €25,000-40,000
Possibly a relative of the Milanese painter Ambrogio Figino,
Girolamo was a pupil of Francesco Melzi and a prominent
follower of Leonardo da Vinci, whose drawings he appears
to have collected. The image of Christ Carrying the Cross
gained widespread popularity in Milan as artists responded
to Leonardo da Vinci’s exploration of the subject, such as
his celebrated drawing from the early 1490s (Gallerie dell’
Accademia, Venice). Francesco Frangi has confrmed the
attribution of the present painting to Figino, remarking that it
is stylistically closely related to the Madonna del Velo of 1559-
60 in the church of Sant’ Ambrogio, Milan and the Holy Family
with Saint Syrus of 1569 in the church of Saint Marco in the
same city (written communication, 8 September 2011). These
works share a strong sense of fgural plasticity, boldly defned
drapery, as well as fesh-tones brought to life by an earthy
palette.
243
NICOLA MALINCONICO (NAPLES 1663-1721)
The Miracle of the Ass
oil on canvas
24√ x 29¿ in. (63.2 x 74 cm.)
$15,000-20,000 £9,600-13,000� €13,000-16,000
We are grateful to Nicola Spinosa for identifying this bozzetto
as the work of Nicola Malinconico (written communication, 26
November 2014), who at the end of the 17th and beginning
of the 18th centuries was becoming increasingly receptive to
the art of Francisco Solimena after working in a style heavily
infuenced by Luca Giordano.
244
244
JACQUES DE CLAEUW (DORDRECHT C. 1623-AFTER 1694 LEIDEN)
A hoopoe and fnches in a carved stone niche
signed indistinctly ‘JDCl....’ (lower center)oil on panel18æ x 14Ω in. (47.6 x 36.8 cm.)
$15,000-20,000 £9,600-13,000� €13,000-16,000
P R O V E N A N C E :
with Jacques Goudstikker, Amsterdam (inv. 1518), likely before 1930;Looted from the above by the Nazi authorities, July, 1940.Restituted to Desiree Goudstikker, New York, 17 May 1949.with Daan Cevat, London, until 1964.with Van-Diemen-Lilienfeld Galleries, New York, by 1964, as ‘Van Leeuwen’, where acquired in 1966 by the Seattle Art Museum (Margaret E. Fuller purchase fund).
L I T E R A T U R E :
Art Quarterly, XXX, no. 1, 1967, p. 65.Art Quarterly, XXX, no. 2, 1967, pp. 159, 161.Seattle Art Museum Guild, Engagement Book, 1969.P. Sutton, Northern European Paintings in the Philadelphia Museum of Art:
From the Sixteenth through the Nineteenth Century, Philadelphia, 1990, pp. 163-164, as Cornelis Lelienbergh.
We are grateful to Fred G. Meijer of the RKD, The Hague, for confrming the attribution to De Claeuw on the basis of photographs.
245
245
CIRCLE OF NICOLAS DE LARGILLIÈRE (PARIS 1656-1746)
Portrait of a gentleman, bust-length, in a red coat
oil on canvas25Ω x 21º in. (54.8 x 54 cm.)
$6,000-8,000 £3,900-5,100� €4,800-6,400
P R O V E N A N C E :
Private collection, France. Syd Hoare, Vancouver, from whom purchased in 1958 by the Seattle Art Museum (Norman and Amelia Davis funds).
E X H I B I T E D :
Denver, Denver Art Museum, Images of History, 1961.
L I T E R A T U R E :
Art Quarterly, XXI, 4, Winter 1958, p. 434.Seattle Art Museum Guild, Engagement Book, 1965.
PROPERTY SOLD TO BENEFIT THE ART ACQUISITION FUND OF THE SEATTLE ART MUSEUM (LOTS 244-265)
246
246
PALENCIA SCHOOL, MID-15TH CENTURY
Saints George, Lazarus, Bartholomew, Sebastian and Benedict
tempera and gold on panel, in an engaged frame40 x 31Ω in. (101.6 x 80 cm.)
$15,000-20,000 £9,600-13,000� €13,000-16,000
P R O V E N A N C E :
Private collection, Palencia, where acquired by the following.with Schaeffer Galleries, New York, where acquired in 1964 by the Seattle Art Museum (Margaret E. Fuller purchase fund) as ‘Castillian Master, active in Palencia around 1460’.
L I T E R A T U R E :
Seattle Art Museum Guild, Engagement Book, 1968.
We are grateful to Antoni José Pitarch for identifying the present painting as a work from Palencia, dating to the third quarter of the 15th century. Working from a photograph, Professor Pitarch cited stylistic similarities to the Altarpiece of Saint John the Baptist from the church of San Juan Bautista in Paredes de Nava.
247
247
AFTER ANGELICA KAUFFMAN, R.A.
The Three Graces distressing Cupid
oil on canvas, in a painted circle26º x 26º in. (66.7 x 66.7 cm.)
$10,000-15,000 £6,400-9,500� €8,100-12,000
P R O V E N A N C E :
H. A. Hammond Smith, New York.with Belmont Art Galleries, New York, by 1941, from whom purchased by Mrs. Lew V. Day, Washington, 1941-1966, from whom gifted toThe Seattle Art Museum, May 1966.
E X H I B I T E D :
Bellevue, Washington, Bellevue Art Museum, 17th, 18th, 19th Century
Western Art, 30 October 1975-24 November 1975, as Kauffman.
L I T E R A T U R E :
Art Quarterly, XXIX, nos. 3-4, 1966, p. 295, as Kauffman.Seattle Art Museum Guild, Engagement Book, 1969, as Kauffman.
52
248
AN ALABASTER RELIEF OF SAINT AGNES, SAINT JOHN THE BAPTIST AND A SAINT MARTYR
HISPANO-FLEMISH, LATE 16TH/EARLY 17TH CENTURY
9 in. (23 cm.) high, 9º in. (21 cm.) wide, 1¡ in. (3.7 cm.) deep (the relief)
$10,000-15,000 £6,400-9,500� €8,100-12,000
P R O V E N A N C E :
with Mathias Komor, New YorkMrs. Cebert Baillargeon, in memory of her husband
53
249
A STUCCO RELIEF OF THE VIRGIN AND CHILD WITH THE YOUNG
SAINT JOHN THE BAPTIST
AFTER THE MODEL BY BENEDETTO DA MAIANO (1442-1497), ITALIAN, POSSIBLY 16TH CENTURY
With the veiled Madonna holding the standing Child both looking at St. John the Baptist, fanked by winged cherubim masks and above a larger one, the frame later32¬ in. (83.5 cm) high, 24Ω in, (62.5 cm) wide (overall)
$10,000-20,000 £6,400-13,000� €8,100-16,000
P R O V E N A N C E :
Eugene Fuller Memorial Collection
Benedetto da Maiano was one of the most accomplished marble sculptors in 15th century Florence, whose work infuenced such High Renaissance artists as Andrea Sansovino and Michelangelo.
This composition, of which several examples are known, including a variant in the Victoria & Albert Museum (inv. no. 860-1891), dates from a late phase of Benedetto da Maiano’s career. The present relief may be a contemporary squeeze (cast) after an original in another material, or it may have been designed specifcally for replication.
54
250
250
A GILT-BRONZE RELIEF OF THE LAMENTATION
ITALIAN, PROBABLY ROMAN AND AFTER A MODEL BY GUGLIELMO DELLA PORTA (1500-1577), LATE 16TH/EARLY 17TH CENTURY
In a walnut frame75 in. (19.2 cm.) high, 5Ω in. (14 cm.) wide (the relief)
$2,000-3,000 £1,300-1,900� €1,600-2,400
P R O V E N A N C E :
Frank Gair Macomber with French & Co., 22 March 1950Eugene Fuller Memorial Collection
251
A TERRACOTTA RELIEF OF THE VIRGIN AND CHILD
WORKSHOP OF MICHELOZZO DI BARTOLOMMEO (1396-1472), ITALIAN, 15TH CENTURY
In a giltwood frame, the frame possibly Renaissance period29Ω in. (75 cm.) high, 21 in. (53.5 cm.) wide, 7Ω in. (19 cm.) deep
$30,000-50,000 £20,000-32,000� €25,000-40,000
P R O V E N A N C E :
Palazzo Michiel dalla Colonne ora Donà dalle Rose, Venicewith French & Co., New YorkGift of Mrs. Donald E. Frederick
The present lot is accompanied by a Thermoluminescence test from Oxford Authentication stating the samples were fred between 400 and 700 years ago.
56
252
A SILVERED AND GILT-COPPER RELIQUARY HEAD, DEPICTING SAINT NEREUS
CENTRAL EUROPEAN, PROBABLY SWISS, 19TH CENTURY
On a pierced, square base inscribed HOC EST CAPUD SANCTI NEREUS MARTYRS9æ in. (24.7 cm.) high, 8 in. (20.5 cm.), 7Ω in. (19 cm.) deep
$2,000-3,000 £1,300-1,900� €1,600-2,400
P R O V E N A N C E :
Mrs. Otto H. Kahn, New York with Brummer Gallery, New York, 11 January 1949Donald E. Frederick Memorial Collection
57
253
A CARVED STONE RELIEF OF CHRIST BEFORE PONTIUS PILATE
GERMAN, MID-16TH CENTURY
Formerly an architectural element17º in. (44 cm.) high, 31 in. (78.8 cm.) wide, 3æ in. (9.5 cm.) deep
$10,000-20,000 £6,400-13,000� €8,100-16,000
P R O V E N A N C E :
Baron Cassel van Doornwith Blumka, New York, 13 January 1960Seattle Art Museum Purchase Fund
58
254
A CARVED SANDSTONE FIGURE OF A MERMAID
ITALIAN, 16TH CENTURY
Depicted seated on rocks, missing head18 in. (46 cm.) high, 30 in. (76 cm.) wide
$8,000-12,000 £5,100-7,600� €6,500-9,600
P R O V E N A N C E :
Brummer Sale, 20 March 1949with Stora & Co., 10 June 1949Eugene Fuller Memorial Collection
This fgure of a Mermaid is reminiscent of the 16th-century monster statues visible in the Gardens of Bomarzo, North Italy.
59
255
A CARVED SANDSTONE FRAGMENT OF A CROWNED FEMALE
FIGURE
FRENCH, 14TH CENTURY, POSSIBLY STRASBURG
10Ω in. (26.7 cm.) high, 7Ω in. (19 cm.) diameter
$8,000-12,000 £5,100-7,600� €6,500-9,600
P R O V E N A N C E :
Brummer Sale, 20 March 1949with Stora & Co., 10 June 1949Eugene Fuller Memorial Collection
60
256
A CARVED OAK GROUP OF A PIETA
FLEMISH, EARLY 16TH CENTURY
On a naturalistically- carved base37Ω in. (95.5 cm) high, 31 in. (78.5 cm.) wide, 15Ω (39.5 cm.) deep
$15,000-25,000 £9,600-16,000� €13,000-20,000
P R O V E N A N C E :
Mathias Komor, New York, by 1958Purchased by Seattle Art Museum (funds from Seattle Art Museum Guild), 26 November 1958
257
A PAIR OF POLYCHROME AND GILT-DECORATED FIGURES OF ANGELS
ITALIAN, CIRCA 1500
Each kneeling and holding a pricket stick on their knee30Ω in. (77.5 cm.) high, 21 in. (53.5 cm.) wide, 12 in. (30.5 cm.) deep (each) a pair (2)
$7,000-10,000 £4,500-6,400� €5,600-8,000
P R O V E N A N C E :
Eugene Fuller Memorial Collection.
62
258
A CARVED LIMEWOOD RELIEF OF THE TRANSFIGURATION OF CHRIST
GERMAN, POSSIBLY AUGSBURG, CIRCA 1500
Formerly with a painted and gilded surface22æ in. (57.8 cm.) high, 28æ in. (73 cm.) wide
$25,000-35,000 £16,000-22,000� €21,000-28,000
P R O V E N A N C E :
with Blumka Gallery, New York, 6 January 1962Seattle Art Museum (Margaret E. Fuller Purchase Fund)
64 260
259
259
A CARVED BOXWOOD RELIEF OF THE PENITENCE OF MARY
MAGDALEN IN THE WILDERNESS
CIRCLE OF CHRISTOPH DANIEL SCHENK, GERMAN, LATE 17TH
with Loewi-Robertson, Los Angeles, California, 6 February 1969Eugene Fuller Memorial Collection6Ω in, (16.5 cm.) high, 48 in. (12.5 cm.) wide, 1¡ in. (3.4 cm.) deep
$8,000-12,000 £5,100-7,600� €6,500-9,600
Christoph Daniel Schenk (1633-1691) was an important German sculptor of religious imagery, working primarily in wood and ivory. He is also known for his large-scale wood altar fgures and altarpieces. He produced his earliest works during the Counter-Reformation, a period of renewed artistic activity when churches and monasteries were being restored and redecorated. He frequently treated religious scenes of suffering and penitence in his work, often repeating themes in different media. Spiraling, activated drapery forms emphasized his combination of stark naturalism and heightened emotionalism.
260
A CARVED FRUITWOOD FIGURE OF SAINT MATTHEW
GERMAN, LATE 17TH CENTURY
Depicted standing with a putto supporting the Gospel, on a later circular marble base7¿ in. (18.1 cm.) high, 3 in. (7.5 cm.) wide, 2æ in. (7 cm.) deep
$4,000-6,000 £2,600-3,800� €3,200-4,800
P R O V E N A N C E :
with R. Stora, New York, 15 March 1957Norman and Amelia Davis Collection
65
261
262
261
A CARVED BOXWOOD GROUP OF A SATYR WITH A GOAT
GERMAN, LATE 17TH CENTURY
Depicted standing holding a bunch of grapes aloft11√ in. (30 cm.) high, 6 in. (15.3 cm.) wide, 5 in. (12.8 cm.) deep (overall)
$10,000-15,000 £6,400-9,500� €8,100-12,000
P R O V E N A N C E :
With Blumka, New York, 28 March 1955Eugene Fuller Memorial Collection
262
A CARVED BOXWOOD RELIEF OF THE VIRGIN OF THE APOCALYPSE
GERMAN, LATE 16TH/ EARLY 17TH CENTURY
Depicted triumphant and fanked by angels7 in. (17.6 cm.) high, 4º (10.8) wide, 1º in. (3.1 cm) deep
$12,000-18,000 £7,700-11,000� €9,700-14,000
P R O V E N A N C E :
with Mathias Komor, 11 July 1963Gift of Dr. Curtis Marshall, Mrs. Alfred Perthou, and friends in memory of Dr. and Mrs. Maimon Samuels
66
263
263
A WHITE MARBLE BUST OF VOLTAIRE
WORKSHOP OF PETER ANTON VON VERSCHAFFELT (1710-1793), FLEMISH, LATE 18TH CENTURY
On a later red and brown marble socle18 in. (45.7 cm.) high, 15 in. (38 cm.) wide, 12. in. (30.5 cm) deep
$12,000-18,000 £7,700-11,000� €9,700-14,000
P R O V E N A N C E :
Auction, Paris, June 1958with Mathias Komor, New YorkGift of Mrs. John C. Atwood, Jr.
Another bust of Voltaire (1694-1778), also by Peter Anton von Verschaffelt and originally from the d’Arenberg Palace (Brussels), is know in the Louvre (RF. 3064). Both sculpture bears very close stylistic comparison, the drapery and the treatment of the face being similar. However, in the Louvre version, Voltaire is represented with hairs in the antique manner with a laurel wreath instead of a peruke in the present.
264
264
A TERRACOTTA BOZZETTO OF TRITON AND SEAHORSE
ITALIAN, LATE 17TH CENTURY
Depicting a triton catching a seahorse14Ω in. (37 cm.) high, 9æ (25 cm.) wide, 10¬ in. (27.8 cm.) deep
$5,000-8,000 £3,200-5,100� €4,000-6,400
P R O V E N A N C E :
Oscar Bondy, Vienna, by 1938.Confscated by the Nazi authorities April 1939.Stored at the Zentraldepot Vienna for the “Führermuseum LinzÓ (Inv.no. 945), by 1939; transferred to Stift Kremsmünster (Inv.no. Kr/46/3078) , by 1946.Restituted to Elisabeth Bondy, 17 November 1948.With Blumka Gallery, New York.Seattle Art Museum, purchased from the above, 4 May 1950.
A terracotta of a Naiad, now in the Boston Museum of Fine Arts (acc. no. 56.144) and also from the Oscar Bondy collection, was originally certainly constituting a pair with the present.
67
265
A TERRACOTTA FIGURE OF AN ECCLESIAST
CIRCLE OF PIERRE-ETIENNE MONNOT (1656-1733), FRENCH, EARLY 18TH CENTURY
Depicted standing, his proper right hand missing23 in. high (58.3 cm.), 9Ω in. (24 cm.) wide, 6æ (17.2 cm.) deep
$7,000-10,000 £4,500-6,400� €5,600-8,000
P R O V E N A N C E :
Eugene Fuller Memorial Collection
68
266
266
THOMAS GAINSBOROUGH, R.A. (SUDBURY, SUFFOLK 1727-1788 LONDON)
Portrait of Lady Blackstone, bust-length
oil on canvas30º x 25 in. (76.8 x 63.5 cm.)
$40,000-60,000 £26,000-38,000� €33,000-48,000
P R O V E N A N C E :
By descent to the sitter’s daughter.Miss M.E. Rennell; Christie’s, 21 February 1919, lot 18 (1,400 gns.). E.W. Edwards, Cincinnati, and by descent within the family to Thomas E. Davison, Cincinnati; Christie’s, London, 18 June 1976, lot 108 (£6,000).
E X H I B I T E D :
Cincinnati, Cincinnati Art Museum, Thomas Gainsborough, 1-31 May 1931, no. 1.
L I T E R A T U R E :
E.K. Waterhouse, Preliminary Checklist of Portraits by Thomas Gainsborough, Oxford, 1953, XXXIII, p. 9.E.K. Waterhouse, Gainsborough, London, 1958, p. 55, no. 68.
Lady Blackstone, née Sarah Clitherow, was the daughter of James Clitherow, a London merchant. She wed William Blackstone (1723-1780) on 5 May 1761, at the age of 26. Their marriage was by all accounts a happy one, resulting in a family of nine children. Sir William Blackstone was one of the most infuential legal philosophers of the 18th century, authoring many books including his seminal work on English common law, Commentaries on the Laws of England (1766-1770). He is perhaps best remembered as the author of the legal maxim known today as ‘Blackstone’s Ratio’: ‘It is better that ten guilty persons escape than one innocent suffer’. His portrait (30 x 25 in.) half-length, facing left, also by Gainsborough, is in the Tate, London (no. N02637) and is the companion picture to Lady Blackstone’s portrait.
267
ALEXANDRE HYACINTHE DUNOUY (PARIS 1757-1841 JOUY-EN-JOSAS)
A classical landscape with ruins and a shepherd and shepherdess in the foreground
with signature ‘A. dunouy’ (lower right)oil on canvas, oval, the corners made up from another painting23 x 18√ in. (58.4 x 48 cm.)
$18,000-22,000 £12,000-14,000� €15,000-18,000
267
69
PROPERTY FORMERLY IN THE COLLECTION OF CECILE LEHMAN MAYER
268
STUDIO OF GILBERT STUART (NORTH KINGSTOWN, RI 1755-1828 BOSTON)
Portrait of Benjamin West, P.R.A., half-length
oil on canvas28º x 36 in. (71.7 x 91.4 cm.)
$20,000-30,000 £13,000-19,000� €17,000-24,000
P R O V E N A N C E :
Hamilton sale, c. 1860, as Gainsborough (according to a label on the reverse), where acquired byCharles Blake, Motspur Park, Northumberland, from whom inherited in 1896 by his niece, Miss A. M. Shrimpton Giles, Chelsea.with Scott & Fowles, New York, by 1921 (no. 580), from whom acquired by the family of the present owner.
268
PROPERTY OF A LADY
269
CIRCLE OF JOHN WOOTTON, R.A. (SNITTERFIELD, WARWICKS C. 1682-1764 LONDON)
An Arcadian river landscape with soldiers resting among classical ruins
oil on canvas40º x 50 in. (102.2 x 127 cm.)
$8,000-12,000 £5,100-7,600� €6,500-9,600
P R O V E N A N C E :
Acquired from the House of the family seat of Oxfordshire byLord Beville Ramsay, Croughton, Northamptonshire, by whom given to Mr. Butler, Parish Clerk of Croughton, Northamptonshire (according to an old label on the reverse of the stretcher).Mrs. Cottrellton (according to an old label on the reverse of the stretcher).
269
70
270
ADAM PYNACKER (SCHIEDAM 1620/2-1673 AMSTERDAM)
An Italianate landscape with a traveler on a path by a waterfall
signed ‘APynacker’ (‘AP’ linked, lower right)oil on canvas16º x 22æ in. (41.3 x 57.8 cm.)
$150,000-200,000 £96,000-130,000� €130,000-160,000
P R O V E N A N C E :
César-Gabriel de Choiseul-Praslin, 1st Duc de Praslin (1712-1785); (†), Paillet, Paris, 18th February 1793 (FFr.1,250).(Probably) Peter, 5th Earl Cowper (1778-1837), and by descent toFrancis, 7th Earl Cowper (1834-1905), Panshanger, Hertfordshire (Panshanger List, 1857, MSS II, p. 17, ‘small dining room’, no. 7), and by descent toMonica, Lady Salmond, 1953, and by descent toRosemary, Lady Ravensdale, 1973, until at least the mid-1980s.The Hon. Robert Mosley; Christie’s, London, 24 April 1998, lot 23 (£265,500).
E X H I B I T E D :
Doddington House, Gloucestershire until the mid-1980s and subsequently at Hatfeld House, Hertfordshire, on loan from Rosemary, Lady Ravensdale.
L I T E R A T U R E :
J. Smith, A Catalogue Raisonné of the Works of
the Most Eminent Dutch, Flemish and French
Painters, London 1829-42, VI, 1835, p. 291, no. 14.F. Waagen, Treasures of Art in Great Britain, Supplement, London 1857, p. 346 (‘The warmth of the tone and the delicacy of the whole work class this among the best pictures of this..master’).C. Hofstede de Groot, Verzeichnis der Werke des
hervorragendsten höllandischen Maler des XVII.
Jahrhunderts, IX, Esslingen 1926, p. 537, no. 64.H.G. Belsey, The Cowper Collection, unpublished M. Litt. dissertation, University of Birmingham, 1982.L.B. Harwood, Adam Pynacker, Doornspijk 1988, pp. 64-65, no. 36, pl. 36.
The timeless, Arcadian setting of the present work is typical of the early Italianate views Pynacker made while living in his hometown of Schiedam, near Rotterdam, after his return from Italy c. 1648. The waterfall, plains and rocky outcroppings evoke the countryside around Tivoli, which was within a day’s ride of Rome and a magnet for artists because of its Classical associations and fne modern villas. Pynacker’s scene shows a herdsman tending his cattle while a peasant rides his donkey through the golden sunset, whose low rays cast flaments of gold across the path and adorns the distant blue mountains with a crown of apricot light.
The subtle glow which suffuses the present image recalls the works of Pynacker’s contemporary, the Utrecht painter Jan Both (c. 1618-1652), who was in Italy from 1638 to 1641. Like Both’s Italianate pictures, the present work also organizes the composition into a series of wedges, leading the viewer’s eye deep into the landscape and employing the slender trees as delicate repoussoirs. Pynacker’s observation of the fora and fauna, however, is uniquely naturalistic, brilliantly evoking the changing light on the waterfall as it falls smoothly or breaks into droplets of spray, and the individually articulated leaves, illuminated by the lowering sun as it is fltered through the trees.
The rocks and waterfall at left can be compared to Pynacker’s very large upright Landscape
with waterfall and shepherd, signed and dated 1654 (Bode-Museum, Berlin, inv. 897); the motif of the waterfall in both works probably derives from a sketch that the artist made in Italy. A similar waterfall appears in A stony
creek (Stockholm, Nationalmuseum, inv. 575), which Harwood also dates c. 1654 due to its relationship to the Berlin painting.
The present work has passed through distinguished French and English collections; it was owned by the soldier, diplomat and statesman César-Gabriel de Choiseul-Praslin, 1st Duc de Praslin (1712-1785) and then descended in the collection of the Earls Cowper.
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Edwart Collier was born in Breda in the province of Brabant, and he may well have received his training as a painter in Haarlem. Letter boards by Collier, popular in England as well as in the Netherlands, are known from 1692 and later. In the present work, the date 1695 on the letter is likely the date of its execution. The booklet displayed next to it, the Apollo
Anglicanus or English Apollo, is dated 1694. This seventeen-page booklet was a popular edition on astronomy and astrology by the “student in the physical and mathematical sciencesÓ Richard Saunders, frst published as early as 1654 and reprinted annually. It discusses the positions of the stars throughout the year, the tides, and other related phenomena. Collier included the booklet in at least two other still lifes of letter boards, one dated 1676, the other 1701. A similar vertical letter board from the same year as the present work (signed and dated on the letter Edwart Collier/
Anno 1695) also includes the numbered letter (this time NO 25), the quill, the sealing wax and stamp, the comb and the ‘Memorie’ note. While Collier often included the same objects in his paintings, he seems to have relished arranging them in a different but equally attractive manner time and time again, maintaining their natural and spontaneous haphazard impression.
Our thanks to Fred G. Meijer, of the RKD in The Hague, for his assistance in cataloguing this lot.
271
EDWAERT COLLIER (BREDA 1642-1708 LONDON)
A trompe l’oeil of letters, a newspaper, a quill, a magnifying glass and other objects assembled behind ribbons upon wooden boards
signed and dated ‘Edwart Collier / 1695’ (center left)oil on canvas24√ x 19√ in. (63.2 x 50.6 cm.)
$60,000-80,000 £39,000-51,000� €49,000-64,000
P R O V E N A N C E :
Ronald A Lee Esq., by 1954. The Lily and Edmond J Safra Collection; Sotheby’s New York, 18 October 2011, lot 785 ($68,500).
E X H I B I T E D :
Sheffeld, Graves Art Gallery, The Eye Deceived (Trompe l’oeil), October-November 1954 (lent by Ronald A Lee)
L I T E R A T U R E :
F. Davis, ‘A page for collectors: The Eye Deceived’, The Illustrated London
News, 30th October 1954, illus.
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PROPERTY FROM THE COLLECTION OF ARTHUR AND CHARLOTTE VERSHBOW
272
GIOVANNI PAOLO CASTELLI, CALLED LO SPADINO (ROME 1659-C.1730)
Melons, grapes, roses, morning glory, and a pomegranate in a river landscape
oil on canvas
$8,000-12,000 £5,100-7,600� €6,500-9,600
We are grateful to Ludovica Trezzani for identifying the present still life as a “very fne workÓ by Giovanni Paolo Castelli (written communication, 10 June 2014).
272PROPERTY FROM AN ESTATE
273
CARSTIAN LUYCKX (ANTWERP 1623-AFTER 1657)
Grapes, peaches, a lemon, plums, cherries and a roemer on a partially-draped table
signed ‘carstian. Luickx’ (lower right, on the table)oil on panel9æ x 13Ω in. (24.8 x 34.3 cm.)
$30,000-50,000 £20,000-32,000� €25,000-40,000
P R O V E N A N C E :
J. Hauptmann, Paris.Private collection, Paris.F. Mont, New York, 1951.with Newhouse Galleries, New York, 1957, from whom acquired by the family of the present owner.
E X H I B I T E D :
Milwaukee, Milwaukee Art Institute and Cincinnati, Cincinnati Art Museum, Still Life
Paintings since 1470, September 1956 and October 1956, no. 36.Dallas, Meadows Museum, Private Views: Flemish
and Dutch Paintings from Dallas Collections, 19 April-27 May 1990 (catalogue by S.A. Sullivan)
L I T E R A T U R E :
E. Griendl, Les peintres famands de nature morte
au XVIIe siècle, Brussels, 1983, no. 18.
We are grateful to Fred Meijer of the RKD, The Hague, for confrming the attribution to Luyckx on the basis of photographs (private communication, 24 April 2014).
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GASPARO LîPEZ, CALLED GASPARO DI FIORI (NAPLES 1650-1732 FLORENCE)
Roses, tulips, carnations, snowballs and other fowers in an urn by a fountain, with chrysanthemums, carnations, roses, and other fowers overfowing from a wicker basket, a landscape beyond; and Tulips, roses, carnations, and chrysanthemums and other fowers in a classical urn on a stand, with roses, carnations, tulips, other fowers and pomegranates by the stand, a landscape beyond
oil on canvas23¬ x 17¿ in. (60 x 43.5 cm.) a pair (2)
$50,000-70,000 £32,000-45,000� €41,000-56,000
P R O V E N A N C E :
Private collection, Europe, since the 1960s.
Fred G. Meijer of the RKD in The Hague as confrmed the attribution to Lopez on the basis of photographs.
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Venetian Republic in 1715. His defense of Corfu against the Turks in 1715-1716 made him a hero to the Venetians, who erected a statue in his honor and granted him a life pension. He established himself at Palazzo Loredan near San Trovaso in Venice, where in 1724, at the age of sixty-three, he found himself in possession of a group of eighty-eight paintings, mainly from the collections of the Dukes of Mantua, which were ceded to him by a dealer named Giovanni Battista Rota who had defaulted on a loan. This awakened a voracious appetite for collecting and in the remaining two decades of his life he amassed nearly a thousand pictures. Ably assisted by his advisors, frst Pittoni and then Piazzetta, Schulenburg acquired works by almost all the leading Venetian painters of his day.
PROPERTY OF AN ESTATE
275
FRANCESCO SIMONINI (PARMA 1686-C.1755 VENICE OR FLORENCE) AND GIUSEPPE NOGARI (VENICE 1699-1766)
Equestrian portrait of Field Marshal Count Johann Matthias von der Schulenburg, full-length, in a red coat and a breastplate, on a grey mare, before a siege
oil on canvas77æ x 56Ω in. (197.5 x 143.5 cm.)
$70,000-100,000 £45,000-64,000� €57,000-80,000
P R O V E N A N C E :
Painted for the sitter and recorded in the Inventario Generale de tutta la Galleria di Sua
Eccellenza, 4 May 1737 (‘Quadro Rappresenta Ritratto di S.E. Marescial à Cavallo. Il ritratto fatto dal Nogari et il cavallo co suoi Ferminti e La Battaglia fatta dal Simonini Battaglista’, Binion, 1990, p. 122, note 18); in the Inventario Generale
della Galleria, 30 May 1738 (‘Altro Ritratto del medesimo sopra un caval Grigo con il capello in Testa, Costo 100’, ibid., p. 215); in the Inventario
Generale della Galleria, 30 June 1741, (‘Ritratto del sud.o sopra un caval griggio con Capello in Testa 6t a spn e , ibib., p. 238); and in the Quadri e Ritratti Essistenti nelle differenti Camere del Palazzo, Venice, August 1747 in the Portico, as Simonini (‘Un Ritratto di Sua Ecc.za sopra un Cavallo bianco con il Baston di Commando in mano con battaglia al di sotto e Fortezza’, valued at 150, ibid., p. 255), and given en bloc with the rest of his collection to his nephewChristian Günther von der Schulenburg, Hehlen and Berlin, by whom transported from Venice, 1747.A member of the Schulenburg family; Sotheby’s, London, 23 June 1982, lot 69 (£17,000).Anonymous sale; Finarte, Milan, 27 November 1984, lot 73.Anonymous sale; Christie’s, London, 10 July 1998, lot 80 (£111,500 to the present owner).
L I T E R A T U R E :
A. Morassi, ‘Francesco Simonini, ein Schlachtenmaler des Settecento’, Pantheon, XIX, 1960, p. 3.A. Binion, ‘From Schulenburg’s Gallery and Records’, The Burlington Magazine, CXII, 1970, p. 298.A. Binion, La Galleria Scomparsa dal Maresciallo
von der Schulenberg, Milan, 1990, pp. 38, 121-122 n. 18, 154, 215, 238 and 255, fg. 14.R. Pallucchini, La pittura nel Veneto: Il Settecento, I, Milan, 1995, p. 273, fg. 452.R. Pallucchini, La pittura nel Veneto: Il Settecento, II, Milan, 1996, p. 339, fg. 519.
Count Johann Matthias von der Schulenburg (1661-1747) became Field Marshal and Commander in Chief of the Forces of the
His purchases accelerated in the 1730s, and in 1735 he began to send regular shipments to his estates in Germany. A bachelor, he bequeathed the whole of his vast collection to his nephew, with the request that it be preserved intact. Though much of the collection was dispersed as early as 1775, the present work remained in the Schulenburg family for nearly two hundred and ffty years.
Simonini was the leading Venetian battle painter of the early 18th century, and was a natural choice as collaborator for the present portrait, commissioned in 1737, of this outstanding soldier in the Venetian service. Portraits by Nogari are unusual and this is unquestionably the most ambitious.
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276
A BRONZE FIGURE OF ST. JOHN THE BAPTIST
ATTRIBUTED TO FERNANDO TACCA (1619-1686)
Depicted standing on a naturalistic base with a punched ground, holding a cross9º in. (23.5 cm.) high, the fgure; 15Ω in. (39 cm.) high, including base and cross
$60,000-90,000 £39,000-57,000� €49,000-72,000
P R O V E N A N C E :
Private Collection, sold, Christie’s, New York, 7 June 2013, lot 165 ($99,750, including premium).
L I T E R A T U R E :
Y. Hackenbroch, ed., Bronzes, Other Metalwork
and Sculpture in the Irwin Untermyer Collection, London, 1962, fg. 80, pl. 77.
There is remarkably little documented bronze sculpture by Ferdinando Tacca, perhaps due to the reduced patronage provided by the Medici Grand Dukes in the mid-17th century. After Giambologna’s death in 1608, his assistant Pietro Tacca took over as court sculptor to the Grand Dukes and when Tacca himself died in 1640, the role went to his son Ferdinando. Ferdinando thus inherited Giambologna’s workshop and foundry in the Borgo Pinti and he can also be considered Giambologna’s artistic heir, carrying on as he did the elegant mannerist style of late 16th century Florence well into the mid-17th century. Today, there are relatively few documented works by Ferdinando from which to construct a reliable oeuvre, however one of his most important commissions was for the bronze relief of the Martyrdom of St. Stephen in Santo Stefano al Ponte, Florence.
A. Radcliffe, in his paper ‘Ferdinando Tacca, the missing link in Florentine Baroque bronzes’ (in Kunst des Barock in der Toskana, Munich, 1976), attributes a number of small bronze groups to Tacca on the basis of their similarity to the Martyrdom relief, and it is in looking both at these bronzes and the relief itself which allows us to attribute the present bronze to Tacca as well. The frst notable similarity is in the fnishing of the rockwork base. It is almost a signature of the artist that he fnishes his bases with a series of swirling patterns of punched trails as is evident on the base here.
There is another model of St. John the Baptist
which was part of the Untermyer Collection and is now in the Metropolitan Museum of Art (no. 64.101.1467). It is missing its cross and the punching on the base is slightly more vigorous, and these differences would be expected in any hand-fnished work, but it is nearly identical in all other respects.
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178, pp. 874-875.M. de Sauvigny, Les tableaux du Louvre ou il n’y a
pas le sens commun, histoire véritable, Deloynes, 1777, 186, p. 935.F. Ingersoll-Smouse, ‘Quelques tableaux de genre inédits,’ La Gazette des Beaux Arts, Paris, 1925, pp. 80-86.M. Florisoone, Le dix-huitième siècle, Paris, 1948, p. 71.J. Thuillier and A. Chatelet, La peinture française
de le Nain à Fragonard, Paris, 1964, p. 229.A. Brookner, Greuze, The Rise and Fall of an
Eighteenth Century Phenomenon, London, 1972, pp. 142-143.P. Rosenberg and M. Stewart, French Paintings
1500-1825, San Francisco, 1987, p. 105.Salons de Bachaumont, introduction and analysis by Fabrice Faré, reprinted Jacques Laget, 1995, pp. 70-71.
In a grand Baroque chapel, sixteen people have gathered for a young gentleman’s marriage, which has been interrupted at the last moment by his former lover and children. In the words of the 1777 Salon livret, ‘the young man’s father, touched by the sight of the unfortunate
This lot is offered without reserve
•277
ETIENNE AUBRY (VERSAILLES 1745-1781)
Le Mariage Rompu
oil on canvas35º x 46 in. (89.5 x 116.8 cm.)
$40,000-60,000 £26,000-38,000� €33,000-48,000
P R O V E N A N C E :
Pillot collection, Chatou, by 1925.Anonymous sale; Hôtel Drouot, Paris, 10 June 1963.
E X H I B I T E D :
Paris, Salon, 1777, no. 124.
L I T E R A T U R E :
Review of the Salon of 1777, Mercure de France, Deloynes, pp. 1096-1097.Lettres pittoresques sur le Salon de 1777, IV Deloynes 190, p. 1049.Conversations between Aglantine, a fourteen
year old Creole girl and M. de Sauvigny, Deloynes
offspring, turns his son’s gaze towards them. The son, feeling his heart break at the sight, gives in, and paternal love triumphs.’ Le Mariage
Rompu, exhibited at the Salon of 1777, was one of three paintings shown by Aubry that year, just four years before his untimely death. In terms of scale, sentiment and compositional complexity, this picture was by far the most ambitious, and won him the protection of France’s most infuential arbiter of taste, the surintendant des
bâtiments, the Comte d’Angiviller.
Étienne Aubry studied with Silvestre in his hometown of Versailles, and later with Vien. His frst successes were in the feld of portraiture, in which genre he was agréé at the Académie Royale in 1771. He was greatly admired for his portraits of Vassé and Hallé and in 1775 was reçu into the Academy. However, following the infuence of such artists as Jean-Baptiste Greuze and Jean-Siméon Chardin, Aubry became entirely absorbed in genre painting. Diderot, the philosophe who championed Greuze’s drames
bourgeois, wished to transform the Salons into schools of virtue; a place where artists would perpetuate noble deeds, where virtue would be vindicated and vice stigmatized.
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278
GUILLAUME VOIRIOT (PARIS 1713-1799)
Portrait of a gentleman, half-length, seated in a red velvet jacket with a violin
oil on canvas41º x 34Ω in. (104.8 x 87.6 cm.)
$30,000-40,000 £20,000-25,000� €25,000-32,000
P R O V E N A N C E :
François Élie, Comte de Moustier (1751–1817), according to a label on the reverse.
Voiriot, born the son of a ‘sculpteur des bâtiments du Roi’, studied at the Académie de France in Rome between 1746 and 1749. On his way back to Paris he painted several portraits for the Savoy court in Turin. In 1757, Voiriot was admitted to the Academy in Paris as an ‘agrée’ and two years later became a full member. He exhibited at the Salons between 1761 and 1763.
According to a label on the reverse the present painting was once owned by the Comte de Moustier, French envoy to the United States from 1787 to 1789 and a close friend of George Washington. After the death of his wife he lived with his sister-in-law, who was an artist and painted one of the rare portraits of Washington. We are grateful to Marquis Léonel de Moustier for providing information on the painting’s provenance, and to Jean Jacques Petit who has confrmed the attribution to Voiriot on the basis of frsthand inspection.
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PROPERTY OF A PRIVATE COLLECTOR
279
ANTOINE COYPEL (PARIS 1661-1722)
Flora and Zephyr
inscribed ‘2505.’ (lower left) and ‘9’ (lower right)oil on copper11æ x 8√ in. (29.9 x 22.5 cm.)
$20,000-30,000 £13,000-19,000� €17,000-24,000
P R O V E N A N C E :
(Probably) Charles-Antoine Coypel, the artist’s son; his sale, Paris, 1753, no. 92 (with the pendant): ‘Deux Tableaux pendants peint sur cuivre, l’un représentante Zéphire & Flore, & l’autre Vertumne & Pomone, en demie fgure: ils ont été gravés, le premier par M. Gaspard DUCHANGE, & le second par Corn. Vermeulen, & sont aussi terminés qu’ils sont d’une agréable compositions; leur grandeur est de 11 pouces de
haut sur 8 de large’, where probably acquired by the following.(Probably) Louis-Antoine Crozat, Baron de Thièrs until 1772, when acquired by the following.(Probably) Catherine II of Russia, Palace of Tsarskoe-Selo, near St. Petersburg.with Ghislaine David, Paris, where purchased in 1992 by the present owner.
L I T E R A T U R E :
(Probably) J.B. de la Curne de Sainte-Palaye, Catalogue des Tableaux du Cabinet de M. Crozat,
Baron de Thièrs, Paris, 1755, p. 52: ‘Aux côtés de ces trois Tableaux, quatre Tableaux à droite, dont le premier & le plus élevé représente Zéphire & Flore, demi-fgures; par Antoine COYPEL. Il a été gravé par Beno”t Audrand: sur cuivre, de 11 pouces de haut, sur 8 pouces de large’.(Probably) Count J.E. Münnich, Catalogue des
tableaux qui se trouvent dans les Galleries et
dans les Cabinets du Palais Impérial de Saint
Pétersbourg, St. Petersburg, 1774 (reprinted in P. Lacroix, ‘Musée du Palais de l’Ermitage sous le règne de Catherine II’, Revue universelle des arts, XIII, no. 1172).(Probably) N. Garnier, Antoine Coypel (1661-
1722), Paris, 1989, p. 131, under nos. 62 and 63, as one of ‘deux réductions originales (?)’.
E N G R A V E D :
Beno”t Audran.
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281
PROPERTY FROM THE ESTATE OF WILLIAM W. APPLETON
281
JEAN CHARLES JOSEPH RÉMOND (PARIS 1795-1875)
Landscape with ruins
oil on canvas14Ω x 17¬ in. (36.8 x 44.8 cm.)
$7,000-10,000 £4,500-6,400� €5,600-8,000
PROPERTY FROM A PRIVATE COLLECTION
280
ATTRIBUTED TO NICOLAS BERTIN (PARIS 1668-1736)
Mercury entrusting the infant Bacchus to the Nymphs of Nysa
oil on canvas29 x 23º in. (73.7 x 59.1 cm.)
$8,000-12,000 £5,100-7,600� €6,500-9,600
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282
MARIO NUZZI, CALLED MARIO DEI FIORI (ROME 1603-1673)
A parrot tulip, morning glories, a spiraea and other fowers in a sculpted urn, on a stone ledge
oil on canvas19¬ x 15Ω in. (50 x 39.4 cm.)
$30,000-50,000 £20,000-32,000� €25,000-40,000
P R O V E N A N C E :
Anonymous sale; Bukowski’s, Stockholm, 26 November 1997, lot 318.
Mario Nuzzi, known also as Mario dei Fiori, was the pre-eminent painter of fowers working in Italy in the 17th century, and the frst Italian still-life artist to reach international fame. It is an indication of his status that he exhibited with the Virtuosi at the Pantheon in 1647, that he was elected to the Academy of St Luke in 1657, and that he was painted by Morandi in the act of painting fowers - the fowers were painted by Nuzzi - in a picture commissioned by the Chigi family. Nuzzi’s capacity to produce fower pieces of real animation and vitality earned him numerous important patrons, including many of the most prominent families of Papal Rome, among them the Chigi, Colonna, Barberini, and Orsini.
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PROPERTY OF A PRIVATE COLLECTOR
This lot is offered without reserve
•283
PIETER VAN BLOEMEN, CALLED LO STENDARDO (ANTWERP 1657-1720)
Cavaliers setting off on a journey; and A military blacksmith shoeing horses by a ruin
oil on canvaseach 21 x 24Ω in. (53.3 x 62.2 cm.)
a pair (2)
$25,000-35,000 £16,000-22,000� €21,000-28,000
P R O V E N A N C E :
Anonymous sale; Sotheby’s, Amsterdam, 12 May 1992, lot 5, where acquired by the present owner.
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284
285
PROPERTY OF A GENTLEMAN
285
LOMBARD SCHOOL, 18TH CENTURY
The Holy Family
oil on canvas35¬ x 27æ in. (90.5 x 70.5 cm.)
$8,000-12,000 £5,100-7,600� €6,500-9,600
P R O V E N A N C E :
Anonymous sale; Sotheby’s, New York, 31 January 2009, lot 46A, where acquired by the present owner.
The reverse of the original canvas is inscribed ‘C.A.L. 1758’.
PROPERTY FROM A PRIVATE COLLECTION
284
GIOVANNI CRIVELLI, CALLED IL CRIVELLINO (MILAN? C. 1690-1760 PARMA)
A Peacock, pheasants and rabbits in a wooded parkland landscape
oil on canvas46Ω x 58Ω in. (118.1 x 148.6 cm.)
$15,000-20,000 £9,600-13,000� €13,000-16,000
P R O V E N A N C E :
The British Interior; Christie’s, New York, 23-24 January 2002, lot 397.
L I T E R A T U R E :
F. Arisi, Felice Boselli, Piacenza, 1973, p. 308, no. 508, fg. 601.F. Arisi, Natura morta tra Milano e Parma in età
barocca. Felice Boselli, rettifche e aggiunte, Piacenza, 1995, p. 351, fg. 412.F. Arisi, Crivellone e Crivellino, Piacenza, 2004, pp. 466, 587, no. 204.
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286
PIETRO NAVARRA (ACTIVE ROME 1685-95)
A spoonbill, woodcock, and game birds
The present work compares closely with the Still life with game and fruit in the Pallavicini Gallery, Rome (see M. Gregori, et al., La natura morta in Italia, Milan, 1989, III, p. 826, fg. 982. oil on canvas38æ x 29¿ in. (98.4 x 74 cm.)
$10,000-15,000 £6,400-9,500� €8,100-12,000
P R O V E N A N C E :
Baron and Baroness Raoul Kuffner de Diozegh; Park-Bernet Galleries, 18 November 1948, lot 24, as ‘Jan Weenix’.Leon Medina.Louise Heller; Sotheby’s, New York, 3 June 1988, lot 65, as ‘Central Italian School, 18th Century’ ($18,700).Anonymous sale; Christie’s, New York, 17 October 2006, lot 227 ($19,200), where acquired by the present owner.
PROPERTY OF A GENTLEMAN
287
VENETIAN SCHOOL, 17TH CENTURY
Saint Peter
oil on canvas23Ω x 19Ω in. (59.7 x 49.5 cm.)
$5,000-7,000 £3,200-4,500� €4,000-5,600
P R O V E N A N C E :
Anonymous sale; Sotheby’s, New York, 29 January 2010, lot 715, as Italian School, 17th Century, where acquired by the present owner.
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PROPERTY FROM A PRIVATE WEST COAST COLLECTION
288
BARTOLOMEO PASSAROTTI (BOLOGNA 1529-1592)
Portrait of a vintner, half-length, in a ruff and black hat
oil on canvas37æ x 28æ in. (95.9 x 73 cm.)
$40,000-60,000 £26,000-38,000� €33,000-48,000
P R O V E N A N C E :
Anonymous sale; Sotheby’s, London, 9 July 1998, lot 70, where acquired by the following.Private collection; Christie’s, New York, 26 January 2005, lot 67 ($60,000), where acquired by the present owner.
This striking example of Passarotti’s ‘rhetorical’ portraiture was described by the artist’s biographer Malvasia: ‘non fgurandoli fermi e insensati, ma in azione e in moto, e perci— coll’operazione animandoli ed istoriandoli’ (see 1678 edition, G. P. Zanotti, Felsina Pittrice vite
De ‘Pittori Bolognesi, Bologna, 1841 , I, p. 191). The sitter gazes boldly at the viewer while his hand points to the barrel on which he rests his left arm, thus appearing simultaneously stoic and poised to act. Passarotti uses a similar device in his Portrait of a man playing with his dog (Pinacoteca di Brera, Milan, inv. 936). The sitter’s costume suggests this portrait dates to the late 1570s, when Passarotti, along with Orazio Samacchini and Prospero Fontana, was involved in commissions for the cathedral in Cremona. coll’operazione animandoli ed istoriandoli’ (see 1678 edition, G. P. Zanotti, Felsina Pittrice vite De ‘Pittori Bolognesi, Bologna, 1841 , I, p. 191). The sitter gazes boldly at the viewer while his hand points to the barrel on which he rests his
left arm, thus appearing simultaneously stoic and poised to act. Passarotti uses a similar device in his Portrait of a man playing with his dog (Pinacoteca di Brera, Milan, inv. 936). The sitter’s costume suggests this portrait dates to the late 1570s, when Passarotti, along with Orazio Samacchini and Prospero Fontana, was involved in commissions for the cathedral in Cremona.
coll’operazione animandoli ed istoriandoli’ (see 1678 edition, G. P. Zanotti, Felsina Pittrice vite De ‘Pittori Bolognesi, Bologna, 1841 , I, p. 191). The sitter gazes boldly at the viewer while his hand points to the barrel on which he rests his left arm, thus appearing simultaneously stoic and poised to act. Passarotti uses a similar device in his Portrait of a man playing with his dog (Pinacoteca di Brera, Milan, inv. 936). The sitter’s costume suggests this portrait dates to the late 1570s, when Passarotti, along with Orazio Samacchini and Prospero Fontana, was involved in commissions for the cathedral in Cremona.
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LUCA SALTARELLO (GENOA 1608/9-C. 1645 ROME)
The Dead Christ
oil on canvas, circular34 in. (86.4 cm.), diameter
$20,000-30,000 £13,000-19,000� €17,000-24,000
Anna Orlando has attributed this tondo to Luca Saltarello, (written communication, September 2013). Working from photographs, Orlando dates this painting to c. 1640.
289
GAETANO GANDOLFI (SAN MATTEO DELLA DECIMA 1734-1802 BOLOGNA)
The Madonna of the Rose
oil on canvas, oval15¡ x 20º in. (38.7 x 51.4 cm.)
$50,000-80,000 £32,000-51,000� €41,000-64,000
P R O V E N A N C E :
Private collection, Paris.
This luminous Madonna and Child was painted toward the end of the 18th century by Gaetano Gandolf, one of the leading Italian painters of his day. The red rose is both a symbol of Christ’s Passion and, as in the present case, an allusion to the purity of the Virgin, who according to tradition is known as the “rose without thornsÓ.
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292
PROPERTY OF A CALIFORNIA ESTATE
292
FOLLOWER OF TIZIANO VECELLIO, CALLED TITIAN
A satyr embracing a nymph
oil on canvas36º x 29 in. (92.1 x 73.6 cm.)
$6,000-8,000 £3,900-5,100� €4,800-6,400
The nymph’s pose and physiognomy are modeled on Titian’s Salome in the Prado, Madrid and his Girl with a Basket of Fruit in the Gemäldegalerie, Berlin. Another version of this composition was formerly in the Detroit Institute of Arts, and sold at Sotheby’s, New York, 15 January 1993, lot 15, as Circle of Titian. Scholars have attributed the Detroit canvas to a wide range of artists in Titian’s orbit, ranging from an unidentifed member of his studio to Damiano Mazza, Girolamo Dente and Giovanni Contarini (see H.E. Wethey, Titian, London, 1975, III, p. 216, no. C-28). In the late-1930s and ‘40s, William Suida, Giuseppe Fiocco, and W.R. Valentiner, on the basis of photographs, attributed this work to Titian himself.
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STUDIO OF GUIDO RENI (BOLOGNA 1575-1642)
Saint John the Evangelist
oil on canvas, unframed31 x 26 in. (78.8 x 66.1 cm.)
$20,000-30,000 £13,000-19,000� €17,000-24,000
P R O V E N A N C E :
Anonymous sale; Sotheby Parke Bernet Inc., New York, 7 June 1979, lot 213, as School of Guido Reni.
The present work is a studio version of the painting at Bob Jones University, Greenville. According to Carlo Cesare Malvasia, Reni’s frst biographer, in order to satisfy the demand for his work, the artist ran one of the largest and most prodigious studios in Europe. During his last sojourn in Rome he had sixty pupils working for him and he is believed to have employed up to eighty in his studio in Bologna in the 1620s. As a result, it has been historically diffcult to assess the degree of the artist’s own involvement in a large amount of the work that emanated from his studio. Distinctions between autograph works, retouched compositions or ritocchi and good copies by pupils or assistants were often deliberately blurred.
291
89
294
JACOPO DA PONTE, CALLED JACOPO BASSANO (BASSANO DEL GRAPPA CIRCA 1510-1592)
Mater Dolorosa
oil on canvas 32 x 26Ω in. (81.3 x 67.3 cm.)Anonymous sale; Sotheby’s, New York, 27 January 2006, lot 297 ($84,000).
$40,000-60,000 £26,000-38,000� €33,000-48,000
This moving image of the Mater Dolorosa owes much to Titian, in subject and format as well as in expressive technique. The picture is unique in Bassano’s oeuvre in format and iconography, but Titian had painted variations on the theme of the Mater Dolorosa, also in half-length format, in the 1550s and ‘60s, and Bassano certainly knew the older artist’s works.
Professor Alessandro Ballarin, to whom we are grateful, dates the painting to the fnal phase in the artist’s career, c. 1580 (on the basis of photographs).
294
293
GUIDO RENI (BOLOGNA 1575-1642)
Portrait of the artist, bust-length, in black, a collar and a wide-brimmed hat
oil on copper, oval4æ x 3¡ in. (11 x 8.8 cm.)with a late-18th century inscription ‘le Portrait du Guyde peintre fameux fait de Sa propre main en l’an 1636 duquel il a fait present a Mr. Symon francois son Elève’ (on the backing board)
$30,000-50,000 £20,000-32,000� €25,000-40,000
P R O V E N A N C E :
‘Mr. Symon’, to whom presented by the artist (according to the inscription on the backing board).(Probably) Grand Ducal collection, Florence, where an oval portrait of Reni, measuring some 9 by 7 cm., is recorded as inv. no. 3978 (see Borea loc. cit).(Possibly) Cosimo III de Medici, Grand Duke of Tuscany (1642-1723) to Sir Anthony Fountaine (1676-1753). Recorded in the posthumous inventory of the latter’s collection at Narfolrd, prepared in 1753 by his nephew by marriage William Prince: ‘A small Guido’s Head by Himself’; and by descent through Brigg Price (d. 1825), grand-nephew of Sir Anthony, who assumed to surname of Fountaine, to the following,Commander Andrew Fountaine; Christie’s, London 10 July 1992, lot 61 (£19,800).
293
90
PROPERTY OF A GENTLEMAN
296
FIDELE FISCHETTI (NAPLES 1732-1792)
The Conversion of Saint Paul
oil on canvas31¿ x 29Ω in. (79 x 74.9 cm.)
$15,000-20,000 £9,600-13,000� €13,000-16,000
P R O V E N A N C E :
Anonymous sale; Sotheby’s, New York, 29 January 2009, lot 173, where acquired by the present owner.
Working from photographs, Nicolas Spinosa has identifed this work to be a modello for the lower section of the signed and dated altarpiece of The
Conversion of Saint Paul, which Fischetti painted for the church of Santo Spirito, Naples (see N. Spinosa, Pittura napoletana del Settecento. Dal
Rococò al Classicismo, Naples, 1988, 2nd edition, 1993, p. 133, no. 204, fg. 265).
295
295
ALESSANDRO TURCHI, CALLED L’ORBETTO (VERONA 1578-1649 ROME)
An Allegory of Painting
oil on canvas55æ x 40º in. (141.6 x 102.2 cm.)
$60,000-80,000 £39,000-51,000� €49,000-64,000
P R O V E N A N C E :
Private collection, England, whence acquired in 1938 by Virginia Stuart and Jack Conway, Montecito, CA, whence acquired in 1989 by the present owner.
Virginia Stuart, daughter of the silent flm star Francis X. Bushman, was producing the flm A Yank at Oxford with her husband Jack Conway in England when she purchased the present work in 1938.
We are grateful to Dott.ssa Daniela Scaglietti Kelescian for confrming the attribution to Turchi on the basis of photographs.
296
91
This lot is offered without reserve
•298
NORTH ITALIAN SCHOOL, EARLY 18TH CENTURY
Juno appearing to Io and Argus
oil on canvas45¬ x 63¡ in. (116.5 x 160.9 cm.)
$40,000-60,000 £26,000-38,000� €33,000-48,000
P R O V E N A N C E :
(Possibly) Don Miguel Martinez de Pinillos y Saenz de Velasco, early 19th century, but(Probably) acquired by his son, Don Antonio Martinez de Pinillos (1865-1923), Cadiz, and by descent to his daughterDo–a Carmen Martinez de Pinillos, Cadiz, and by descent within the family; Sotheby’s, London, 6 July 2006, lot 234, where acquired by the present owner.
The present lot is part of a set of four paintings, which were sold individually at Sotheby’s, London, in 2006. The other canvases represent: The head of Argus presented to Juno, Bacchus, Ariadne (?) and Cupid in a landscape, and Peace crowning Learning.
297
CESARE DANDINI (FLORENCE 1596-1657)
Allegory of Intelligence
oil on canvas38√ x 29¿ in. (99.7 x 74 cm.)
$30,000-50,000 £20,000-32,000� €25,000-40,000
P R O V E N A N C E :
Anonymous sale; Sotheby’s, New York, 21 May 1998, lot 151A, as ‘attributed to Cesare Dandini’.with Alfonsi Dipinti Antichi, Vicenza.Private collection, Milan.
The present work, datable to c. 1645-1655, was frst attributed to Dandini by Federico Zeri. Dr. Sandro Bellesi has confrmed the attribution on the basis of photographs and pointed out that the woman in a slightly smaller version of the composition (with some differences; see S. Bellesi, Cesare Dandini, Turin, 1996, no. 74) is identifable as Vittoria della Rovere (1622-1694), wife of Ferdinando de’ Medici. It is therefore possible that the present picture is also a portrait — albeit more idealized — of the erudite and politically shrewd Granduchessa. Salon pictures of half-length allegorical fgures were among the specialties of Cesare Dandini, one of the leading lights of Florentine seicento portraiture. The iconography of the present work is based on the text of Cesare Ripa’s emblem book Iconologia, which was hugely infuential in 17th-century Florentine intellectual circles and often used by Dandini as a source for his allegories.
297
298
92
300
299
PETER BIRMANN (BASEL 1758-1844)
View of Basel and the Rhine valley from the quarry in Muttenz
signed and dated ‘P. Birmann. 1810.’ (lower right, on the stone)oil on canvas37 x 47æ in. (94 x 121.3 cm.)
$40,000-60,000 £26,000-38,000� €33,000-48,000
The Wartenberg appears prominently in the center of the landscape, with the Grenzacherhorn, Tüllingerhügel and Badischer Blauen in the distance. Other versions of this view by Birmann may be found in the Kunstmuseum Basel (Inv. G 1962.13 and G 1986.2).
300
AUGUSTIN BRUNIAS (? C. 1730-1796 ROSEAU, DOMINICA)
Portrait of Sir William Young, 1st Baronet (1724/5-1788), Governor of St Dominica, full-length, in uniform
oil on canvas30¿ x 25º in. (76.5 x 64.1 cm.)
$15,000-20,000 £9,600-13,000� €13,000-16,000
P R O V E N A N C E :
Sir William Young (1725-1788), and by descent to Captain Young Ottley.Sir Herbert Hughes Stanton.R. H. Jessel, acquired from the above in December 1946.
Augustin Brunias studied in the Accademia di San Lucca in Rome before meeting Robert Adam, for whom he was to work for in Italy and England as a draughtsman. At the height of his powers he travelled to the West Indies in 1770 as the personal artist of Sir William Young, and although perhaps best known for his genre scenes of Carib natives, this portrait of his most important patron is a signifcant addition to his oeuvre.
299
93
302
SIR NATHANIEL DANCE-HOLLAND, R.A. (LONDON 1735-1811 WINCHESTER)
Portrait of a gentleman, traditionally identifed as Mr. John Tomlinson, three-quarter-length, a landscape beyond
oil on canvas50 x 40 in. (127 x 101.6 cm.)
$20,000-30,000 £13,000-19,000� €17,000-24,000
302
301
301
FRANCESCO ZUCCARELLI (PITIGLIANO 1702-1788 FLORENCE)
A wooded river landscape with a boy fshing and two peasant women, a village beyond
Signed ‘Francois Zuccarelli’ (on the reverse of the original canvas)oil on canvas, unlined21æ x 17º in. (55.3 x 43.9 cm.)
$60,000-80,000 £39,000-51,000� €49,000-64,000
P R O V E N A N C E :
By descent in a European private collection since at least the 19th century; Sotheby’s, London, 24 April 2008, lot 106 (£54,500).
This exquisite example of Zuccarelli’s Arcadian landscapes evokes the Italian countryside, recalling the artist’s birthplace in the spectacular hilltop town of Pitigliano on the Tuscan/Umbrian border. The sun fltered through the gnarled trees at right imparts a delicious coolness to the foreground, where two young peasant women chat by a stream and a boy fshes. Zuccarelli’s subtle, rococo palette and gossamer brushwork convey the warmth, sensuality and natural abundance of the country with a vividness calculated to appeal to the many Grand Tourists who hung his paintings on their walls in memory of their happy days in Italy.
94
303
FRANCESCO FIDANZA (ROME 1747-1819 MILAN)
A winter landscape with travelers on a snowy path
signed ‘Franco Fidanza Romano’ (lower center, on the rock)canvas35 x 48æ in. (88.9 x 123.8 cm.)
$25,000-30,000 £16,000-19,000� €21,000-24,000
This is a rare example of a signed winter landscape by Fidanza. Marietta Vinci Corsini has confrmed the attribution, and intends to publish the painting in a forthcoming article, discussing the unique relationship of Francesco Foschi’s and Fidanza´s winter landscapes.
95
305
305
CIRCLE OF LOUIS-LÉOPOLD ROBERT (LA CHAUX-DE-FONDS, NEUCHÂTEL 1794-1835 VENICE)
Figure studies: a young girl, a mother nursing her child, and others
oil and other media on canvas17Ω x 23¿ in. (44.4 x 58.8 cm.)
$10,000-15,000 £6,400-9,500� €8,100-12,000
304
PROPERTY FROM THE FORBES COLLECTION
This lot is offered without reserve
•304
AFTER ANNE-LOUIS GIRODET DE ROUSSY-TRIOSON
The Sleep of Endymion
Inscirbed ‘D’PS Girodet. / H..Ruth.1870.’oil on canvas25Ω x 32 in. (64.8 x 81.3 cm.)
$7,000-10,000 £4,500-6,400� €5,600-8,000
This is a reduced version of Girodet’s celebrated The Sleep of Endymion (Paris, Louvre), inscribed at upper left by the admirer who painted it. Girodet presented his masterpiece in the 1802 Paris Salon, where it was lauded by contemporary critics for its originality, strangeness, and poetic qualities.
96
306
A BOXWOOD CORPUS FIGURE
GERMAN, 16TH CENTURY
14 in. (35.5 cm.) high, 12 in. (30.8 cm.) wide, 2æ in. (7 cm.) deep
$6,000-9,000 £3,900-5,700� €4,800-7,200
307
A LIMEWOOD CORPUS FIGURE
CIRCLE OF TILMAN RIEMENSCHNEIDER (1460-1531), GERMAN, LATE 15TH CENTURY
12 in. (30.5 cm.) high, 13¡ in. (34 cm.) wide, 2¬ in. (7.5 cm.) deep
$6,000-9,000 £3,900-5,700� €4,800-7,200
306
307
97END OF SALE
PROPERTY OF THE METROPOLITAN MUSEUM OF ART
This lot is offered without reserve
•308
A GERMAN BRONZE SMALL CANON
NUREMBERG, 19TH CENTURY
Stylized dolphin handle, the touch-hole fanked by plaquettes representing helmeted tritons with frebrands, the partial band of the plaquettes with Hercules and Antaeus25¬ in. long, overall;
$5,000-8,000 £3,200-5,100� €4,100-6,400
P R O V E N A N C E :
The Wrightsman Found, 1986.
98
IMPORTANT NOTICES AND EXPLANATION OF CATALOGUING PRACTICE
EXPLANATION OF CATALOGUING PRACTICE
FOR PICTURES, DRAWINGS, PRINTS AND MINIATURES1. FRANCESCO GUARDI
In Christie’s opinion a work by the artist.
2. Attributed to FRANCESCO GUARDI*
In Christie’s qualified opinion a work of the period of the artist which may be in whole or part the work of the artist.
3. Circle of FRANCESCO GUARDI*
In Christie’s qualified opinion a work of the period of the artist and closely related in his style.
4. Studio of … Workshop of FRANCESCO GUARDI*
In Christie’s qualified opinion a work possibly executed under the supervision of the artist.
5. School of FRANCESCO GUARDI*
In Christie’s qualified opinion a work by a pupil or follower of the artist.
6. Manner of FRANCESCO GUARDI*
In Christie’s qualified opinion a work in the style of the artist, possibly of a later period.
7. After FRANCESCO GUARDI*
In Christie’s qualified opinion a copy of the work of the artist.
8. ‘signed’
Has a signature which in Christie’s qualified opinion is the signature of the artist.
9. ‘with signature’
Has a signature which in Christie’s qualified opinion might be the signature of the artist.
10. ‘dated’
Is so dated and in Christie’s qualified opinion was executed at about that date.
11. ‘with date’
Is so dated and in Christie’s qualified opinion may have been executed at about that date.
*This term and its definition in this Explanation of Cataloguing Practice are a qualified statement as to Authorship. While the use of this term is based upon careful study and represents the opinion of experts, Christie’s and the consignor assume no risk, liability and responsibility for the authenticity of authorship of any lot in this catalogue described by this term.
IMPORTANT NOTICES
CHRISTIE’S INTEREST IN PROPERTY CONSIGNED FOR AUCTIONFrom time to time, Christie’s may offer a lot which it owns in whole or in part. Such property is identified in the catalogue with the symbol ∆ next to its lot number.
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CONDITION REPORTSChristie’s catalogues include references to condition only in descriptions of multiple works (such as prints, books and wine). Please contact the Specialist Department for a condition report on a particular lot.
Condition reports are provided as a service to interested clients. Prospective buyers should note that descriptions of property are not warranties and that each lot is sold “as is.”
PROPERTY INCORPORATING MATERIALS FROM ENDANGERED AND OTHER PROTECTED SPECIESProperty made of or incorporating (irrespective of percentage) endangered and other protected species of wildlife are marked with the symbol ~ in the catalogue. Such material includes, among other things, ivory, tortoiseshell, crocodile skin, rhinoceros horn, whale bone and certain species of coral, together with Brazilian rosewood. Prospective purchasers are advised that several countries prohibit altogether the importation of property containing such materials, and that other countries require a permit {e.g., a CITES permit) from the relevant regulatory agencies in the countries of exportation as well as importation. Accordingly, clients should familiarize themselves with the relevant customs laws and regulations prior to bidding on any property with wildlife material if they intend to import the property into another country.
Please note that it is the client’s responsibility to determine and satisfy the requirements of any applicable laws or regulations applying to the export or import of property containing endangered and other protected wildlife material. The inability of a client to export or import property containing endangered and other protected wildlife material is not a basis for cancellation or rescission of the sale. Please note also that lots containing potentially regulated wildlife material are marked as a convenience to our clients, but Christie’s does not accept liability for errors or for failing to mark lots containing protected or regulated species.
30/09/14
99
BUYING AT CHRISTIE’SCONDITIONS OF SALEChristie’s Conditions of Sale and Limited Warranty are set out later in this catalogue. Bidders are strongly encouraged to read these as they set out the terms on which property is bought at auction.
ESTIMATES Estimates are based upon prices recently paid at auction for comparable property, condition, rarity, quality and provenance. Estimates are subject to revision. Buyers should not rely upon estimates as a representation or prediction of actual selling prices. Estimates do not include the buyer’s premium or VAT. Where “Estimate on Request” appears, please contact the Specialist Department for further information.
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Exceptions:
Wine: 22.5% of the final bid price of each lot sold.
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ABSENTEE BIDSChristie’s staff will attempt to execute an absentee bid at the lowest possible price, taking into account the reserve price. Absentee bids submitted on “no reserve” lots will, in the absence of a higher bid, be executed at approximately 50% of the low pre sale estimate or at the amount of the bid if it is less than 50% of the low pre-sale estimate. The auctioneer may execute absentee bids directly from the rostrum, clearly identifying these as “absentee bids,” “book bids,” “order bids” or “commission bids.” Absentee Bids Forms are available in this catalogue, at any Christie’s location or online at christies.com.
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We regret that Christie’s staff will not accommodate requests to roll canvases sold on stretchers.
EXPORT/IMPORT PERMITSProperty sold at auction may be subject to laws governing export from the US and import restrictions of foreign countries. Buyers should always check whether an export license is required before exporting. It is the buyer’s sole responsibility to obtain any relevant export or import license. The denial of any license or any delay in obtaining licenses shall neither justify the rescission of any sale nor any delay in making full payment for the lot.
Upon request, Christie’s will assist the buyer in submitting applications to obtain the appropriate licenses. However, Christie’s cannot ensure that a license will be obtained. Local laws may prohibit the import of some property and/or may prohibit the resale of some property in the country of importation, no such restriction shall justify the rescission of any sale or delay in making full payment for the lot. If a license is obtained on a buyer’s behalf, a minimum fee of $150 per item will be charged. For more information, please contact the Art Transport Department at +1 212 636 2480.
15/02/13
christies.comContactWilliam Russell
+1 212 636 2525
Viewing24–27 January
20 Rockefeller Plaza
New York, NY 10020
The Abbott-Guggenheim Collection
New York • 27 January 2015
A BRONZE FIGURE OF AN ECORCHE MAN BY WILLEM DANIELSZ. VAN TETRODE (C. 1525-1580), CIRCA 1562-67
$1,500,000 –2,500,000
101
HANDLING AND COLLECTION
HANDLING AND COLLECTION
All lots will be handled free of charge for 35 days from the auction date at Christie’s Rockefeller Center or Redstone handling facility. Operation hours for collection from either location are from 9.30 am to 5.00 pm, Monday-Friday. (Lots may not be collected during the day of their move to Christie’s Redstone in Long Island City.) Please consult the Lot Collection Notice for collection information. This sheet is available from the Bidder Registration staff, Purchaser Payments or the Packing Desk and will be sent with your invoice.
ADMINISTRATION AND HANDLING CHARGES
Failure to collect your property within 35 calendar days of the auction date from any Christie’s location, will result in handling and administration charges plus any applicable sales taxes.
Lots will not be released until all outstanding charges due to Christie’s are paid in full. Please contact Christie’s Client Service Center on +1 212 636 2000.
Christie’s Rockefeller Center
20 Rockefeller Plaza, New York 10020
Tel: +1 212 636 2000
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Main Entrance on 48th Avenue Receiving/Shipping Entrance on 48th Avenue
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Charges All Property
Administration (per lot, due on Day 36) $150.00
Handling (per lot/day, beginning Day 36) $12.00
Property can be transferred to Christie’s Fine Art Storage Services (CFASS) New York at any time for environmentally controlled long term storage, per client request. CFASS is a separate subsidiary of Christie’s and clients enjoy complete confidentiality. Contact CFASS New York for details: Tel: + 1 212 974 4570, [email protected]
STREET MAP OF CHRISTIE’S NEW YORK LOCATIONS
102
CONDITIONS OF SALE
These Conditions of Sale and the Important Notices and Explanation of Cataloguing Practice contain all the terms on which Christie’s and the seller contract with the buyer. They may be amended by posted notices or oral announcements made during the sale. By bidding at auction you agree to be bound by these terms.
1. CHRISTIE’S AS AGENTExcept as otherwise stated Christie’s acts as agent for the seller. The contract for the sale of the property is therefore made between the seller and the buyer.
2. BEFORE THE SALE(a) Examination of property
Prospective buyers are strongly advised to examine personally any property in which they are interested, before the auction takes place. Condition reports are usually available on request. Neither Christie’s nor the seller provides any guarantee in relation to the nature of the property apart from the Limited Warranty in paragraph 6 below. The property is otherwise sold “as is.”
Our cataloguing practice is explained in the Important Notices and Explanation of Cataloguing Practice after the catalogue entries. All statements by us in the catalogue entry for the property or in the condition report, or made orally or in writing elsewhere, are statements of opinion and are not to be relied on as statements of fact. Such statements do not constitute a representation, warranty or assumption of liability by us of any kind. References in the catalogue entry or the condition report to damage or restoration are for guidance only and should be evaluated by personal inspection by the bidder or a knowledgeable representative. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. Estimates of the selling price should not be relied on as a statement that this is the price at which the item will sell or its value for any other purpose. Except as set forth in paragraph 6 below, neither Christie’s nor the seller is responsible in any way for errors and omissions in the catalogue or any supplemental material.
(c) Buyer’s responsibility
Except as stated in the Limited Warranty in paragraph 6 below, all property is sold “as is” without any representation or warranty of any kind by Christie’s or the seller. Buyers are responsible for satisfying themselves concerning the condition of the property and the matters referred to in the catalogue entry.
3. AT THE SALE(a) Refusal of admission
Christie’s has the right, at our complete discretion, to refuse admission to the premises or participation in any auction and to reject any bid.
(b) Registration before bidding
Prospective buyers who wish to bid in the saleroom can register online in advance of the sale, or can come to the saleroom on the day of the sale approximately 30 minutes before the start of the sale to register in person. A prospective buyer must complete and sign a registration form and provide identification before bidding. We may require the production of bank or other financial references.
(c) Bidding as principal
When making a bid, a bidder is accepting personal liability to pay the purchase price, including the buyer’s premium and all applicable taxes, plus
all other applicable charges, unless it has been explicitly agreed in writing with Christie’s before the commencement of the sale that the bidder is acting as agent on behalf of an identified third party acceptable to Christie’s, and that Christie’s will only look to the principal for payment.
(d) Absentee bids
We will use reasonable efforts to carry out written bids delivered to us prior to the sale for the convenience of clients who are not present at the auction in person, by an agent or by telephone. Bids must be placed in the currency of the place of the sale. Please refer to the catalogue for the Absentee Bids Form. If we receive written bids on a particular lot for identical amounts, and at the auction these are the highest bids on the lot, it will be sold to the person whose written bid was received and accepted first. Execution of written bids is a free service undertaken subject to other commitments at the time of the sale and we do not accept liability for failing to execute a written bid or for errors and omissions in connection with it.
(e) Telephone bids
Telephone bids will be accepted for lots with low-end estimates of $1,500 and above, no later than 24 hours prior to the sale and only if the capacity of our pool of staff phone bidders allows. Arrangements to bid in languages other than English must be made well in advance of the sale date.
Telephone bids may be recorded. By bidding on the telephone, prospective purchasers consent to the recording of their conversations.
Christie’s offers all absentee and telephone bidding services as a convenience to our clients, but will not be responsible for errors or failures to execute bids.
(f) Currency converter
At some auctions a currency converter may be operated. Errors may occur in the operation of the currency converter and we do not accept liability to bidders who follow the currency converter rather than the actual bidding in the saleroom.
(g) Video or digital images
At some auctions there may be a video or digital screen. Errors may occur in its operation and in the quality of the image and we do not accept liability for such errors.
(h) Reserves
Unless otherwise indicated, all lots are offered subject to a reserve, which is the confidential minimum price below which the lot will not be sold. The reserve will not exceed the low estimate printed in the catalogue. If any lots are not subject to a reserve, they will be identified with the symbol • next to the lot number. The auctioneer may open the bidding on any lot below the reserve by placing a bid on behalf of the seller. The auctioneer may continue to bid on behalf of the seller up to the amount of the reserve, either by placing consecutive bids or by placing bids in response to other bidders. With respect to lots that are offered without reserve, unless there are already competing bids, the auctioneer, in his or her discretion, will generally open the bidding at 50% of the low pre-sale estimate for the lot. In the absence of a bid at that level, the auctioneer will proceed backwards at his or her discretion until a bid is recognized, and then continue up from that amount. Absentee bids will, in the absence of a higher bid, be executed at approximately 50% of the low pre-sale estimate or at the amount of the bid if it is less than 50% of the low pre-sale estimate. In the event that there is no bid on a lot, the auctioneer may deem such lot unsold.
(i) Auctioneer’s discretion
The auctioneer has the right at his absolute and sole discretion to refuse any bid, to advance the bidding in such a manner as he may decide, to withdraw or divide any lot, to combine any two or more lots and, in the case of error or dispute, and whether during or after the sale, to determine the successful bidder, to continue the bidding, to cancel the sale or to reoffer and resell the item in dispute. If any dispute arises after the sale, our sale record is conclusive.
(j) Successful bid and passing of risk
Subject to the auctioneer’s discretion, the highest bidder accepted by the auctioneer will be the buyer and the striking of his hammer marks the acceptance of the highest bid and the conclusion of a contract for sale between the seller and the buyer. Risk and responsibility for the lot (including frames or glass where relevant) passes to the buyer at the expiration of seven calendar days from the date of the sale or on collection by the buyer if earlier.
4. AFTER THE SALE(a) Buyer’s premium
In addition to the hammer price, the buyer agrees to pay to us the buyer’s premium together with any applicable value added tax, sales or compensating use tax or equivalent tax in the place of sale. The buyer’s premium is 25% of the final bid price of each lot up to and including $100,000, 20% of the excess of the hammer price above $100,000 and up to and including $2,000,000 and 12% of the excess of the hammer price above $2,000,000.
(b) Payment and passing of title
Immediately following the sale, the buyer must provide us with his or her name and permanent address and, if so requested, details of the bank from which payment will be made. The buyer must pay the full amount due (comprising the hammer price, buyer’s premium and any applicable taxes) not later than 4.30pm on the seventh calendar day following the sale. This applies even if the buyer wishes to export the lot and an export license is, or may be, required. The buyer will not acquire title to the lot until all amounts due to us from the buyer have been received by us in good cleared funds even in circumstances where we have released the lot to the buyer.
(c) Collection of purchases
We shall be entitled to retain items sold until all amounts due to us, or to Christie’s International plc, or to any of its affiliates, subsidiaries or parent companies worldwide, have been received in full in good cleared funds or until the buyer has satisfied such other terms as we, at our sole discretion, shall require, including, for the avoidance of doubt, completing any anti-money laundering or anti-terrorism financing checks we may require to our satisfaction. In the event a buyer fails to complete any anti-money laundering or anti-terrorism financing checks to our satisfaction, Christie’s shall be entitled to cancel the sale and to take any other actions that are required or permitted under applicable law. Subject to this, the buyer shall collect purchased lots within seven calendar days from the date of the sale unless otherwise agreed between us and the buyer.
(d) Packing, handling and shipping
Although we shall use reasonable efforts to take care when handling, packing and shipping a purchased lot, we are not responsible for the acts or omissions of third parties whom we might retain for these purposes. Similarly, where we may suggest other handlers, packers or carriers if so requested, we do not accept responsibility or liability for their acts or omissions.
103
(e) Export licence
Unless otherwise agreed by us in writing, the fact that the buyer wishes to apply for an export license does not affect his or her obligation to make payment within seven days nor our right to charge interest or storage charges on late payment. If the buyer requests us to apply for an export license on his or her behalf, we shall be entitled to make a charge for this service. We shall not be obliged to rescind a sale nor to refund any interest or other expenses incurred by the buyer where payment is made by the buyer in circumstances where an export license is required.
(f) Remedies for non payment
If the buyer fails to make payment in full in good cleared funds within the time required by paragraph 4(b) above, we shall be entitled in our absolute discretion to exercise one or more of the following rights or remedies (in addition to asserting any other rights or remedies available to us by law):
(i) to charge interest at such rate as we shall reasonably decide;
(ii) to hold the defaulting buyer liable for the total amount due and to commence legal proceedings for its recovery together with interest, legal fees and costs to the fullest extent permitted under applicable law;
(iii) to cancel the sale;
(iv) to resell the property publicly or privately on such terms as we shall think fit;
(v) to pay the seller an amount up to the net proceeds payable in respect of the amount bid by the defaulting buyer;
(vi) to set off against any amounts which we, or Christie’s International plc, or any of its affiliates, subsidiaries or parent companies worldwide, may owe the buyer in any other transactions, the outstanding amount remaining unpaid by the buyer;
(vii) where several amounts are owed by the buyer to us, or to Christie’s International plc, or to any of its affiliates, subsidiaries or parent companies worldwide, in respect of different transactions, to apply any amount paid to discharge any amount owed in respect of any particular transaction, whether or not the buyer so directs;
(viii) to reject at any future auction any bids made by or on behalf of the buyer or to obtain a deposit from the buyer before accepting any bids;
(ix) to exercise all the rights and remedies of a person holding security over any property in our possession owned by the buyer, whether by way of pledge, security interest or in any other way, to the fullest extent permitted by the law of the place where such property is located. The buyer will be deemed to have granted such security to us and we may retain such property as collateral security for such buyer’s obligations to us;
(x) to take such other action as we deem necessary or appropriate.
If we resell the property under paragraph (iv) above, the defaulting buyer shall be liable for payment of any deficiency between the total amount originally due to us and the price obtained upon resale as well as for all costs, expenses, damages, legal fees and commissions and premiums of whatever kind associated with both sales or otherwise arising from the default. If we pay any amount to the seller under paragraph (v) above, the buyer acknowledges that Christie’s shall have all of the rights of the seller, however arising, to pursue the buyer for such amount.
(g) Failure to collect purchases
Where purchases are not collected within 35 calendar days from the date of the sale, whether or not payment has been made, we shall be permitted to transfer the property to our Long Island City facility at the buyer’s expense, and only release the items after payment in full has been made of transportation, administration, handling, insurance and any other costs incurred, together with payment of all other amounts due to us or our affiliates.
(h) Selling Property at Christie’s
In addition to expenses such as transport and insurance, all consignors pay a commission according to a fixed scale of charges based upon the value of the property sold by the consignor at Christie’s in a calendar year. Commissions are charged on a sale by sale basis.
5. EXTENT OF CHRISTIE’S LIABILITYWe agree to refund the purchase price in the circumstances of the Limited Warranty set out in paragraph 6 below. Apart from that, neither the seller nor we, nor any of our officers, employees or agents, are responsible for the correctness of any statement of whatever kind concerning any lot, whether written or oral, nor for any other errors or omissions in description or for any faults or defects in any lot. Except as stated in paragraph 6 below, neither the seller, ourselves, our officers, employees or agents, give any representation, warranty or guarantee or assume any liability of any kind in respect of any lot with regard to merchantability, fitness for a particular purpose, description, size, quality, condition, attribution, authenticity, rarity, importance, medium, provenance, exhibition history, literature or historical relevance. Except as required by local law any warranty of any kind whatsoever is excluded by this paragraph.
6. LIMITED WARRANTYSubject to the terms and conditions of this paragraph, Christie’s warrants for a period of five years from the date of the sale that any property described in headings printed in UPPER CASE TYPE (i.e. headings having all capital-letter type) in this catalogue (as such description may be amended by any saleroom notice or announcement) which is stated without qualification to be the work of a named author or authorship, is authentic and not a forgery. The term “author” or “authorship” refers to the creator of the property or to the period, culture, source or origin, as the case may be, with which the creation of such property is identified in the UPPER CASE description of the property in this catalogue. Only UPPER CASE TYPE headings of lots in this catalogue indicate what is being warranted by Christie’s. Christie’s warranty does not apply to supplemental material which appears below the UPPER CASE TYPE headings of each lot and Christie’s is not responsible for any errors or omissions in such material. The terms used in the headings are further explained in Important Notices and Explanation of Cataloguing Practice. The warranty does not apply to any heading which is stated to represent a qualified opinion. The warranty is subject to the following:
(i) It does not apply where (a) the catalogue description or saleroom notice corresponded to the generally accepted opinion of scholars or experts at the date of the sale or fairly indicated that there was a conflict of opinions; or (b) correct identification of a lot can be demonstrated only by means of either a scientific process not generally accepted for use until after publication of the catalogue or a process which at the date of publication of the catalogue was unreasonably expensive or impractical or likely to have caused damage to the property.
(ii) The benefits of the warranty are not assignable and shall apply only to the original buyer of the lot as shown on the invoice originally issued by Christie’s when the lot was sold at auction.
(iii) The original buyer must have remained the owner of the lot without disposing of any interest in it to any third party.
(iv) The buyer’s sole and exclusive remedy against Christie’s and the seller, in place of any other remedy which might be available, is the cancellation of the sale and the refund of the original purchase price paid for the lot. Neither Christie’s nor the seller will be liable for any special, incidental or consequential damages including, without limitation, loss of profits nor for interest.
(v) The buyer must give written notice of claim to us within five years from the date of the auction. It is Christie’s general policy, and Christie’s shall have the right, to require the buyer to obtain the written opinions of two recognized experts in the field, mutually acceptable to Christie’s and the buyer, before Christie’s decides whether or not to cancel the sale under the warranty.
(vi) The buyer must return the lot to the Christie’s saleroom at which it was purchased in the same condition as at the time of the sale.
7. COPYRIGHTThe copyright in all images, illustrations and written material produced by or for Christie’s relating to a lot including the contents of this catalogue, is and shall remain at all times the property of Christie’s and shall not be used by the buyer, nor by anyone else, without our prior written consent. Christie’s and the seller make no representation or warranty that the buyer of a property will acquire any copyright or other reproduction rights in it.
8. SEVERABILITYIf any part of these Conditions of Sale is found by any court to be invalid, illegal or unenforceable, that part shall be discounted and the rest of the conditions shall continue to be valid to the fullest extent permitted by law.
9. LAW AND JURISDICTIONThe rights and obligations of the parties with respect to these Conditions of Sale, the conduct of the auction and any matters connected with any of the foregoing shall be governed and interpreted by the laws of the jurisdiction in which the auction is held. By bidding at auction, whether present in person or by agent, by written bid, telephone or other means, the buyer shall be deemed to have submitted, for the benefit of Christie’s, to the exclusive jurisdiction of the courts of that country, state, county or province, and (if applicable) of the federal courts sitting in such state.
15/02/13
104
WORLDWIDE SALEROOMS AND OFFICES
ARGENTINA
BUENOS AIRES +54 11 43 93 42 22
Cristina Carlisle
AUSTRALIA
SYDNEY +61 (0)2 9326 1422
Ronan Sulich
AUSTRIA
VIENNA +43 (0)1 533 8812
Angela Baillou
BELGIUM
BRUSSELS +32 (0)2 512 88 30
Roland de Lathuy
BERMUDA
BERMUDA +1 401 849 9222
Betsy Ray
BRAZIL
RIO DE JANEIRO +5521 2225 6553
Candida Sodre
SÃO PAULO +5511 3061 2576
Nathalie Lenci
CANADA
TORONTO +1 416 960 2063
Brett Sherlock
CHILE
SANTIAGO +56 2 2 2631642
Denise Ratinoff de Lira
COLOMBIA
BOGOTA +571 635 54 00
Juanita Madrinan
DENMARK
COPENHAGEN +45 3962 2377
Birgitta Hillingso (Consultant)
+ 45 2612 0092
Rikke Juel Brandt (Consultant)
FINLAND AND THE BALTIC STATES
HELSINKI +358 40 5837945
Barbro Schauman (Consultant)
FRANCE
BRITTANY AND THE LOIRE VALLEY
+33 (0)6 09 44 90 78 Virginie Greggory
(Consultant)
GREATER EASTERN FRANCE
+33 (0)6 07 16 34 25 Jean-Louis Janin Daviet
(Consultant)
NORD-PAS DE CALAIS +33 (0)6 09 63 21 02 Jean-Louis Brémilts
(Consultant)
•PARIS +33 (0)1 40 76 85 85
POITOU-CHARENTE AQUITAINE
+33 (0)5 56 81 65 47
Marie-Cécile Moueix
PROVENCE - ALPES CÔTE D’AZUR
+33 (0)6 71 99 97 67
Fabienne Albertini-Cohen
RHÔNE ALPES +33 (0)6 61 81 82 53
Dominique Pierron
(Consultant)
GERMANY
DÜSSELDORF +49 (0)21 14 91 59 30
Arno Verkade
FRANKFURT +49 (0)61 74 20 94 85
Anja Schaller
HAMBURG +49 (0)40 27 94 073
Christiane Gräfin zu Rantzau
MUNICH +49 (0)89 24 20 96 80
Marie Christine Gräfin Huyn
STUTTGART +49 (0)71 12 26 96 99
Eva Susanne Schweizer
INDIA
•MUMBAI +91 (22) 2280 7905
Sonal Singh
DELHI +91 (98) 1032 2399
Sanjay Sharma
INDONESIA
JAKARTA +62 (0)21 7278 6268
Charmie Hamami
Priscilla Tiara Masagung
ISRAEL
TEL AVIV +972 (0)3 695 0695
Roni Gilat-Baharaff
ITALY
•MILAN +39 02 303 2831
ROME +39 06 686 3333
Marina Cicogna Business Development Director
JAPAN
TOKYO +81 (0)3 6267 1766
Ryutaro Katayama
MALAYSIA
KUALA LUMPUR +60 3 6207 9230
Lim Meng Hong
MEXICO
MEXICO CITY +52 55 5281 5503
Gabriela Lobo
MONACO +377 97 97 11 00
Nancy Dotta
THE NETHERLANDS
•AMSTERDAM +31 (0)20 57 55 255
PEOPLES REPUBLIC OF CHINA
BEIJING +86 (0)10 8572 7900
•HONG KONG +852 2760 1766
•SHANGHAI +86 (0)21 6355 1766
Jinqing Cai
PORTUGAL
LISBON +351 919 317 233
Mafalda Pereira Coutinho (Independent Consultant)
03/11/14
ENQUIRIES?— Call the Saleroom or Office EMAIL— [email protected]
•DENOTES SALEROOM
105
08/08/14
RUSSIA
MOSCOW +7 495 937 6364
+44 20 7389 2318
Katya Vinokurova
SINGAPORE
SINGAPORE +65 6235 3828
Wen Li Tang
SOUTH AFRICA
CAPE TOWN +27 (21) 761 2676
Juliet Lomberg
(Independent
Consultant)
DURBAN & JOHANNESBURG
+27 (31) 207 8247
Gillian Scott-Berning
(Independent
Consultant)
WESTERN CAPE +27 (44) 533 5178
Annabelle Conyngham
(Independent
Consultant)
SOUTH KOREA
SEOUL +82 2 720 5266
Hye-Kyung Bae
SPAIN
BARCELONA +34 (0)93 487 8259
Carmen Schjaer
MADRID +34 (0)91 532 6626
Juan Varez
Dalia Padilla
SWEDEN
STOCKHOLM +46 (0)70 5368 166
Marie Boettiger Kleman (Consultant) +46 (0)70 9369 201
Louise Dyhlén (Consultant)
SWITZERLAND
•GENEVA +41 (0)22 319 1766
Eveline de Proyart
•ZURICH +41 (0)44 268 1010
Dr. Bertold Mueller
TAIWAN
TAIPEI +886 2 2736 3356
Ada Ong
THAILAND
BANGKOK +66 (0)2 652 1097
Yaovanee Nirandara Punchalee Phenjati
TURKEY
ISTANBUL +90 (532) 558 7514
Eda Kehale Argün (Consultant)
UNITED ARAB EMIRATES
•DUBAI +971 (0)4 425 5647
UNITED KINGDOM
•LONDON, KING STREET +44 (0)20 7839 9060
•LONDON, SOUTH KENSINGTON +44 (0)20 7930 6074
NORTH +44 (0)20 7752 3004
Thomas Scott
SOUTH +44 (0)1730 814 300
Mark Wrey
EAST +44 (0)20 7752 3004
Thomas Scott
NORTHWEST AND WALES
+44 (0)20 7752 3004
Jane Blood
SCOTLAND +44 (0)131 225 4756
Bernard Williams
Robert Lagneau
David Bowes-Lyon (Consultant)
ISLE OF MAN +44 (0)20 7389 2032
CHANNEL ISLANDS +44 (0)1534 485 988
Melissa Bonn
IRELAND +353 (0)59 86 24996
Christine Ryall
UNITED STATES
BOSTON +1 617 536 6000
Elizabeth M. Chapin
CHICAGO +1 312 787 2765
Lisa Cavanaugh
DALLAS +1 214 599 0735
Capera Ryan
HOUSTON +1 713 802 0191
Jessica Phifer
LOS ANGELES +1 310 385 2600
MIAMI +1 305 445 1487
Jessica Katz
NEWPORT +1 401 849 9222
Betsy D. Ray
•NEW YORK +1 212 636 2000
PALM BEACH +1 561 833 6952
Maura Smith
PHILADELPHIA +1 610 520 1590
Christie Lebano
SAN FRANCISCO +1 415 982 0982
Ellanor Notides
For a complete salerooms & offices listing go to christies.com
106
CHRISTIE’S SPECIALIST DEPARTMENTS AND SERVICES
KEY TO ABBREVIATIONS:
KS: London, King Street
NY: New York,
Rockefeller Plaza
PAR: Paris
SK: London,
South Kensington
DEPARTMENTS
AFRICAN AND OCEANIC ARTPAR: +33 (0)140 768 386 NY: +1 212 484 4898
AMERICAN DECORATIVE ARTSNY: +1 212 636 2230
AMERICAN FURNITURENY: +1 212 636 2230
AMERICAN ARTNY: +1 212 636 2140
ANGLO-INDIAN ARTKS: +44 (0)20 7389 2570
ANTIQUITIESNY: +1 212 636 2245
ASIAN 20TH CENTURY AND CONTEMPORARY ARTNY: +1 212 468 7133
AUSTRALIAN PICTURESKS: +44 (0)20 7389 2040
BOOKS AND MANUSCRIPTSNY: +1 212 636 2665
BRITISH & IRISH ARTKS: +44 (0)20 7389 2682
NY: +1 212 636 2120
SK: +44 (0)20 7752 3257
BRITISH ART ON PAPERKS: +44 (0)20 7389 2278
SK: +44 (0)20 7752 3293
NY: +1 212 636 2120
BRITISH PICTURES 1500-1850KS: +44 (0)20 7389 2945
CARPETSNY: +1 212 636 2217
CERAMICS AND GLASSNY: +1 212 636 2215
CHINESE PAINTINGSNY: +1 212 636 2195
CHINESE WORKS OF ARTNY: +1 212 636 2180
CLOCKSKS: +44 (0)20 7389 2357
CORKSCREWSSK: +44 (0)20 7752 3263
COSTUME, TEXTILES AND FANSSK: +44 (0)20 7752 3215
ENTERTAINMENT MEMORABILIASK: +44 (0)20 7752 3281
FOLK ARTNY: +1 212 636 2230
FURNITURENY: +1 212 636 2200
HOUSE SALESSK: +44 (0)20 7752 3260
ICONSSK: +44 (0)20 7752 3261
IMPRESSIONIST AND MODERN ARTNY: +1 212 636 2050
INDIAN AND SOUTHEAST ASIAN ARTNY: +1 212 636 2190
INDIAN CONTEMPORARY ARTNY: +1 212 636 2190
KS: +44 (0)20 7389 2700
INTERIORSNY: +1 212 636 2032
SK: +44 (0)20 7389 2236
ISLAMIC WORKS OF ARTKS: +44 (0)20 7389 2370
SK: +44 (0)20 7752 3239
JAPANESE ARTNY: +1 212 636 2160
KS: +44 (0)20 7389 2595
JEWELLERYNY: +1 212 636 2300
KOREAN ARTNY: +1 212 636 2165
LATIN AMERICAN ARTNY: +1 212 636 2150
MINIATURES NY: +1 212 636 2250
MODERN DESIGNSK: +44 (0)20 7389 2142
MUSICAL INSTRUMENTSNY: +1 212 636 2000
NINETEENTH CENTURY FURNITURE AND SCULPTURENY: +1 212 707 5910
OBJECTS OF VERTUNY: +1 212 636 2250
OLD MASTER DRAWINGSNY: +1 212 636 2120
OLD MASTER PAINTINGS AND 19TH CENTURY EUROPEAN ARTNY: +1 212 636 2120
PHOTOGRAPHSNY: +1 212 636 2330
PICTURE FRAMESSK: +44 (0)20 7389 2763
POST WAR AND CONTEMPORARY ARTNY: +1 212 636 2100
POSTERSSK: +44 (0)20 7752 3208
PRINTSNY: +1 212 636 2290
RUSSIAN WORKS OF ARTNY: +1 212 636 2260
SCIENTIFIC INSTRUMENTSSK: +44 (0)20 7752 3286
SCULPTURE KS: +44 (0)20 7389 2331
SK: +44 (0)20 7389 2794
SILVERNY: +1 212 636 2250
TOPOGRAPHICAL PICTURESKS: +44 (0)20 7389 2040
SK: +44 (0)20 7752 3291
TWENTIETH CENTURY DECORATIVE ART AND DESIGNNY: +1 212 636 2240
VICTORIAN PICTURESKS: +44 (0)20 7389 2468
SK: +44 (0)20 7752 3257
WATCHESNY: +1 212 636 2320
WINENY: +1 212 636 2270
AUCTION SERVICES
CHRISTIE’S AUCTION ESTIMATESTel: +1 212 492 5485
Fax: +1 212 636 4930
www.christies.com
CORPORATE COLLECTIONSTel: +1 212 636 2901
Fax: +1 212 636 4929
Email: [email protected]
ESTATES AND APPRAISALSTel: +1 212 636 2400
Fax: +1 212 636 2370
Email: [email protected]
MUSEUM SERVICESTel: +1 212 636 2620
Fax: +1 212 636 4931
Email: [email protected]
PRIVATE SALESUS: +1 212 636 2557Fax: +1 212 636 2035Email: [email protected]
OTHER SERVICES
CHRISTIE’S EDUCATIONNew York
Tel: +1 212 355 1501 Fax: +1 212 355 7370 Email: [email protected]
Hong Kong Tel: +852 2978 6747 Fax: +852 2525 3856 Email: [email protected]
London
Tel: +44 (0)20 7665 4350 Fax: +44 (0)20 7665 4351 Email: [email protected]
Paris
Tel: +33 (0)1 42 25 10 90
Fax: +33 (0)1 42 25 10 91
Email: ChristiesEducationParis@ christies.com
CHRISTIE’S INTERNATIONAL REAL ESTATENew York
Tel: +1 212 468 7182
Fax: +1 212 468 7141
Email: [email protected]
London
Tel: +44 (0)20 7389 2551
Fax: +44 (0)20 7389 2168
Email: [email protected]
Hong Kong
Tel: +852 2978 6788
Fax: +852 2845 2646
Email: [email protected]
CHRISTIE’S FINE ART STORAGE SERVICESLondon
+44 (0)20 7622 0609 [email protected]
New York
+1 212 974 4579
Singapore
Tel: +65 6543 5252
Email: [email protected]
CHRISTIE’S REDSTONETel: +1 212 974 4500
06/12/13
christies.comContactSarah de Clercq
+31 (0)20 575 52 81
Viewing29 May–1 June
Cornelis Schuytstraat 57
1071 JG Amsterdam
Old Masters & 19th Century Artincluding Dutch Impressionism
Amsterdam • 2-3 June 2015
ABRAHAM GIBBENS (ACTIVE PARIS 1629 - 1635) Cherries, strawberries, and gooseberries in a porcelain bowl, with two salsify roots on a wooden ledge
oil on panel · 25.5 x 35.4 cm.
€15,000–20,000
Consigment Deadline 31 March 2015
1 East 70th Street, NYC 212-288-0700 frick.org
The Frick Collection
Masterpieces from the Scottish National Gallery
John Singer Sargent, Lady Agnew of Lochnaw (detail), 1892, oil on canvas, Scottish National Gallery, Edinburgh, © Trustees of the National Galleries of Scotland
This exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities.
On view throughFebruary 1
christies.comContactBecky MacGuire
+1 212 636 2215
Viewing17-25 January
20 Rockefeller Plaza
New York, NY 10020
Mandarin & Menagerie: The James E. Sowell Collection
New York • 26 January 2015
www.christiesrealestate.com
CHRISTIE’S INTERNATIONAL REAL ESTATE
Kathleen Coumou · +1 212 468 7140
BROWN HARRIS STEVENS
Paula Del Nunzio · +1 212 906 9207
THE WILLIAM RANDOLPH
HEARST PENTHOUSE
NEW YORK, NEW YORK
This 10,000-square-foot landmark penthouse was once the “tapestry gallery” of William
Randolph Hearst’s former apartment. Located in the Riverside-West End Historic District,
the three-level home revolves around a mahogany and brass central staircase hall
illuminated by a skylight through glass plank foors above.
Offered at $38,000,000
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09/08/13
PLEASE PRINT CLEARLYLot number Maximum Bid $ Lot number Maximum Bid $ (in numerical order) (excluding buyer’s premium) (in numerical order) (excluding buyer’s premium)
3709
OLD MASTER PAINTINGS & SCULPTURES PART IITHURSDAY 29 JANUARY 2015 AT 4.00 PM
20 Rockefeller Plaza
New York, NY 10020
CODE NAME: SNUFFY
SALE NUMBER: 3709
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(ie: $32,000, 35,000, 38,000)
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112
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Code Subscription Title Location Issues UK£Price US$Price EURPrice
OMP & C19th PaintingsA1 Old Master and 19th Century Art Amsterdam 2 27 44 40L193 19th Century European Art including Orientalist Art King Street 2 48 72 76L1 Old Master and British Paintings King Street 5 119 181 190L195 Victorian and British Impressionist Pictures King Street 2 48 76 72L98 Topographical Pictures King Street 1 20 32 30N193 19th Century European Art New York 2 48 76 72N1 Old Master Paintings New York 3 71 108 114P1 Old Master & 19th Century European Paintings Paris 1 38 61 57K193 19th Century Paintings South Kensington 2 43 71 66K9 Old Master & Early British Drawings & Watercolours South Kensington 1 14 24 22K1 Old Master Paintings South Kensington 4 57 95 87K2 Victorian, Traditionalist & Sporting Pictures South Kensington 5 71 119 109K97 Australian Art South Kensington 1 14 24 22W9 Old Master & Early British Drawings & Watercolours Worldwide 4 95 152 144
OMP & 19TH CENTURY PAINTINGSContinental European and British paintings from the early Renaissance to the early 19th century. British and Irish Art from Tudor period to 1970, including pictures, works on paper, Sporting Art,Victorian and Scottish pictures. Continental European drawings from the early Renaissance to the early 19th century. Paintings, drawings and water-colors from the 19th century, including Romanticism, Genre, Realist, Salon, Orientalist, Macchiolo and Symbolism. Maritime paintings and nautical items, ship models and maritime instruments.
Photographs, Posters and Prints · Impressionist and Modern Art Jewellery, Watches and Wine · Antiquities and Tribal Art Asian and Islamic Art · Russian Art Furniture, Decorative Arts and Collectables · American Art and Furniture Books, Travel and Science · Design, Costume and Memorabilia Post-War and Contemporary Art Old Master Paintings and 19th Century Paintings
113
The Paper used in this catalogue
has been manufactured at a mill
which has been awarded the
ISO 14001 for Environment
Management and is a registered
mill within EMAS (the EU Eco-
Management and Audit Scheme)
© Christie, Manson & Woods Ltd. (2014)
Catalogue photo credits:
Douglas Ho and Martha Stanitz
Christie’s
18/12/14
C H R I S T I E ’ S I N T E R N A T I O N A L P L CPatricia Barbizet, Chairman and Chief Executive OfficerStephen Brooks, Global Chief Operating OfficerLoïc Brivezac, Gilles Erulin, Gilles Pagniez, François–Henri Pinault, Company Secretary
C H R I S T I E ’ S E X E C U T I V EStephen Brooks, François Curiel,
Marc Porter, Jussi Pylkkänen,
C H R I S T I E ’ S A M E R I C A S
Marc Porter, Chairman
C H A I R M A N ’ S O F F I C EStephen S. Lash, Chairman Emeritus Cyanne Chutkow, Deputy Chairman Brett Gorvy, Chairman Ben Hall, Deputy ChairmanNicholas Hall, Vice ChairmanJohn Hays, Deputy Chairman Conor Jordan, Deputy ChairmanMaria C. Los, Deputy ChairmanLaura Paulson, Deputy ChairmanPaul Provost, Deputy ChairmanJonathan Rendell, Deputy ChairmanJeanne Sloane, Deputy ChairmanEric Widing, Deputy ChairmanAthena Zonars, Deputy ChairmanXin Li, Deputy Chairman, Asia
S E N I O R V I C E P R E S I D E N T STunde Adenuga, John Auerbach, Martha Baer, Vivian Bakmas-Pfeiffer, Heather Barnhart, Gerard Barrett, Wendy Battleson, Elizabeth Beaman, G. Max Bernheimer, Rita Boyle, Reginald Brack, Bonnie Brennan, Thomas Burstein, Sarah Cashin, Lisa Cavanaugh, Elizabeth M. Chapin, Kenneth Citron, Sandra Cobden, Chris Coover, Carrie Dillon, Monica Dugot, Cathy Elkies, Christopher Engle, Sheri Farber, Lydia Fenet, Jennifer Glaisek Ferguson, Melissa Gagen, Virgilio Garza, Keren Gottesman, Benjamin Gore, Loic Gouzer, Karen Gray, Jennifer K. Hall, Jean-Christophe Harel, Darius Himes, Lori Hotz, Rahul Kadakia, Kathy Kaplan, Karen Karp, Julie Kim, Sharon Kim, Stefan Kist, Deepanjana Klein, Peter Kloman, Susan Kloman, Jonathan Laib, Brooke Lampley, Regan Lynn Larroque, Thomas Lecky, Daphne Lingon, Richard Lloyd, Gabriela Lobo, Rebecca MacGuire, Robert Manley, Andrew Massad, Alexis McCarthy, Andrew McVinish, Adrien Meyer, Michelle Meyercord, Richard Nelson, Shira Nichaman, Ellanor Notides, Tash Perrin, John Reardon, Margot Rosenberg, Leslie Roskind, Capera Ryan, Caroline Sayan, Xan Serafin, Brett Sherlock, Muys Snijders, Will Strafford, Toby Usnik, Sarah Vandeweerdt, Carina Villinger, Francis Wahlgren, Cara Walsh, Amy Wexler, Barrett White, Allison Whiting, Marissa Wilcox, Jody Wilkie, Tom Woolston, Steven Wrightson, Katsura Yamaguchi, Jennifer Zatorski
V I C E P R E S I D E N T SStuart Alexander, Kelly Ayers, Michael Bass, Melissa Bennie, Melissa Bernstein, Adrian Bijanada, Eileen Brankovic, Rebecca Brey, Valerie Bulova, Cristina Carlisle, John Caruso, Karen Christian, Pauline Cintrat, Deborah Coy, Ginette Dean, Cathy Delany, Anna Diehl, Edouard du Breuil, Alexandra Duch, Ingrid Dudek, Lorena Duran, Leslie Edwards, Ian Ehling, Ross Elgie, Doug Escribano, Jessica Fertig, John Foster, Lauren Frank, Sara Friedlander, Vanessa Fusco, Sayuri Ganepola, Emelie Gevalt, Joshua Glazer, Lea Green, Margaret Gristina, Izabela Grocholski, Helena Grubesic, Elizabeth Hammer-Munemura, Minna Hanninen, Shannon Henry, Margaret Hoag, Per Holmberg, Andrew Holter, Jennifer Hong, Val Hoyt, Anne Igelbrink, Koji Inoue, Sandhya Jain Patel, Leanne Jagtiani, Erik Jansson, Caroline Jett, Mariana Joseph, Jessica Katz, Caroline Page-Katz, Sumako Kawai, Heakyum Kim, Alexis Klein, David Kleiweg de Zwaan, Richard LaSalle, Lisa Layfer, Andrew Lee, Mary Libby, Molly Morse Limmer, Ryan Ludgate, Laurie Lasdon Marshall, Masa Masuyama, Erin McAndrew, Adam McCoy, Capucine Milliot, Mark Moehrke, Christine Montalvo, Caroline Moustakis, Laura Nagle, Marysol Nieves, Rachel Orkin-Ramey, Joanna Ostrem, Elisabeth Poole Parker, Carolyn Pastel, Laura Paterson, Joseph Picone, Jennifer Pitman, Kimberly Ray, Greg Reid, Casey Rogers, Thomas Root, Leslie Roskind, William Russell, Gregory Sarancha, Stacey Sayer, Andrew Seltzer, Sari Sharaby, Brian Shaw, Maureen Slattery, Maura Smith, Sasha Smith, Gemma Sudlow, Bliss Summers, Scott Torrence, Arianna Tosto, Terence Vetter, Hartley Waltman, Michal Ward, Sarah Wendell, Helen Williams, Nicholas Wilson, Alan Wintermute, Jennifer Wright, Kristen Yraola, Timothy Yule, Jennifer Yum, Laryssa Zalisko, Steven J. Zick
A S S O C I A T E V I C E P R E S I D E N T SLauren Anderson, Charles Antin, Danielle Austin, Diane Baldwin, Yana Balan, Brett Banchek, Katherine Banser-Whittle, Kelly Barros, Caroline Belser, Bernadine Boisson, Anne Bracegirdle, Diana Bramham, Julie Brener, Ana Maria Celis, Patrick Conte, Leiko Coyle, Anne Dayton, Caitlin Donovan, Kristen de Bruyn, Elise de la Selle, Ashish Desai,Yasaman Djunic, Julie Drennan, Elizabeth Eichholz, Emily Fisher, Heather Fowler, Sara Fox, Juarez Francis, Lynn Fylak, Douglas Goldberg, Jayme Gruetzmacher, Michael Gumener, Megan Guzman, Natalie Hamrick, Adeline Han, Anna Handy, William Haydock, Anne Hargrave, Anna Helgeson, Caroline Kelly, Kirill Kluev, Kristin Kolich, Samantha Koslow, Paula Kowalczyk, Lauren Land, Christine Layng, Lenise Logan, Marc Maibrunn, Briana Maldonado, Amelia Manderscheid, Patrick McGrath, Frank Miller, Takaaki Murakami, Libia Nahas, Tom Orf, Andres Ortega, Morgan Osthimer, Sung-Hee Park, Ayub Patel, Jessica Phifer, Saara Pritchard, Hadley Punterei, Carleigh Queenth, Prakash Ramdas, Lesley-Ann Roberts, Jennifer Rosenthal, Kristina Ryan, Emily Sarokin, Arianna Savage, Morris Scardigno, Nicole Shapiro, Adnan Shafique, Ryan Schmidt, Michael Simonetti, Edwina Stitt, Bo Tan, Mike Wang, Drew Watson, Simon Wills, Virginia Woo, Gretchen Yagielski, Cara Zimmerman
CHRISTIE’S
AMERICAN ADVISORY BOARDThe Lord Carrington, KG, Honorary ChairmanJohn L. Vogelstein, ChairmanStephen S. Lash, Vice Chairman Ashton Hawkins, Esq., Secretary Herb Allen, Elizabeth Ballantine, Charlie Blaquier, Melva Bucksbaum, Christina Chandris, Lynn Forester de Rothschild, Bruno Eberli, Ambassador Stuart E. Eizenstat, Guido Goldman, J Tomilson Hill III, Barbara Jakobson, Nancy M. Kissinger, George Klein, Ambassador William H. Luers, Hon. Nicholas Platt, Li Chung Pei, Jeffrey E. Perelman, Tara Rockefeller, Denise Saul, Andrew N. Schiff, M.D., Clifford M. Sobel, Michael Steinhardt, Archbold D. van Beuren, Casey Wasserman, John C. Whitehead
INTERNATIONAL REPRESENTATIVESMaura Benjamin, Meg Bowen, Alexandra Burroughs, Nathalie Gerschel Kaplan, Konrad Keesee, Lydia Kimball, Mary Libby, Juanita Madrinan, Brenda Norris, Kelly Perry, Denise Ratinoff, Betsy Ray, Nancy Rome, Ashley Schiff
INDEX
A
van Alsloot 214
van der Ast 201
Aubry 277
B
Bassano 294
Benedetto da Maiano 249
Bertin 280
Benson 240
Birmann 299
van Bloemen 283
Bohemian School 238
Bouts 237
Brunias 300
Brunswick Monogrammist 213
C
Caselli 272
de Caullery 203
Central European School 252
Claesz. 209
de Claeuw 244
Collier 271
van Coninxloo 231
Coypel 279
Crivelli 284
D
Dance-Holland 302
Dandini 297
Dordrecht School 206
Dunouy 267
van Dyck 204
F
Fidanza 303
Figino 242
Fischetti 296
Flemish School 216, 256
Francken 228
French School 232, 255
G
Gainsborough 266
Gandolfi 289
Gasporo di Fiori 274
German School 234, 253,
258-262, 306, 308
Giambologna 236
Girardon 236
Girodet de Roussy-Trioson 304
Guglielmo della Porta 250
van Goyen 207
H
Hals 208A
Hartmann 230
Hey 222
Hispano-Flemish School 248
I
Italian School 217- 220, 254,
257, 264
K
Kauffman 247
van Kessel 202
L
de Largillière 245
Lombard School 285
Lombardo 235
López 274
Luyckx 210, 273
M
Malinconico 243
Mario dei Fiori 282
Master of Moulins 222
Michelozzo 251
van Mieris, F. 215
van Mieris, W. 208
Monnot 265
N
Navarra 286
North European School 225
North Italian School 298
Nuzzi 282
O
l’Orbetto 241, 295
P
Palencia School 246
Passarotti 288
Peeters 205
Pynacker 270
R
Rémond 281
Reni 291, 293
Riemenschneider 307
Rijkaert 224
Robert 305
S
Saltarello 290
Schenk 259
Simonini 275
Sittow 227
lo Spadino 272
Spanish school 233
lo Stendardo 283
Storck 212
Stuart 268
T
Tacca 276
Teniers 211
Titian 292
Turchi 241, 295
V
van Valckenborch 223
van Veen 229
Venetian School 239, 287
von Verschaffelt 263
Voiriot 278
W
van der Weyden 221, 226,
Wootton 269
Z
Zuccarelli 301
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