old master paintings & sculpture

OLD MASTER PAINTINGS & SCULPTURENEW YORK, THURSDAY 29 JANUARY 2015

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

christies.com

CONDIT IONS OF SALE

This auction is subject to

Important Notices,

Conditions of Sale and

to reserves.

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5

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

Richard KnightCo-Chairman, London (Private Sales)

Nicholas HallCo-Chairman, New York (Auction)

Karl HermannsInternational Managing Director

Jussi PylkkännenPresident, EMERI

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

Eugene PooleySpecialist

LONDON

EUROPE

Sophie BremersSpecialist, Amsterdam

Henry PettiferInternational DirectorHead of Department

Yuan FangJunior Specialist, Hong Kong

ASIA

7

SPECIALISTS FOR THIS AUCTION

Ben HallDeputy Chairman

Emma KronmanAssociate Specialist

Joshua GlazerSpecialist

Alan WintermuteSenior Specialist

Nicholas HallCo-Chairman, New York (Auction)

Will RussellSpecialist, Head of Depatmant

OLD MASTER PAINTINGS

EUROPEAN SCULPTURE

8

Email. First initial followed by last [email protected] (eg. Emma Kornman = [email protected])

CO-CHAIRMAN

(Auction)

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Tel: +1 212 636 2122

CO-CHAIRMAN

(Private Sales)

Richard Knight

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INTERNATIONAL MANAGING DIRECTOR

Karl Hermanns

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HONORARY CHAIRMAN, UK

Noël Annesley

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Francis Russell

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DEPUTY CHAIRMEN

Paul Raison

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Ben Hall

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INTERNATIONAL DIRECTORS

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London

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WORLDWIDE SPECIALISTS

AMSTERDAM

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BRUSSELS

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Yuan Fang

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LONDON KING STREET

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Alexis Ashot (Private Sales)

Freddie de Rougemont

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Emma Capron

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LONDON SOUTH KENSINGTON

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MADRID

Juan Varez

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NEW YORK

Joshua Glazer

Emma Kronman

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PARIS

Elvire de Maintenant

Olivier Lefeuvre

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SAN FRANCISCO

Alan Wintermute

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CONSULTANTS

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BUSINESS DIRECTORS

PRIVATE SALES

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OLD MASTER PAINTINGS DEPARTMENT

10

28 JANUARY

OLD MASTER PAINTINGS PART INEW YORK

28 JANUARY

RENAISSANCENEW YORK

29 JANUARY

OLD MASTER PAINTINGS PART IINEW YORK

29 JANUARY

OLD MASTER AND BRITISH DRAWINGSNEW YORK

25 MARCH

DESSINS ANCIENS & DU XIXÈME SIÈCLE & THE I.Q. VAN REGTEREN ALTENA COLLECTION PART IIIPARIS

1 APRIL

TABLEAUX ANCIENS & DU XIXÈME SIÈCLEPARIS

30 APRIL

OLD MASTER & BRITISH PAINTINGSLONDON, SOUTH KENSINGTON

13 MAY

THE I.Q. VAN REGTEREN ALTENA COLLECTION PART IVAMSTERDAM

3 JUNE

OLD MASTER PAINTINGSNEW YORK

TO BE ANNOUNCED

OLD MASTER, 19TH CENTURY & IMPRESSIONIST ARTAMSTERDAM

7 JULY

OLD MASTER & BRITISH PAINTINGS EVENING SALELONDON, KING STREET

8 JULY

OLD MASTER & BRITISH PAINTINGS DAY SALELONDON, KING STREET

9 JULY

OLD MASTER AND BRITISH DRAWINGSLONDON, KING STREET

29 OCTOBER

OLD MASTER & BRITISH PAINTINGS LONDON, SOUTH KENSINGTON

4 NOVEMBER

OLD MASTER & 19TH CENTURY ART & DUTCH IMPRESSIONIST ARTAMSTERDAM

8 DECEMBER

OLD MASTER & BRITISH PAINTINGS EVENING SALELONDON, KING STREET

9 DECEMBER

OLD MASTER & BRITISH PAINTINGS DAY SALELONDON, KING STREET

9 DECEMBER

OLD MASTER AND BRITISH DRAWINGSLONDON, SOUTH KENSINGTON

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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EMAIL

For general enquiries about this auction,

emails should be addressed to the Auction

Administrator(s).

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


with Michel Segoura, Paris, where acquired in

1990 by the present owner.

203


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


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


(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


(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.


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


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


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.


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


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.


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


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).


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).


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


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


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


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


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


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


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


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


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


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


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. 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


Private Noble collection, Europe; Sotheby’s,

8 December 2005, lot 207 (£31,200), where

acquired by the present owner.


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


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


Anonymous sale; De Vuyst, Lokeren, 7 March

1998, lot 526.

Anonymous sale; Sotheby’s, Amsterdam, 2

November 2004, lot 46 (€62,400).


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


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


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


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


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


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)

43

233

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


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


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


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


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


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


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.


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


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


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).


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


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.


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


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’.


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


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.


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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.


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


$20,000-30,000 £13,000-19,000� €17,000-24,000


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


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


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.


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.

72

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


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)


F. Davis, ‘A page for collectors: The Eye Deceived’, The Illustrated London

News, 30th October 1954, illus.

73

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


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)


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).

273

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274

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


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


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).


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


Private Collection, sold, Christie’s, New York, 7 June 2013, lot 165 ($99,750, including premium).


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.

78

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


$40,000-60,000 £26,000-38,000� €33,000-48,000


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.


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


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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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


(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.


(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.

81

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

280

82

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


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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•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


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


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


The British Interior; Christie’s, New York, 23-24 January 2002, lot 397.


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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287

286

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


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.


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


Anonymous sale; Sotheby’s, New York, 29 January 2010, lot 715, as Italian School, 17th Century, where acquired by the present owner.

86

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


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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290

289

290

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


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


$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.

291

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


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


‘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

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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


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


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

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•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


(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


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


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


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


•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


•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


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.

On occasion, Christie’s has a direct financial interest in lots consigned for sale, which may include guaranteeing a minimum price or making an advance to the consignor that is secured solely by consigned property. Where Christie’s holds such financial interest on its own we identify such lots with the symbol º next to the lot number.

Where Christie’s has financed all or part of such interest through a third party the lots are identified in the catalogue with the symbol ºu. When a third party agrees to finance all or part of Christie’s interest in a lot, it takes on all or part of the risk of the lot not being sold, and will be remunerated in exchange for accepting this risk based on a fixed fee if the third party is the successful bidder or on the final hammer price in the event that the third party is not the successful bidder. The third party may also bid for the lot. Where it does so, and is the successful bidder, the remuneration may be netted against the final purchase price. If the lot is not sold, the third party may incur a loss. Please see http://www.christies.com/financial-interest/ for a more detailed explanation of minimum price guarantees and third party financing arrangements.

Where Christie’s has an ownership or financial interest in every lot in the catalogue, Christie’s will not designate each lot with a symbol, but will state its interest in the front of the catalogue.

ALL DIMENSIONS ARE APPROXIMATE

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.

RESERVESThe reserve is the confidential minimum price the consignor will accept and will not exceed the low pre-sale estimate. Lots that are not subject to a reserve are identified by the symbol • next to the lot number.

BUYER’S PREMIUMChristie’s charges a premium to the buyer on the final bid price of each lot sold at the following rates:

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.

Exceptions:

Wine: 22.5% of the final bid price of each lot sold.

For all lots, taxes are payable on the premium at the applicable rate.

PRE-AUCTION VIEWINGPre-auction viewings are open to the public free of charge. Christie’s specialists are available to give advice and condition reports at viewings or by appointment.

BIDDER REGISTRATIONProspective buyers who have not previously bid or consigned with Christie’s should bring:

• Individuals: government-issued photo identification (such as a driving license, national identity card, or passport) and, if not shown on the ID document, proof of current address, for example a utility bill or bank statement.

• Corporate clients: a certificate of incorporation.

• For other business structures such as trusts, offshore companies or partnerships, please contact Christie’s Credit Department at +1 212 636 2490 for advice on the information you should supply.

• A financial reference in the form of a recent bank statement or letter of reference from your bank is required. A deposit may be required at Christie’s discretion dependent upon your financial reference, payment history or other factors.

• Persons registering to bid on behalf of someone who has not previously bid or consigned with Christie’s should bring identification documents not only for themselves but also for the party on whose behalf they are bidding, together with a signed letter of authorization from that party.

To allow sufficient time to process the information, new clients are encouraged to register at least 48 hours in advance of a sale.

Prospective buyers should register for a numbered bidding paddle at least 30 minutes before the sale. Clients who have not made a purchase from any Christie’s office within the last year and those wishing to spend more than on previous occasions, will be asked to supply a new bank reference to register.

For assistance with references, please contact Christie’s Credit Department at +1 212 636 2490 or by fax at +1 212 636 4943.

REGISTERING TO BID ON SOMEONE ELSE’S BEHALFPersons bidding on behalf of an existing client should bring a signed letter from the client authorizing the bidder to act on the client’s behalf.

Please note that Christie’s does not accept payments from third parties. Christie’s can only accept payment from the client, and not from the person bidding on their behalf.

BIDDINGThe auctioneer accepts bids from those present in the saleroom, from telephone bidders, or by absentee written bids left with Christie’s in advance of the auction. The auctioneer may also execute bids on behalf of the seller up to the amount of the reserve. The auctioneer will not specifically identify bids placed on behalf of the seller. Under no circumstances will the auctioneer place any bid on behalf of the seller at or above the reserve. Bid steps are shown on the Absentee Bid Form at the back of this catalogue.

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.

TELEPHONE BIDSTelephone 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.

SUCCESSFUL BIDSWhile invoices are sent out by mail after the auction, we do not accept responsibility for notifying you of the result of your bids. Buyers are requested to contact us by telephone or in person as soon as possible after the sale to obtain details of the outcome of their bids to avoid incurring unnecessary storage charges. Successful bidders will pay the price of the final bid plus premium plus any applicable taxes.

PAYMENTBuyers are expected to make payment for purchases immediately after the auction. To avoid delivery delays, prospective buyers are encouraged to supply bank or other suitable references before the auction. Please note that Christie’s will not accept payments for purchased Lots from any party other than the registered buyer.

Lots purchased in New York may be paid for in the following ways: wire transfer, credit card (up to $50,000), bank checks, checks and cash, money orders or travellers checks (up to $7,500 combined total, subject to conditions)

Wire transfer: JPMorgan Chase Bank, N.A. 270 Park Avenue New York, NY 10017 ABA# 021000021 FBO: Christie’s Inc. Account # 957-107978, for international transfers, SWIFT: CHASUS33.

Credit cards: Visa, MasterCard, American Express and China UnionPay a limit of $50,000 for credit card payment will apply. This limit is inclusive of the buyer’s premium and any applicable taxes. Credit card payments at the NY sale site will only be accepted for NY sales. Christie’s will not accept credit card payments for purchases in any other sale site.

The fax number to send completed CNP (Card Member not Present) authorization forms to is +1 212 636 4939. Alternatively, clients can mail the authorization form to the address below.

Cash, Money Orders or Travellers Checks is limited to $7,500 (subject to conditions).

Bank Checks should be made payable to Christie’s (subject to conditions).

Checks should be made payable to Christie’s. Checks must be drawn on a US bank and payable in US dollars. In order to process your payment efficiently, please quote sale number, invoice number and client number with all transactions.

All mailed payments should be sent to:

Christie’s Inc. Cashiers’ Department, 20 Rockefeller Center, New York, NY 10020.

Please direct all inquiries to the Cashiers’ Office Tel: +1 212 636 2495 Fax +1 212 636 4939

Please note that Christie’s will not accept payments for purchased Lots from any party other than the registered buyer.

Payment in full must be received in good, cleared funds before the property will be released.

SALES TAXPurchases picked up in New York or delivered to locations in California, Florida, Illinois, Massachusetts, New York, Pennsylvania, Rhode Island or Texas may be subject to sales or compensating use tax of such jurisdiction.

It is the buyer’s responsibility to ascertain and pay all taxes due. Buyers claiming exemption from sales tax must have the appropriate documentation on file with Christie’s prior to the release of the property. For more information, please contact Purchaser Payments at +1 212 636 2496.

COLLECTION OF PURCHASED LOTSBuyers are expected to remove their property within 7 calendar days of the auction. Please consult the Lot Collection Notice for collection information for purchased lots. This sheet is available from the Bidder Registration staff, Purchaser Payments or the Packing Desk.

SHIPPINGA shipping form is enclosed with each invoice. It is the buyer’s responsibility to pick up purchases or make all shipping arrangements. After payment has been made in full, Christie’s can arrange property packing and shipping at the buyer’s request and expense. Where Christie’s arranges and bills for such services via invoice or credit card, an administration charge will apply. We recommend that buyers request an estimate for any large items or property of high value that require professional packing. For more information please contact the Art Transport Department at +1 212 636 2480.

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

[email protected]

+1 212 636 2525

Viewing24–27 January


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



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

[email protected]

Main Entrance on 49th Street

Receiving/Shipping Entrance on 48th Street

Hours: 9.30 am - 5.00 pm Monday-Friday except Public Holidays

Christie’s Redstone Post-Sale

32-23 48th Avenue Long Island City, NY 11101 Tel: +1 212 974 4500

[email protected]

Main Entrance on 48th Avenue Receiving/Shipping Entrance on 48th Avenue

Hours: 9.30 am - 5.00 pm Monday-Friday except Public Holidays

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


MUSEUM SERVICESTel: +1 212 636 2620

Fax: +1 212 636 4931


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


London

Tel: +44 (0)20 7389 2551

Fax: +44 (0)20 7389 2168


Hong Kong

Tel: +852 2978 6788

Fax: +852 2845 2646


CHRISTIE’S FINE ART STORAGE SERVICESLondon

+44 (0)20 7622 0609 [email protected]

New York

+1 212 974 4579

[email protected]

Singapore

Tel: +65 6543 5252


CHRISTIE’S REDSTONETel: +1 212 974 4500

06/12/13

christies.comContactSarah de Clercq

[email protected]

+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

[email protected]

+1 212 636 2215

Viewing17-25 January


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

[email protected]

BROWN HARRIS STEVENS

Paula Del Nunzio · +1 212 906 9207

[email protected]

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

111

ABSENTEE BIDS MUST BE RECEIVED AT LEAST 24 HOURS BEFORE THE AUCTION BEGINS

CHRISTIE’S WILL CONFIRM ALL BIDS RECEIVED BY FAX BY RETURN FAX. IF YOU HAVE NOT RECEIVED CONFIRMATION WITHIN ONE BUSINESS DAY, PLEASE CONTACT THE BID DEPARTMENT. TEL: +1 212 636 2437 FAX: +1 212 636 4938 ON-LINE WWW.CHRISTIES.COM

Client Number (if applicable) Sale Number

Billing Name (please print)

Address

City State Zone

Daytime Telephone Evening Telephone

Fax (Important) E-mail

Please tick if you prefer not to receive information about our upcoming sales by e-mail

Signature

If you have not previously bid or consigned with Christie’s, please attach copies of the following

documents. Individuals: government-issued photo identification (such as a driving licence, national

identity card, or passport) and, if not shown on the ID document, proof of current address, for

example a utility bill or bank statement. Corporate clients: a certificate of incorporation. Other

business structures such as trusts, offshore companies or partnerships: please contact the Credit

Department at +1 212 636 2490 for advice on the information you should supply. If you are

registering to bid on behalf of someone who has not previously bid or consigned with Christie’s,

please attach identification documents for yourself as well as the party on whose behalf you are

bidding, together with a signed letter of authorization from that party. New clients, clients who have

not made a purchase from any Christie’s office within the last two years, and those wishing to spend

more than on previous occasions will be asked to supply a bank reference. We also request that you

complete the section below with your bank details:

Name of Bank(s)

Address of Bank(s)

Account Number(s)

Name of Account Officer(s)

Bank Telephone Number

Please also refer to the information contained in Buying at Christie’s. I request Christie’s to bid on the following lots up to the maximum price I have indicated for each lot. I understand that if my bid is successful, the purchase price will be the sum of my final bid plus a buyer’s premium of 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 and any applicable state or local sales or use tax. I understand that Christie’s provides the service of executing absentee bids for the convenience of clients and that Christie’s is not responsible for failing to execute bids or for errors relating to execution of bids. On my behalf, Christie’s will try to purchase these lots for the lowest possible price, taking into account the reserve and other bids. 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. If identical absentee bids are received for the same lot, the written bid received first by Christie’s will take precedence.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.All bids are subject to the terms of the Conditions of Sale and Limited Warranty printed in each Christie’s catalogue.

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


New York, NY 10020

CODE NAME: SNUFFY

SALE NUMBER: 3709

(Dealers billing name and address must agree with tax

exemption certificate. Invoices cannot be changed after

they have been printed.)

BID ONLINE FOR THIS SALE AT CHRISTIES.COM

BIDDING INCREMENTSBidding generally opens below the low estimate and advances in increments of up to 10%, subject to the auctioneer’s discretion. Absentee bids that do not conform to the increments set below may be lowered to the next bidding interval.

$50 to $1,000 by $50s

$1,000 to $2,000 by $100s

$2,000 to $3,000 by $200s

$3,000 to $5,000 by $200, 500, 800

(ie: $4,200, 4,500, 4,800)

$5,000 to $10,000 by $500s

$10,000 to $20,000 by $1,000s

$20,000 to $30,000 by $2,000s

$30,000 to $50,000 by $2,000, 5,000, 8,000

(ie: $32,000, 35,000, 38,000)

$50,000 to $100,000 by $5,000s

$100,000 to $200,000 by $10,000s

above $200,000 at auctioneer’s discretion

The auctioneer may vary the increments during the course of the auction at his or her own discretion.

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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

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Catalogue photo credits:

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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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