Old Master & British Paintings Day Sale

OLD MASTER & BRITISH PAINTINGSLONDON, WEDNESDAY 3 DECEMBER 2014

OLD MASTER & BRITISH PAINTINGS

DAY SALE

Wednesday 3 December 2014

AUCTION

Wednesday 3 December 2014

at 10.30 am

8 King Street, St. James’s

London SW1Y 6QT

VIEWING

Friday 28 November 9.00 am – 4.30 pm

Saturday 29 November 10.00 am – 5.00 pm

Sunday 30 November 10.00 am – 5.00 pm

Monday 1 December 9.00 am – 4.30 pm

Tuesday 2 December 9.00 am – 3.30 pm

AUCTIONEER

Henry Pettifer

AUCTION CODE AND NUMBER

In sending absentee bids or

making enquiries, this sale should

be referred to as SANDRA-1576

AUCTION RESULTS

UK: +44 (0)20 7839 9060

US: +1 212 703 8080

christies.com

CONDIT IONS OF SALE

This auction is subject to

Important Notices, Conditions of

Sale and to reserves.

[25]

PROPERTIES FROM

Lord Egremont Dl, removed from

Petworth House

The Will Trust of The Late

Lady Muriel Barclay-Harvey

The Lord St. Oswald, removed from

The Private Apartment at Nostell Priory

The Descendants of The Barons

Nathaniel and Albert von Rothschild

The Late Mrs. Hazel Westbury

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44

5

CONTENTS

3 Auction Information

6 Specialists and Services for this Auction

8 International Old Master Paintings Department

12 Property for Sale

143 Important Notices and Explanation of Cataloguing Practice

144 Buying at Christie’s

145 Storage and Collection

146 Conditions of Sale and Limited Warranty

148 Salerooms and Offices Worldwide

149 Christie’s Specialist Departments and Services

157 Absentee Bids Form

158 Catalogue Subscriptions

IBC Index

christies.com

f r o n t c o v e r :

Lot 209 (detail)

i n s i d e f r o n t c o v e r :

Lot 115 (detail)

f r o n t i s p i e c e :

Lot 128 (detail)

p a g e 4 :

Lot 183 (detail)

p a g e 9 :

Lot 204 (detail)

p a g e 1 0 :

Lot 113 (detail)

p a g e 1 1 :

Lot 143 (detail)

p a g e 1 4 2 :

Lot 205 (detail)

i n s i d e b a c k c o v e r :

Lot 214 (detail)

b a c k c o v e r :

Lot 191 (detail)

6

29/110/14

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

Ben HallDeputy Chairman

Emma KronmanAssociate Specialist

Joshua GlazerSpecialist

Alan WintermuteSenior Specialist

Francis RussellDeputy Chairman

Paul RaisonDeputy Chairman

James Bruce-GardyneInternational Director, Head of Private Sales

John StaintonInternational Director, Head of British Paintings

Henry PettiferInternational DirectorHead of Department

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

SPECIALISTS FOR THIS AUCTION

LONDON

NEW YORK

EUROPE

Sophie BremersSpecialist, Amsterdam

7

SERVICES FOR THIS AUCTION

AUCTION ADMINISTRATOR

Maja Markovic

Tel: +44 (0)20 7389 2090

Fax: +44 (0)20 7389 2209

BUSINESS DIRECTOR

Anthea Peers

Tel: +44 (0)20 7389 2124

EMAIL

First initial followed by last name@christies.

com (e.g. Freddie de Rougemont =

[email protected]) For general

enquiries about this auction, emails should

be addressed to the Auction Administrator.

SERVICES

ABSENTEE AND TELEPHONE BIDS

Tel: +44 (0)20 7389 2658

Fax: +44 (0)20 7930 8870

Internet: www.christies.com

AUCTION RESULTS

UK: +44 (0)20 7839 9060

US: +1 212 703 8080


CATALOGUES ONLINE

Lotfinder®


CLIENT SERVICES

Tel: +44 (0)20 7839 9060

Fax: +44 (0)20 7389 2869

Email : [email protected]

PAYMENT

Buyers

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Consignors

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Fax: +44 (0)20 7581 5295

SHIPPING

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Fax: +44 (0)20 7389 2869

STORAGE AND COLLECTION

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COPYRIGHT NOTICE

No part of this catalogue may be reproduced, stored in a retrieval system or transmitted by any form

or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior

written permission of Christie’s.

© COPYRIGHT, CHRISTIE, MANSON & WOODS LTD. (2014)

25-26 NOVEMBER

OLD MASTERS, 19TH CENTURY

& IMPRESSIONIST ART

AMSTERDAM

2 DECEMBER

OLD MASTER AND BRITISH DRAWINGS

AND WATERCOLOURS

LONDON, SOUTH KENSINGTON

2 DECEMBER


EVENING SALE

LONDON, KING STREET

3 DECEMBER


DAY SALE

LONDON, KING STREET

10 DECEMBER

THE I.Q. VAN REGTEREN ALTENA

COLLECTION PART II.

DUTCH AND FLEMISH DRAWINGS

FROM 1500 TO 1900

AMSTERDAM

INTERNATIONAL OLD MASTER AUCTIONSAUCTION CALENDAR 2014

TO INCLUDE YOUR PROPERTY IN THESE SALES PLEASE CONSIGN TEN WEEKS BEFORE THE SALE DATE.

CONTACT THE SPECIALISTS OR REPRESENTATIVE OFFICE FOR FURTHER INFORMATION.

8

Email. First initial followed by last [email protected]

(eg. Freddie de Rougemont = [email protected])

CO-CHAIRMAN

(Auction)

Nicholas H. J. Hall

Tel: +1 212 636 2122

CO-CHAIRMAN

(Private Sales)

Richard Knight

Tel: +44 (0)20 7389 2159

INTERNATIONAL MANAGING DIRECTOR

Karl Hermanns

Tel: +44 (0)20 7389 2425

HONORARY CHAIRMAN, UK

Noël Annesley

Tel: +44 207 389 2405

DEPUTY CHAIRMAN, UK

Francis Russell

Tel: +44 (0)20 7389 2075

DEPUTY CHAIRMEN

Paul Raison

Tel: +44 (0)20 7389 2086

Ben Hall

Tel: +1 212 636 2121

INTERNATIONAL DIRECTORS

James Bruce-Gardyne (Private Sales)

Tel: +44 (0)20 7389 2505

John Stainton

Tel: +44 (0)20 7389 2945

Henry Pettifer

Tel: +44 (0)20 7389 2084 Nicholas White

Tel: +44 (0)20 7389 2565

WORLDWIDE SPECIALISTS

AMSTERDAM

Sarah de Clercq

Manja Rottink

Anke Charlotte Held

Sophie Bremers

Tel: +31 (0)20 575 59 66

BRUSSELS

Roland de Lathuy

Tel: +32 (0)2 289 13 36

HONG KONG

Yuan Fang

Tel: +1 212 641 7527

LONDON KING STREET

Sandra Romito

Clementine Sinclair

Alexis Ashot (Private Sales)

Freddie de Rougemont

Eugene Pooley

Assunta von Moy

Emma Capron

Tel: +44 (0)20 7389 2407

LONDON SOUTH KENSINGTON

Amparo Martinez-Russotto

Flavia Lefebvre D’Ovidio

Tel: +44 (0)20 7752 3245

MADRID

Juan Varez

Tel: +34 91 532 6626/7

NEW YORK

Joshua Glazer

Emma Kronman

Tel: +1 212 468 7116

PARIS

Elvire de Maintenant

Olivier Lefeuvre

Tel: +33 (0)1 40 76 86 15

SAN FRANCISCO

Alan Wintermute

Tel: +1 415 982 0982

CONSULTANTS

Gregory Martin (UK)

Everett Fahy (New York)

Clare McKeon (New York)

Marco Riccomini (Milan)

BUSINESS DIRECTORS

PRIVATE SALES

Alexandra Baker

Tel: +44 (0)20 77389 2521

AMERICAS

Laryssa Zalisko

Tel: +1 212 974 4469

LONDON KING STREET

Anthea Peers

Tel: +44 20 7389 2124

LONDON SOUTH KENSINGTON

Nigel Shorthouse

Tel: +44 (0)20 7752 3221

OLD MASTER AND BRITISH PAINTINGS DEPARTMENT

10

11

12

PROPERTY FROM A PRIVATE EUROPEAN COLLECTOR (LOTS 101, 102, 109, 168 & 186)

101

AUSTRIAN SCHOOL, CIRCA 1430

The Annunciation

on gold ground panel22¡ x 14¡ in. (56.8 x 36.5 cm.)

£25,000-35,000 $41,000-56,000� Ç32,000-44,000

P R O V E N A N C E :

Anonymous sale; Christie’s, London, 3 December 1991, lot 43 (£41,100), when acquired by the present owner.

13


102

CIRCLE OF THE MASTER OF THE LIFE OF THE VIRGIN (ACTIVE COLOGNE, CIRCA 1460-80)

The Virgin and Child

on gold ground panel, circular, unframed17¡ in. (44 cm.) diameter

£30,000-50,000 $49,000-80,000� Ç38,000-63,000


with Koetser, London, by 1961.Anonymous sale; Christie’s, London, 10 July 1998, lot 187 (£23,000), when acquired by the present owner.

L I T E R A T U R E :

A. Stange, Die Deutschen Tafelbilder vor Dürer, I, Munich, 1967, p. 63, no. 172, as ‘a mature work by the Master of the Life of the Virgin’.

PROPERTY OF AN IMPORTANT EUROPEAN COLLECTION (LOTS 9 & 103)

103

CIRCLE OF THE MASTER OF THE MORRISON TRIPTYCH (ANTWERP, ACTIVE FIRST QUARTER OF THE 16TH CENTURY)

The wings of a triptych: Saint John the Baptist; and Saint John the Evangelist (recto); and Adam and Eve (verso)

oil on panel, in a later engaged frame27¬ x 11Ω in. (70.3 x 29.3 cm.) two (2)

£25,000-35,000 $41,000-56,000� Ç32,000-44,000

The composition of these wings relates closely to the name-giving triptych, formerly in the Morrison Collection, now in the Museum of Fine Art, Toledo, which is partly derived from a triptych of the same subject by Hans Memling (Vienna, Kunsthistorisches Museum).

(verso)

(recto)

104

SCHOOL OF PICARDY, CIRCA 1480

Saint Anthony Abbot

oil on panel49æ x 16¡ in. (126.4 x 42.2 cm.)

£40,000-60,000 $65,000-97,000� Ç51,000-76,000

This panel, the wing of a now-dispersed polyptych, is a rare and fne example of early French painting. It owes a strong debt to the early Netherlandish painting tradition, combining a linearity of design, which betrays the infuence of Rogier van der Weyden, with smooth modelling, visible in the saint’s face, that is reminiscent of the work of the Amiens painter Simon Marmions. These stylistic elements point to a Northern French origin for this panel, more specifcally Picardy, a rich border region north of Paris, which was in possession of the Burgundian Netherlands until 1477 when it was became part of the French kingdom.

The painting can be associated, on stylistic grounds, with a crucial group of late ffteenth-century panels from a dismantled altarpiece that decorated the high altar of the Carthusian monastery at Thuison, outside Abbeville in Northern France: four saints adorned the outer wings while the interior wings depicted scenes from Christ’s Passion (now all in Chicago, Art Institute save for one in St Petersburg, Hermitage; see G. Ring, A Century of French Painting, 1400-1500, London, 1949, p. 219, no. 169, fgs. 105-6). The outer panels displaying saints standing in niches are especially similar: Saint Honoré for instance, has a comparable oval face, with a similar long straight nose and thin fngers. He stands in a pose like that of Saint Anthony in this panel, his feet appearing to the foreground, below the heavy, angular drapery. The setting, with the tiled foor, elegant tracery and historiated capitals, echoes that of the niche of the Virgin and Child panel in the Thuison Altarpiece. Although further research remains to be done, these stylistic similarities suggest that this picture could well be a rediscovered work by the unknown artist behind the Thuison Altarpiece.

106

ANTWERP SCHOOL, CIRCA 1525

The Throne of Mercy, with two angels, a landscape beyond

oil on panel, shaped top31æ x 22√ in. (80.6 x 58.1 cm.)

£40,000-60,000 $65,000-97,000� Ç51,000-76,000

The panel is likely to have originally formed the central part of a triptych and relates to Colijn de Coter’s triptych of the same subject (Paris, Louvre), of which many versions are known, with some alterations in the setting. The Throne of Mercy was a popular subject in the Netherlands and many compositions, including the present lot, are believed to ultimately derive from Robert Campin’s small panel, now in the Hermitage, Saint Petersburg.

We are grateful to Peter van den Brink for placing the panel in the Antwerp School and dating it to circa 1525.

107 No Lot

PROPERTY OF THE LORD ST. OSWALD, REMOVED FROM THE PRIVATE APARTMENT AT NOSTELL PRIORY

105

ATTRIBUTED TO AMBROSIUS BENSON (LOMBARDY C. 1495-1550 BRUGES)

The left wing of a triptych: Saint William of Maleval with two kneeling donors

oil on panel30º x 11Ω in. (76.8 x 29.2 cm.)

£15,000-20,000 $25,000-32,000� Ç19,000-25,000

Ambrosius Benson was a South Netherlandish painter of Italian birth who, despite recent strides in scholarship, has remained rather enigmatic. Originally known as ‘Ambrogio Benzone’, he may have been attracted to Bruges by its commercial and artistic reputation, and he acquired citizenship in 1518, being admitted to the guild of painters the following year. He is known to have worked in the studio of Gerard David, and his emerging style showed both Netherlandish and Lombard infuences, which proved to be a highly successful formula.

The panel will originally have served as the left wing of a triptych with a Lamentation or Madonna and Child in the centre and the female donors on the right wing. We are grateful to Till-Holger Borchert for proposing the attribution, on the basis of photographs, and dating the panel to the 1530s. He furthermore notes that it was probably a Spanish commission. While the donors have yet to be identifed, it is likely that they chose to appear with their patron saint. William of Maleval was a dissolute soldier prior to settling as a hermit near Siena in the mid-12th century. He is also depicted in Hans Memling’s Moreel triptych (circa 1484; Bruges, Groeninge Museum); commissioned by the important Bruges politician Willem Moreel for the church of Saint James’s, Bruges, it would have been accessible to Benson who is known to have been active in the city in the 1530s and 1540s.

105

106

108

WORKSHOP OF THE MASTER OF THE PARROT (ACTIVE ANTWERP 1525-50)

Saint Mary Magdalene reading, at a table with fruit and a golden tazza

oil on panel26 x 21 in. (66.2 x 53.2 cm)

£30,000-50,000 $49,000-80,000� Ç38,000-63,000


109

VINCENT SELLAER (ACTIVE MECHELEN CIRCA 1538)

The Virgin and Child with the Infants Saint John the Baptist and James, before a draped curtain, a landscape beyond

oil on panel37 x 27 in. (94 x 68.6 cm.)in a 17th century Italian carved and gilded Cassetta frame

£40,000-60,000 $65,000-97,000� Ç51,000-76,000

108

19


Acquired in 1954 on the advice of Dr. Hubertus von Sonnenburg by a private collector and by descent to the following,Anonymous sale; Sotheby’s, London, 8 December 2005, lot 209 (£32,400), when acquired by the present owner.

The Flemish painter Vincent Sellaer was, with Michiel Coxcie, the principal artist active in the mid-16th century in Mechelen, a city which had become the cultural centre of the Netherlands during the reign of Margaret of Austria. He has been convincingly identifed with Vincent

Geldersman who, according to van Mander, was known for his depictions of women from the Bible and mythology. It has been suggested that he may have visited France and worked at Fontainebleau. Additionally, a Lombard infuence in his work would seem to indicate time spent in Northern Italy. Only one signed picture by him is known (Munich, Alte Pinakothek), dated 1538, which has led to attributions of several compositions, including Caritas (Madrid, Prado), the Holy Kinship

(Stockholm, Nationalmuseum) and Judith (Berne, Kunstmuseum).

109

111

ATTRIBUTED TO FRANS POURBUS I (BRUGES 1545/6-1581 ANTWERP)

Portrait of a lady, bust-length, in a black fur-lined coat with gold fttings, a gold necklace and a white cap

oil on panel16 x 13¿ in. (41 x 33.4 cm.), including later additions of circa º in. on all sides

£15,000-20,000 $25,000-32,000� Ç19,000-25,000


Major Sir Dennis Frederic Bankes Stucley, 5th Bt. (1907-1983), Hartland Abbey, Hartland, Bideford, North Devon; Christie’s, London, 11 May 1951, lot 16, as ‘A.Key’.

We are grateful to Prof. Koenrad Jonckheere for confrming the attribution to Frans Pourbus the Elder, on the basis of photographs, and for placing it early within the painters oeuvre. Pourbus is known to have trained with his father Pieter and later in the studio of Frans Floris. The rather unusual white band around the sitter’s collar, which seems to be attached to her headdress, can also be found on an engraving by Johannes Wierix of Volcxken Diericx, dated 1579 (Amsterdam, Rijksmuseum).

110

CIRCLE OF QUENTIN METSYS (LEUVEN 1466-1530 KIEL, NEAR ANTWERP)

Christ as Salvator Mundi

oil on panel16º x 11Ω in. (41.3 x 29.2 cm.)

£15,000-20,000 $25,000-32,000� Ç19,000-25,000

The composition for this panel derives from an example by Quentin Metsys (Antwerp, Koninklijk Museum). It is uncertain whether the painter originally intended it to be paired with a Virgin in Prayer, as was often the case in early Flemish depictions of Christ as the Saviour of the World and is the case for the panel in the Koninklijk Museum, or whether it had been created as an individual work.

21

112

ATTRIBUTED TO HANS MIELICH (MUNICH 1516-1573)

Portrait of a Martin Klostermair (b. 1502), aged 60, half-length, in a brown coat and black hat, holding a book

signed and dated ‘Ao M D LXI / HM’ (‘HM’ linked, upper left), inscribed ‘SIC OCVLOS DOCTOR MEDICo, / SIC ORA FEREBAM / VT PICTA HEC GRAPHICA / MONSTRAT IMAGO / MANV, / MK D AETATIS / Ao LX.’ (upper right), inscribed ‘APHORISMI. / HIPPOCRATIS’ (lower centre, on the book), and with the sitter’s coat-of-arms (upper right)oil on panel, unframed19Ω x 15√ in. (49.5 x 41.6 cm.)

£20,000-30,000 $33,000-48,000� Ç26,000-38,000


K. Löcher, Hans Mielich 1516-1573. Bildnismaler in München, Munich, 2002, p. 86, no. 60, fg. 60, as ‘South German[?], attributed to Hans Mielich’.K. Löcher, ‘Der Maler Hans Mielich, seine Bedeutung für die Malerei der Renaissance in Bayern’, in Das Kleinodienbuch der Herzogin

Anna von Bayern. Handschrift Cod. icon. 429

der Bayerischen Staatsbibliothek München.

Kommentar, Berlin, 2008, p. 89.

Born in 1502, Martin Klostermair studied medicine at the University of Ingolstadt between 1528 and 1530, which had been founded by Louis the Rich, Duke of Bavaria, in 1472. He is recorded in Munich from 1547 until 1561 as one of three personal physicians during the reigns of William IV and Albert V, Dukes

of Bavaria. Klostermair seems to have been in close contact with the humanists of his time and well-versed in Latin; in 1576 he published his Chronographia partialis and Arithmologia

about the founding of Munich and other events of Bavarian history. The inscription underlines the faithfull representation of the sitter’s physiognomy. It reads ‘Such are the eyes of the physician, such does the mouth appear, as here the artist shows, by his hand, the medicus aged 60’.

22

113

STUDIO OF LUCAS CRANACH I (KRONACH 1472-1553 WEIMAR)

Lucretia

oil on panel16¡ x 10¬ in. (41.5 x 27 cm.)

£70,000-100,000 $120,000-160,000� Ç89,000-130,000


Comte Cavens; his sale (†), Galerie J. and A. Le Roy, Brussels, 5-6 October 1922, lot 35, as ‘Lucas Cranach I’, where presumably acquired by the following,Fernand Stuyck; his sale (†), Palais des Beaux-Arts, Brussels, 7-8 December 1960, lot 25, as ‘Lucas Cranach II’.Anonymous sale; Christie’s, London, 6 July 2007, lot 111, as ‘Studio of Lucas Cranach I’ (£66,000).

The founding myth of the Roman Republic, the story of Lucretia, recounted in Livy’s Ab

Urbe Condita, is a tale of virtue fghting against tyranny. Lucretia, the ill-fated wife of a Roman nobleman, was blackmailed and raped by the violent son of the oppressive Roman King Tarquinus Superbus. Shamed by the loss of honour she had suffered, she took her own life by stabbing herself, prompting her husband and the entire Roman aristocracy to rebel again Tarquinus’ despotic regime, a struggle which led to the successful establishment of the Roman Republic.

It was a story that combined the intellectual lustre of the ancient world, with an outstanding example of female virtue and poignant emotional drama. As a result, it became very popular during the Renaissance, especially at the court of Wittenberg, which was noted for its emphasis on humanist learning and where Cranach was active. Lucretia thus became an iconic theme in Lucas Cranach’s oeuvre: along with his studio, he produced numerous versions, varying in quality, of this subject. Demand for this subject may also have been fuelled by the fact that it allowed the artist to paint one of his trademark alluring female nudes. This panel, a fne work emanating from Cranach’s studio, presents the richly-dressed and bejewelled Lucretia in a beautifully rendered mountainous landscape, a setting that heightens the picture’s visual appeal.

24

114

SEBASTIAEN VRANCX (ANTWERP 1573-1647)

The Battle of Lekkerbeetje at Vught, 5 February 1600

inscribed ‘I[?]B’ (lower centre)oil on copper9√ x 14¬ in. (25 x 37 cm.)

£15,000-25,000 $25,000-40,000� Ç19,000-32,000

This painting depicts the well-known battle between Braut and Lekkerbetje on 5 February 1600 at Vught. The incident occurred during the Eighty Years’ War after Braut, a French nobleman in the service of Prince Maurits of Orange, had insulted the Lord of Grobbendonck, Governor of the pro-Spanish city of s’Hertogenbosch. A duel between the two was then arranged and each arrived with twenty horsemen (the incident is also known as ‘The Battle of the Forty’). However, it was soon discovered that Grobbendonck had sent his lieutenant, Leckerbeetje, in his place. Enraged, Braut immediately killed him, whereupon a violent battle ensued, in which the Frenchman was eventually defeated and killed. The two letters at the lower centre of the copper here may read ‘IB’ or ‘LB’, indicating perhaps ‘L(ecker)B(eetje)’.

115

FOLLOWER OF JOACHIM BEUCKELAER, EARLY 17TH CENTURY

The Miraculous Draught of Fishes

oil on panel, stamped on the reverse with the coat-of-arms and the hands of the city of Antwerp41æ x 81¡ in. (106.6 x 206.6 cm.)

£60,000-80,000 $97,000-130,000� Ç76,000-100,000

The story of the miraculous catch was a tale of enduringly popular appeal during the Renaissance. The composition of the present lot is based directly on Joachim Beuckelaer’s interpretation of the episode, which is now in the Getty Museum, Malibu; signed and dated 1563, it shows Saint Peter talking to Christ in the left background, together with the other disciples pulling in their nets, while baskets on the shore overfow with fsh to the astonishment of the gathered crowd. Beuckelaer’s invention is typically rich in narrative detail and northern realism. As with his renowned Antwerp market scenes, he brings together a biblical episode with representations of the everyday, see for example his canvas depicting A Fish Market with the Miraculous Draught of Fishes, one of the set of Four Elements from 1569 (London, National Gallery). The impressive scale of the present lot, a shade over two metres in length, and on a branded Antwerp panel, matches the dimensions of the Getty picture (also on panel) to within a few inches and follows all its details with a high degree of accuracy, down to the placement of each mussel shell in the left foreground.

114

26

PROPERTY OF AN AMERICAN MUSEUM

116

JOACHIM WTEWAEL (UTRECHT 1566-1638)

The Supper at Emmaus

oil on copper, oval4Ω x 3Ω in. (11.4 x 8.9 cm.)

£40,000-60,000 $65,000-97,000� Ç51,000-76,000


(Possibly) Izaak van den Hoogenbergh; his sale, Amsterdam, 10 April 1743, lot 127 (10 forins).Art Market, London, about 1960, as ‘Flemish school’, where acquired by James O. Belden, Washington, D.C., and by descent.

E X H I B I T E D :

Poughkeepsie, NY, Vassar College, Dutch

Mannerism, 15 April-7 June 1970 (catalogue by Wolfgang Stechow), no. 99.


A. Lowenthal, ‘Wtewael’s Moses and Dutch Mannerism’, Studies in the History of Art, VI, Washington D.C., 1974, p. 133, note 9.A. Lowenthal, Joachim Wtewael and Dutch

Mannerism, Doornspijk, 1986, pp. 47, 51, 109-110, no. A-34, fg. 48, and Appendix C, p. 207.

By Wtewael’s day, the tradition of depicting the Supper at Emmaus in European art was longstanding. As noted by Anne Lowenthal, who dates this work to around 1603-1608, Wtewael was here inspired by earlier engravings, namely Albrecht Dürer’s version of the subject from the Small Passion (see Hollstein VII, no. 130.157; Lowenthal 1986, op. cit., p. 109). For nocturnal effects, he likely also found inspiration in Italian precedents by Jacopo Bassano (see Christie’s, London, 6 July 2010, lot 37; Stechow, loc. cit.). Wtewael himself depicted the scene multiple times: a composition of similar size and shape, also on copper, is now in a Private Collection, New York (see Lowenthal 1986, op. cit., p. 109, no. A-33). Examining the two works side by side, Lowenthal suggests that the

New York picture is the frst version, while the present work is an entirely autograph replica by Wtewael himself (verbal communication, 13 November 2013). Wtewael’s fascination with the subject was shared by his contemporaries such as Caravaggio, who painted examples in 1601 (London, National Gallery, inv. NG172) and 1606 (Milan, Pinacoteca di Brera). Closer to home, Wtewael’s composition may have proved infuential for his fellow Utrecht master Abraham Bloemaert, who depicted the subject in 1622 (Brussels, Musée Royaux des Beaux-Arts, inv. 695).

While in the Belden collection, the present painting was included in Wolfgang Stechow’s groundbreaking exhibition of 1970 held at Vassar College, Dutch Mannerism: Apogee

and Epilogue, the frst exhibition on Dutch Mannerism held in the United States.

We are grateful to Anne W. Lowenthal with her assistance in the cataloging of this work.

27

PROPERTY OF THE LATE MRS. HAZEL WESTBURY (LOTS 117, 134, 167 & 169)

117

NICOLAS BAULLERY (PARIS 1560-1630)

A wedding procession through a town

oil on canvas41æ x 59º in. (106 x 150.5 cm.)with remains of an inventory number (lower right)

£40,000-60,000 $65,000-97,000� Ç51,000-76,000


Anonymous sale; Sotheby’s, London, 6 July 1983, lot 17, as ‘Pieter Brueghel III’.Anonymous sale; Sotheby’s, London, 15 April 1999, lot 99 (£ 20,700). Anonymous sale; Christie’s, London, 7 July 2000, lot 152 (£23,500), when acquired by the late owner.

Only three signed works by the artist are recorded, including an Adoration

of the Shepherds in the Church of Saint Etiènne, Toulouse. Sylvain Kerspern has identifed a number of other works by this artist including a pair of paintings offered in these Rooms, 24 May 1991, lot 14, as ‘Circle of Peter Brueghel III’, which relate closely to the present picture both in fgure type and composition.

28

118

STUDIO OF SIR ANTHONY VAN DYCK (ANTWERP 1599-1641 LONDON)

The Virgin and Child

oil on canvas50º x 38º in. (127.6 x 97.1 cm.)

£30,000-50,000 $49,000-80,000� Ç38,000-63,000


Private collection, Italy.

This picture is a studio replica of The Virgin and Child in the Fitzwilliam Museum, Cambridge. Dr. Susan Barnes, who has inspected the work in the original, considers it to have been ‘executed in his [van Dyck’s] studio, under his supervision and with his contribution’ (private communication with the owner, dated 25 June 2014).

119


Saint Paul; and Saint Thomas

oil on panel, stamped on the reverse with the coat-of-arms of the City of Antwerp and the panel makers mark of Guilliam Aertssen (active 1612-1626)25æ x 19Ω in. (64.5 x 49.5 cm.) two (2)

£40,000-60,000 $65,000-97,000� Ç51,000-76,000

These panels showing Saint Paul and Saint Thomas relate to the various and now dispersed series of apostles that were painted by van Dyck and his studio assistants between 1618-20 (for a full discussion on the various series, see Alejandro Vergara and Friso Lammertse in the exhibition catalogue, The Young Van

Dyck, Madrid, 2013, pp. 200-211). These appear to have been inspired by Rubens, who produced a series of large panels of Christ and his apostles around 1610-12 (Madrid, Museo del Prado). Although it is debatable as to whether van Dyck saw the originals, as they were in Spain by 1618 in the collection of the Duke of Lerma, he would have unquestionably encountered the copies made by his master’s assistants. The recorded apostles painted by the young van Dyck are strikingly dissimilar stylistically and, moreover, there does not appear to be a coherent style within each series. The present pictures depicting Saint Paul and Saint Thomas, which are themselves unlike in their execution, can be compared with the panels of almost identical dimensions (64 x 51 cm.) that previously formed part of the Böhler series, and are now in the Niedersächsisches Landesmuseum, Hanover, and a private collection respectively (ibid., p. 200, nos. 43 & 46). The present panels are stamped with the makers-mark of Guilliam Aertssen, whose brand is probably that found on the reverse of three panels from the Dresden series; those of Peter, Paul and Bartholmew (ibid., p. 201). The model for Saint Paul was also employed for the central character, immediately to the right of Christ, in van Dyck’s Suffer Little Children to Come unto Me

(c. 1618-20; Ottawa, National Gallery of Canada).

PROPERTY FROM A PRIVATE EUROPEAN COLLECTION (LOTS 120 & 124)

120

STUDIO OF SIR PETER PAUL RUBENS (SIEGEN 1577-1640 ANTWERP)

Saint Paul

oil on panel36æ x 26 in. (93.4 x 66 cm.)

£40,000-60,000 $65,000-97,000� Ç51,000-76,000


Direktor Egon Müller, Vienna, by 1930.Justine Schedy, Vienna, in 1932, from the above as security for a loan.Dr. Arnulf Hummer, Vienna, from whom acquired in 1942 by the "Sonderauftrag Linz" (Linz no. 2975).Recovered by the Monuments Fine Arts and Archives Section from the Salt Mines, Alt Aussee, and transferred to the Central Collecting Point, Munich,

30 June 1945 (MCCP no. 1667), subsequently to the Trustee Administration for Cultural Property, by whom given to the custody of the Republic of Austria, 14 May 1958.Returned to Germaine Müller, widow of Egon Müller, Paris, in 1963; Fischer, Lucerne, 25 June 1965, lot 2139, as 'Rubens' (CHF 9,000), where acquired by the late husband of the present owner.

E X H I B I T E D :

Vienna, Verein de Museumsfreunde in Wien, CX, Ausstellung der

Vereinigung Bildender Künstler Wiener Secession. Drei Jahrhunderte

Vlämische Kunst 1400-1700, 11 January-23 February 1930, no. 170, as ‘Peter Paul Rubens, circa 1609-11’.

This picture relates to Rubens’s Saint Paul that forms part of the series of panels depicting the Twelve Apostles, now in the Prado, Madrid.

121

ATTRIBUTED TO SIR ANTHONY VAN DYCK (ANTWERP 1599-1641 LONDON)

Saint Simon - unfnished

oil on panel25Ω x 20 in. (65 x 51 cm.)

£30,000-50,000 $49,000-80,000� Ç38,000-63,000

This striking unfnished panel belongs to the series of apostles painted by van Dyck and his studio assistants between 1618-20 (for a note on the various series, see lot 119). The picture can be compared with two panels depicting Saint Simon, of almost identical dimensions, now in the Kunsthistorisches Museum, Vienna, and in the J. Paul Getty Museum, Los Angeles. The fgure on the left in van Dyck’s Study of Two Heads (1618-20; Lyon Musée des Beaux-Arts) served as the model for Simon, and is also

the source for other early works by the artist, including the man, seen on the far left of the composition, in Suffer Little Children to Come under Me (1618-20; Ottawa, National Gallery of Canada). The vigorous brushwork in the treatment of Simon’s hair and the beautifully observed tension in the muscles of his turning neck reveal the strong infuence of Rubens, whose own series of Apostles, now in the Prado, were ultimately the inspiration for the young van Dyck’s. We are grateful to Dr. Susan Barnes who has endorsed the attribution to van Dyck after inspection of the original.

32

122


Portrait of Ambrogio Spinola (1569-1630), full-length, in armour, wearing the Order of the Golden Fleece, holding a baton in his right hand, his left hand resting on the hilt of his sword

oil on canvas87¿ x 49æ in. (221 x 126.4 cm.)

£70,000-100,000 $120,000-160,000� Ç89,000-130,000


by decent through the sitter’s family to the following,Prince Centurione Scotto, Genoa; Sangiorgi, Rome, 6 May 1903, lot 44.Dr. Adolf Hommel, Zürich; Lempertz (formerly Heberle); Zürich, 19-20 August 1909, lot 43.Hippolyt Saurer, Schloss Eugensberg, Arbon; Uto, Zürich, 14-16 October 1974, lot 542, when acquired by the present owner.


M. Menotti, ‘Van Dyck a Genova’, Archivio

Storico dell’Arte, III, 1897, pp. 442-3.L. Cust, Anthony van Dyck: An Historical Study

of His Life and Works, London, 1900, p. 243, no. 120.G. Glück, Van Dyck, des Meisters Gemälde,

Klassiker der Kunst, 13, Stuttgart, New York & London, 1931, p. 551, no. 295.H. Vey, Die Zeichnungen Anton van Dycks, Brussels, 1962, under no. 177.H. Vey, in S. Barnes et al., Van Dyck. A complete

catalogue of the paintings, New Haven and London, 2004, p. 412, no. III.A25.

This striking full-length portrait of Ambrogio Spinola is described by Horst Vey as ‘a good repetition of the lost prime version’ (op. cit., 2004), a work that was painted shortly after van Dyck’s return to Antwerp at the end of 1627.

Marchese Ambrogio Spinola (1569-1630) belonged to the most ancient of the four great families of Genoa. He followed his brother, Federigo, into the service of the King of Spain and was appointed Commander-in-Chief of the forces of King Phillip III in the Low Countries, taking Ostend after a two year siege in 1604. For this he was awarded the Golden Fleece. In 1605 he forced Prince Maurice of Nassau to raise the siege of Ghent, taking the provinces of Frisia and Ober-Yssel. Peace with the Dutch was fnally achieved in 1607. In 1620, on the outbreak of the Thirty Years War, Spinola conquered the Lower Palatinate and a year later he returned to the Low Countries, taking Julier and besieging Bergen-op-Zoom, the retreat from which he commanded with great skill. The climax of his military career was the siege of Breda, which fnally surrendered on 5 June 1625: Velázquez’s great commemoration of this event in the Prado gives an extraordinary idea of Spinola’s unusual combination of authority and courtesy. Spinola was recalled to Madrid in 1628; en route he advised King Louis XIII about his conduct of the siege of La Rochelle. The outbreak of the War of Mantuan Succession led to his return to Italy where he died during the siege of Casale.

34

123

STUDIO OF FRANS SNYDERS (ANTWERP 1579-1657)

The Cock and The Pearl

oil on canvas66¬ x 94Ω in. (169 x 240 cm.)

£25,000-35,000 $41,000-56,000� Ç32,000-44,000


Thomas, Lord Coningsby (d. 1729), Hampton Court, Leominster, Herefordshire, where mentioned by William Stukeley in his Itinerarium curiosum (London, 1724) as hanging in 1714 in the Great Hall, and by descent at Hampton Court until 1810, when sold with the house to the following,Richard Arkwright (1755-1843), and by descent at Hampton Court until 1912, when sold with the house to,Mrs. Nancy Burrell, until 1924, when sold with the house to,

Mary Anna, Viscountess Hereford (1843-1924), and by descent to her grandson,Robert Devereux, 18th Viscount Hereford (1932-2004).Anonymous sale [The Property of a Nobleman]; Christie’s, London, 13 December 1996, lot 302.Anonymous sale; Christie’s, London, 2 November 2001, lot 13 (£30,550), when acquired by the present owner.

Thomas, Lord Coningsby, formed a substantial collection of pictures, including the celebrated series of views of Hampton Court now in the Mellon Collection. These complemented his Gothic remodelling of the house and remained there until 1973.

A version by Snyders showing only the central part of the composition is in the Suermondt-Ludwig-Museum, Aachen (98.5 x 95 cm.; see

H. Robels, Frans Snyders, Munich, 1989, pp. 309-10, no. 202, illustrated). The landscape in the present picture is by another hand, close to Jan Wildens.

The subject is taken from the Fable of Phædrus, III, 12: ‘A young cockerel was looking for food in the manure when he found a pearl there. ÒWhat a thing you are to be lying in such an unworthy place!” he exclaimed. ÒIf only someone who longed to possess something of such value had found you, you would long since have been restored to your original splendour. But instead it is I who have found you, when I would have much preferred to fnd some food: this is not going to do you or me any good at all.” This is a story I tell for those who do not know how to appreciate me [i.e. Precious things are for those that can appreciate them]’.

35

PROPERTY FROM A PRIVATE EUROPEAN COLLECTION (LOTS 120 & 124)

124

ANTWERP SCHOOL, CIRCA 1630

The Penitent Magdalen

oil on panel25¿ x 20 in. (64 x 51 cm.)

£20,000-30,000 $33,000-48,000� Ç26,000-38,000


Anonymous sale; Fischer, Lucerne, 25 June 1965, as ‘Flemish School, 17th century’ (CHF 3,325), when acquired by the late husband of the present owner.

36

125

JORIS VAN SON (ANTWERP 1623-1667)

Crabs and shrimp on a pewter platter, with grapes, a partly-peeled orange, peaches and two wine glasses, on a partially draped table

signed ‘J. VAN. SON ‘ (‘VA’ linked, lower left)oil on panel, stamped on the reverse with the coat-of-arms of the city of Antwerp15 x 20¿ in. (38.1 x 51.2 cm.)

£30,000-50,000 $49,000-80,000� Ç38,000-63,000


Dr D.-J. de Meyer; Giroux, Brussels, 16-18 May 1927 (= 1st day), lot 39.

126

ATTRIBUTED TO FRANS HALS (ANTWERP 1582-1666 HAARLEM)

Portrait of a man, half-length, in a black cape with a white collar

oil on panel12¡ x 9¬ in. (31.3 x 24.3 cm.)

£30,000-50,000 $49,000-80,000� Ç38,000-63,000


L. Nardus, Suresnes.M.P. Widener, Philadelphia; Frederik Muller, Amsterdam, 30 June 1909, lot 7 (3,500 DFL). Goudstikker, Amsterdam.Carl Mandl, Hamburg; Frederik Muller, Amsterdam, 10 July 1923, lot 117. (15,400 DFL to W. Henschel or Kröller).Wilhelm von Ofenheim, Vienna, by 1930.Anonymous sale [The Propterty of a Lady]; Sotheby’s, London, 25 November 1970, lot 107 (£1,400).Anonymous sale; Paul Brandt, Amsterdam, 11-17 May 1971, lot 6.

37


(Possibly) C. Hofstede de Groot, A Catalogue

Raisonné, etc., London, 1910, III, p. 91, no. 318.W.R. Valentiner, Frans Hals, des Meisters

Gemälde, Klassiker der Kunst, Berlin, 1921, p. 293, as ‘circa 1655’.W.R. Valentiner, Frans Hals, des Meisters

Gemälde, Klassiker der Kunst, Berlin, 1923, p. 273.S. Poglayen-Neuwall, ‘The Wilhelm Ofenheim Collection’, Apollo, XII, July 1930, p. 129.W.R. Valentiner, ‘Jan van de Cappelle’, The Art

Quarterly, IV, 1941, p. 296, note 6, as ‘possibly a portrait of the painter Gerard de Lairesse’.S. Slive, Frans Hals, London, 1970, p. 149, no. D61, fg. 182.

This spontaneous likeness of a man relates to a series of small-scale portraits of soberly dressed men executed by Frans Hals relatively late in his career, in the years around 1658-1660. Painted directly from life, probably in one or two sittings, these portraits are characterized by their vivacity and the dazzling fuency of Hals’s brushwork. Celebrated examples include the Portrait of a Preacher in the collection of Rose-Marie and Eijk van Otterloo and the portraits in the Rijksmuseum, Amsterdam; and the Mauritsthuis, The Hague.

Seymour Slive, who never saw the present work, expressed ‘serious reservations’ about the attribution, although he concluded that ‘fnal judgment must be postponed until the original is examined’ (Slive. loc. cit.). His reservations no doubt

had much to do with the abraded state of the paint surface. However, in spite of its condition, the case for attributing this work now to Frans Hals is increasingly compelling, at a time when the artist’s late output is coming under intense scrutiny by scholars. In terms of its format and composition, the picture certainly accords well with the lauded examples cited above. The sitter is positioned just off centre, in three-quarter profle, turning his head to the viewer against a neutral background. His pose, in which his left hand protrudes from his cloak is similar to that adopted by the preacher in the Van Otterloo picture. In terms of its execution, decisive judgment is again made diffcult by virtue of the condition, although certain passages in the rendering of the face, the collar, and the hand, speak convincingly of Hals’s authorship.

38

127

PIETER CLAESZ. (BERCHEM 1597/8-1660/1 HAARLEM)

A roemer, a herring and olives on pewter platters, a roll, a knife, a wine glass and grapes on a partially draped table

signed in monogram and dated ‘PC / 1643’ (the ‘3’ erroneously strengthened to a 5, centre left)oil on panel17¬ x 24¿ in. (44.8 x 61.3 cm.)

£70,000-100,000 $120,000-160,000� Ç89,000-130,000


Heinrich Moll, Cologne; Heberle, Cologne, 11-12 November 1886, lot 35. Sir Patrick Donner; Sotheby’s, London, 4 April 1962, lot 85 (3,809 gns. to R. van Eyck).with de Boer, Amsterdam, where probably acquired by the father of the present owner in the 1970s.

Along with his contemporary Willem Claesz. Heda, Pieter Claesz. was one of the leading still-life painters in 17th century Holland and is considered to be the frst exponent of the monochromatic still life. This ‘ontbijtje’ or breakfast piece is a fne example of Claesz.’s work from the 1640s. Having abandoned his previously rich palette in the late 1620s, in favour of a more restrained one of earthy browns, warm ochres and olive greens, Claesz. was able to focus on the arrangement of the various objects.

In this composition the light passes through the giant roemer, refecting the window in the glass, onto the pewter dish containing the herring and the mother of pearl-handled knife on the edge of the table. In doing so Claesz. focuses his attention on the delicate variations in the shapes, materials, texture and refections of the

objects, rendering these in a range of neutral tones against the more dynamically painted white tablecloth and the light-brown tone of the bread roll.

Although the foods on the table ostensibly represent a typical Dutch seventeenth-century meal, these objects were in fact deliberately chosen by the artist to display his mastery of textures. In reality ordinary Dutch families would not have access to white bread or olives as all luxury products had to be imported from the Mediterranean or from the grain-rich lands of Scandinavia. Herring, for example, was not in plentiful supply and was caught far out at sea, more often along the Danish coast.

From the early 1640s Claesz. was inspired by the more baroque style that had been introduced to the genre of still-life painting by Jan Davidsz. de Heem around 1635. This is evident in the energetic and lively brushwork employed in the grapevines and tablecloth.

We are grateful to Fred Meijer of the RKD, The Hague, for confrming the attribution on the basis of photographs.

40

PROPERTY OF A GENTLEMAN (LOTS 128, 129, 130, 139 & 200)

128

CORNELIS DECKER (? 1610/20-1678 HAARLEM)

A wooded landscape with man approaching a village, carrying two pails on a yoke

oil on panel21¡ x 27¡ in. (54.3 x 69.5 cm.)

£50,000-70,000 $81,000-110,000� Ç64,000-89,000


Montague Edward Parker, by 1822, as ‘Meindert Hobbema’, and by descent to,Edward Henry Parker, 2nd Earl of Morley (1810-1864).Sir Harold Farquhar (1894-1953); Sotheby’s, London, 13 December 1950, lot 6, as ‘Meindert Hobbema’ (£780 to the following),with Sabin, London.M.W.T. Leatham, Gloucestershire, by 1952.with Duits, Doordrecht, Amsterdam and London, by 1954.

E X H I B I T E D :

London, Royal Academy, Dutch Pictures 1450-

1750, 22 November 1952-1 March 1953, no. 348, as ‘Meindert Hobbema’.

Cornelis Decker lived all of his life in Haarlem and the surrounding landscape provided the artist with an endless array of motifs. This beautifully observed landscape is a fne example of the wooded scenes that dominated Decker’s oeuvre throughout his career. Taking his lead from the picturesque vision of nature developed by his fellow townsman Jacob van Ruisdael, Decker used realistically rendered atmospheric conditions in a similar fashion to convey constrained drama and a poetic mood, as superbly demonstrated in the present view.

Datable to the early 1650s, this entrance to a village is among Decker’s fnest paintings. Decker lavished great care on describing all the different textures in the foliage, subtly varying his palette of greens. A few scattered touches of brown in the treetops and shrubs suggest the scene takes place early in the autumn.

42


129

SALOMON VAN RUYSDAEL (NAARDEN ?1600/3-1670 HAARLEM)

A wooded landscape with a herdsman on horseback driving his cattle and shepherds with their fock, a man walking his dogs in the dunes, a village with the ruins of Egmond Abbey beyond

signed and dated ‘SvRVISDAEL• 1663’ (‘SvR’ linked, lower left)

oil on panel13Ω x 24√ in. (34.2 x 63.1 cm.)

£40,000-60,000 $65,000-97,000� Ç51,000-76,000


with Duits, London.

This unrecorded work can be compared with Ruysdael's slightly earlier panel, dated 1657, also showing Egmond Abbey, sold in these Rooms, 9 July 1999, lot 37 (£120,000). We are grateful to Fred Meijer and Ellis Dullaart of the RKD, The Hague, for confrming the attribution to Ruysdael, on the basis of photographs.

43


130

JAN JOSEFSZ. VAN GOYEN (LEIDEN 1596-1656 THE HAGUE)

A river landscape with fshermen laying out their nets by a castle

signed in monogram and dated ‘VG 1648’ (lower left, on the boat)oil on panel15¡ x 23æ in. (39.1 x 60.4 cm.)

£50,000-70,000 $81,000-110,000� Ç64,000-89,000


Anonymous sale [C.A. Hill]; Christie’s, London, 2 March 1945, lot 70 (720 gns. to Deane).with Leger Galleries, London, by 1945.with Agnew’s, London.


H.-U. Beck, Jan van Goyen 1596-1656: ein Oeuvreverzeichnis, II, Amsterdam, 1973, p. 308, no. 672, illustrated, as '164(5)'.

131

JAN JOSEFSZ. VAN GOYEN (LEIDEN 1596-1656 THE HAGUE)

A river landscape with soldiers and peasants on a ferry, a castle beyond

signed and dated ‘V Goyen 1635’ (lower left, on the boat)oil on panel, oval14º x 19æ in. (36.2 x 50.2 cm.)

£20,000-30,000 $33,000-48,000� Ç26,000-38,000


with Rozendaal, London, by 1949.Anonymous sale; Galerie Fisher, Lucerne, 12 November 1949, lot 3292.Anonymous sale [A Swiss Private collection]; Kende Galleries at Gimbel Brothers, New York, 4 October 1951, lot 65.

132 No Lot

45

PROPERTY OF A DISTINGUISHED EUROPEAN COLLECTION (LOTS 133, 135, 172 & 176)

133

GOVERT FLINCK (KLEEF 1615-1660 AMSTERDAM)

Portrait of a girl as a shepherdess, half-length, in a red dress and blue wrap, with a pearl headdress

signed with initials ‘G. f’ (lower left)oil on panel, the corners made up22 x 20 in. (57.2 x 51 cm.)

£40,000-60,000 $65,000-97,000� Ç51,000-76,000


Freiherr von Ketteler, Schloss Schwarzenraben; Sotheby’s, Amsterdam, 21 November 1995, lot 29, as ‘Jan van Noordt’, when acquired by the following,with Johnny Van Haeften, London, where acquired by the present owner in March 1997.


D. Witt, Jan van Noordt, Painter of History and Portraits in Amsterdam, Montreal, 2007, p. 265, no. R60, under ‘rejected paintings’ as ‘Govert Flinck’.


134

NICOLAES MAES (DORDRECHT 1634-1693 AMSTERDAM)

Portrait of Joseph Hoeufft, Heer van Lunenburg (1657-1700), half-length, in armour, his right arm resting on a helmet

signed ‘NMAES’ (‘NM’ linked, lower left), and with the sitter’s coat-of-arms (centre left)oil on canvas19º x 16 in. (48.4 x 40.6 cm.)

£10,000-15,000 $17,000-24,000� Ç13,000-19,000


By descent in the family of the sitter, Utrecht.Mr. M. Crommelin, Utrecht, circa 1890-1905, and by descent to,Mr. C.A. Crommelin, The Hague; Frederik Muller, Amsterdam, 6-14 May 1958, lot 113, as ‘a portrait of Aernout Houefft‘.with D.A. Hoogendijk, Amsterdam, where acquired by the great-uncle of the following,Anonymous sale [The Property of a Lady]; Sotheby’s, London, 9 December 2004, lot 134 (£12,000), when acquired by the late owner.

E X H I B I T E D :

The Hague, Pulchri Studio, Tentoonstelling van Schilderijen

van Oude Meesters, Winter 1890-1891, no. 48.


E.W. Moes, Iconographia Batavica, Amsterdam, 1897-1905, p. 429, no. 35702.2.C. Hofstede de Groot, A Catalogue Raisonné, etc., VI, London, 1916, p. 527-8, no. 188.L. Krempel, Studien zu den datierten Gemälden des Nicolaes

Maes (1634-1693), Bonn, 1999, p. 321, no. 190a, pl. 272, as ‘circa 1677’.


135

ELIAS VONCK (AMSTERDAM 1605-1652)

A hare, a teal, a kingfsher and songbirds on a stone ledge

signed ‘E. Vonck fe’ (lower left)oil on panel28¿ x 24º in. (71.5 x 61.5 cm.)

£15,000-25,000 $25,000-40,000� Ç19,000-32,000


with Hoogendijk, Amsterdam, where acquired by present owner in 1994.

134

135

47

136

SCHOOL OF REMBRANDT, CIRCA 1650

Portrait of a young man, half-length, in a white shirt, golden mantel and red plumed cap, before a draped curtain

oil on canvas27¡ x 22¡ in. (69.5 x 57 cm.)

£15,000-25,000 $25,000-40,000� Ç19,000-32,000

137

JACOB DUCK (?UTRECHT C. 1600-1667 UTRECHT)

Soldiers at rest in a guardroom

signed and dated ‘Duck 1637’ (centre left)oil on panel20º x 26¡ in. (51.4 x 67 cm.)

£30,000-50,000 $49,000-80,000� Ç38,000-63,000


Anonymous sale; Tajan, Paris, 24 June 2004, lot 23, as ‘Jacob Duck’ (Ç90,000), when acquired by the present owner.

Jacob Duck originally trained as a goldsmith before entering the studio of Cornelis Droochsloot at the relatively advanced age of twenty-one. While painting in Utrecht at this time was largely the domain of the Caravaggisti, Duck modelled his style on the works of the Amsterdam artists Pieter Codde and William Duyster, and their subject matter of guardroom scenes and merry companies.

Traditionally accepted as a signed, autograph work by Jacob Duck, the authorship of this panel has been more recently questioned by Fred Meijer of the RKD, The Hague, who has proposed an alternative attribution to Simon Kick (on the basis of a photograph). However, the attribution to Duck has been independently supported by Dr. Walter Liedtke on the basis of a photograph.

138

JACOB ADRIAENSZ. BACKER (HARLINGEN 1608-1651 AMSTERDAM)

Portrait of a man, half-length, in a dark red cloak and gold chain, wearing an earring

oil on panel28 x 21Ω in. (77.1 x 54.6 cm.)

£40,000-60,000 $65,000-97,000� Ç51,000-76,000


Leonardt collection, Cologne.Geheimrat Dagobert Oppenheim (1809-1889), Cologne, by whom gifted to the following,Wallraf-Richartz Museum, Cologne, 1873, as ‘Carel Fabritius’, recorded in their 1929 inventory, until exchanged on 1 February 1943 for a Gothic Madonna.with Galerie für Alte Kunst, Munich, where acquired by the following,Heinz Reinartz, Cologne, by whom given, for deposit, to Walter Bornheim (Galerie für Alte Kunst, Munich), Tegernsee (1943-1946), until recorded at the Central Collecting Point, Munich, no. 30940, 22 May 1946-25 September 1947, and transferred via Interzonal Exchange to Sammeldepot von Kunstwerken, Schloss Dyck, Grevenbroich, September-December 1947, when returned to, Heinz Reinartz, Cologne, and by descent to his grandson.

137


Katalog der Gemälde-Sammlung des Museums Wallraf-Richartz in Köln, Cologne, 1875, no. 654, as ‘Carel Fabritius’; 1905, no. 709, as ‘Rembrandt School’; 1910, no. 709, as ‘Jacob Backer’; 1914, no. 709, as ‘Isaak de Jouderville’; 1941, no. 1929, as ‘Jacob Backer’.A. von Wurzbach, Niederländisches Künstler-Lexikon, Vienna/Leipzig, 1906-1911, I, p. 774, as ‘Jouderville‘.Bauch, Jacob Adriaensz Backer. Ein Rembrandtschüler aus Friesland, Berlin, 1926, pp. 30 and 84, no. 87.H.F. Secker, Die Galerie der Neuzeit im Museum Wallraf-Richartz, collection catalogue, Leipzig, 1927, p. 21.W. Sumowski, Gemälde der Rembrandt-Schüler, I, Landau, 1983, pp. 197-9 and 240, no. 37, illustrated.

C. White, Ashmolean Museum Oxford. Catalogue of the Dutch, Flemish,

and German Paintings before 1900 [excluding the Daisy Linda Ward

Collection], Oxford, 1999, p. 10. P. van den Brink and J. van der Veen, Jacob Backer (1608/9-1651), Zwolle, Amsterdam and Aachen, 2008, p. 223, no. A55, illustrated (with erroneous 1952 provenance).

We are grateful to Peter van den Brink for confrming the attribution on frst hand inspection, dating the picture to circa 1638, and for his help on the provenance of this lot. Backer used the same model as in the shepherd, now in a private collection, USA (Brink/Veen, no. A56).

138

50


139

JACOB VAN RUISDAEL (HAARLEM 1628/9-1682 AMSTERDAM)

A wooded river landscape with a family at rest on a track

oil on canvas27 x 21√ in. (68.5 x 55.5 cm.)

£70,000-100,000 $120,000-160,000� Ç89,000-130,000


Richard Plantagenet Temple-Nugent-Brydges-Chandos-Grenville, 2nd Duke of Buckingham and Chandos, K.G., G.C.H., P.C., F.S.A. (1797-1861), Stowe House; his sale, Christie’s, on the premises, 15 September 1848 [=24th day], lot 425 (161 gns. to Hume on behalf of the following),Alexander Hamilton, 10th Duke of Hamilton (1767-1852), Hamilton Palace; his sale (†), Christie’s, London, 17 June 1882, lot 78 (1,160 gns. to the following),with Colnaghi, London, from whom acquired by the following, Arthur Pemberton Heywood-Lonsdale (1835-1897), and by descent at Shavington Grange to Lt. Col. Arthur Heywood-Lonsdale (d. 1976); Christie’s, London, 24 October 1958, lot 96 (2,600 gns. to the following),with Duits, London.

E X H I B I T E D :

London, Royal Academy, Winter Exhibtion, 1885, no. 91.


C. Hofstede de Groot, A Catalogue Raisonné etc., IV, London, 1912, p. 121, no. 290.J. Rosenberg, Jacob van Ruisdael, Berlin, 1928, p. 87, no. 247.S. Slive, Jacob van Ruisdael, New Haven and London, 2001, p. 236, no. 279, illustrated, as signed.

Dated to the 1670s by Seymour Slive (loc. cit.), the present landscape shows the artist at the pinnacle of his talent. In his quest to capture the noble beauty of nature, he effortlessly manipulates the spatial organization of his imaginary landscape into a sophisticated and natural composition, with the open vista between the large-scale forms of growths and a sloping bank allowing the viewer a glimpse into the lush green beyond. The trees and shrubberies offer a strong compositional counterbalance to the overwhelming azure sky in which magnifcent formations of cumulus clouds slowly pass before the viewer’s eye. Some of the leaves have turned brown, heralding autumn, and the dead tree stump and trunks in the left foreground also evoke the passage of time.

Another well-known hallmark of Ruisdael’s mature style that can be admired in this work is the assured handling, combined with an acute observation of details. The reeds, grass and rapidly moving water of the river are painted with quick and vigorous strokes. Ruisdael’s lively brushwork enriches the overall texture of the painting and imbues the scene with poetic motion.

52

141

140

141

DUTCH SCHOOL, CIRCA 1700

Figures by a ruined building watching a performance of the Comedia dell’Arte in an Italianate landscape

oil on canvas

23 x 19 in. (58.4 x 48.1 cm.)

£7,000-10,000 $12,000-16,000� Ç8,900-13,000

140

BARTHOLOMEUS BREENBERGH (DEVENTER 1598-1657 AMSTERDAM)

An Italianate landscape with fgures before a ruined classical building

oil on copper6æ x 8√ in. (17 x 22.5 cm.)

£7,000-10,000 $12,000-16,000� Ç8,900-13,000

53

*142

JOHANNES LINGELBACH (FRANKFURT 1622-1674 AMSTERDAM)

An Italianate harbour with an elegant couple promenading near a statue of Neptune, and workmen unloading by the docks

oil on canvas24≈ x 31 in. (62.7 x 78.8 cm.)signed and dated ‘J. LINGELBACH 1671’ (centre right)

£12,000-18,000 $20,000-29,000� Ç16,000-23,000


(Possibly) D. Mansfeld; his sale, Van Schley, Amsterdam, 13 August 1806, lot 95 (Dfl. 100).Anonymous sale; Roos, Amsterdam, 16 July 1819, lot 96 (Dfl. 79 to De Vries).M. Wolff; his sale, Berlin, 25 May 1857, lot 277.J. Porgés, Paris; his sale, Cassirer & Helbing, Berlin, 7 December 1926, lot 82.Anonymous sale; Weinmüller, Munich, 9-10 December 1954, lot 527.Anonymous sale; Weinmüller, Munich, 15 May 1957, lot 1112.Anonymous sale; Leo Spik, Bad Kissingen, 10 June 1960, lot 123.with A. Gebhart, Munich, 1960.Anonymous sale; Christie's, Amsterdam, 1 November 2011, lot 44.


C. Burger-Wegener, Johannes Lingelbach 1622-1674, Ph.D. dissertation, 1976, pp. 272-3, no.95, as ‘dated 1673’.

54

PROPERTY OF A PRIVATE COLLECTOR

*143

MARIA VAN OOSTERWYCK (NOOTDORP, NEAR DELFT 1630-1693 UITDAM)

Roses, a parrot tulip, carnations, ears of wheat, hyacinths and other fowers with butterfies in a Chinese vase, with an orange on a marble ledge

signed ‘Maria V. O.’ (upper right), and with signature ‘Maria V. Oosterwijck’ (lower centre, on the ledge)oil on canvas22º x 19æ in. (56.5 x 50.1 cm.)

£100,000-150,000 $170,000-240,000� Ç130,000-190,000

Maria van Oosterwyck nurtured her talents in the studio of the celebrated painter Jan Davidsz. de Heem. She soon began to work independently and after a number of years moved to Amsterdam, establishing a studio opposite the contemporary still-life painter Willem van Aelst. Fully immersed in the creative circles of the much sought-after Dutch Golden Age painters, Oosterwyck astutely advertised her work abroad and was patronised by Louis XIV of France, the Holy Roman Emperor Leopold I and William III of England. Despite her success, she was denied membership to the painters' guild, however, as one of very few women to be considered a professional artist in the seventeenth century, the context of Oosterwyck's work is highly important.

This small canvas, in which the artist employs vivid colours against a dark background, is a fne example of Oosterwyck's still-life work. The artist's deep religious conviction should not be overlooked in any of her compositions, with her careful selection of colours rich in symbolic meaning; white denoting innocence, red martyrdom, and the frequent depiction of butterfies representing the resurrection of Christ.

PROPERTY FROM A PRIVATE SWISS COLLECTION

*144

ATTRIBUTED TO JAN PAUWEL GILLEMANS I (ANTWERP 1618-1675)

Grapes, oysters, chestnuts, a fg and cherries on a partially draped stone ledge

with signature and date ‘J D de Heem 1653’ (centre left, on the ledge)oil on canvas13¬ x 18¬ in. (34.6 x 47.2 cm.)

£8,000-12,000 $13,000-19,000� Ç11,000-15,000


Purchased in 1933 by the grandfather of the present owner; Galerie Fischer, Lucerne, 5 September 1942, lot 1280 as ‘Cornelis de Heem’ (unsold), and by descent.

We are grateful to Fred Meijer, of the RKD, The Hague, for proposing the attribution on the basis of photographs.

144

145

57

PROPERTY OF A EUROPEAN NOBLEMAN

145

A. REE (ACTIVE THE HAGUE, C. 1725-1750)

Roses, morning glories and other fowers in an urn and on a draped stone ledge, with an Admiral butterfy

signed ‘A: Ree’ (lower centre)oil on canvas25Ω x 21 in. (64.8 x 53.3 cm.)

£8,000-12,000 $13,000-19,000� Ç11,000-15,000


Anonymous sale; Sotheby’s, London, 8 July 1987, lot 317.with Hoogsteder, The Hague.


E. Buijsen, ‘The Sterrenhemel van de Gouden Eeuw’, Tableau, 18 February 1996, pp. 80-3, no. 4, fg. 5.

We are grateful to Fred Meijer of the RKD, The Hague, who dates the painting to the frst half of the 18th century, on the basis of photographs.

146

ELIAS VAN DEN BROECK (AMSTERDAM 1650-1708)

An oyster, grapes, a partly- peeled lemon, an orange and fowers, on a partially draped stone ledge

signed ‘V. D: Broeck’ (lower left on the ledge)oil on panel8¬ x 11Ω in. (21.8 x 29 cm.)

£25,000-35,000 $41,000-56,000� Ç32,000-44,000


Greenwich Council, Boy Scouts of America; Christie’s, New York, 16 April 1986, lot 141 ($26,000).

146

58

The picture collection at Petworth has long been celebrated. Like every great family collection it refects the tastes of successive generations, and represents a balance between patronage and connoisseurship. In any British collection, what Oliver Millar termed the ‘deposit’ of family portraits and pictures commissioned to record interests of specifc members of a family have a dominant role, and at Petworth the portrait collection is indeed of dazzling distinction. That Petworth boasts a collection of altogether exceptional range and diversity is due to the perspicacity of three exceptional owners of the house.

Petworth was granted to Jocelin de Louvain, who married Agnes, heiress of the Percy family, by 1151. It passed to her Percy descendants, who owned great estates in Northumberland and Yorkshire, as well as the honour of Egremont, and later Syon in Middlesex, and Northumberland House in London. Algernon Percy, 10th Earl of Northumberland (1602-1668), who inherited in 1632, was not only a discriminating patron of van Dyck, but also made notable acquisitions from that artist’s collection and that of Charles I’s early mentor, George Villiers, 1st Duke of Buckingham. His acquisitions—none of which is being sold—informed the taste of his successors. By 1671, after the death of his son and successor, Joceline, there were 167 pictures, divided among his various houses. In 1682, the heiress, Elizabeth, Baroness Percy in her own right, married Charles Seymour, 6th Duke of Somerset. He rebuilt Petworth, transforming this into one of the great mansions of the age. He also bought pictures, including the celebrated Claude that remains in the house. He died in 1748, and on the death of his successor two years later the Percy inheritance was divided, Petworth passing to the son of the sixth Duke’s daughter, Charles Wyndham, 2nd Earl of Egremont (1710-1763). Egremont had a distinguished political career and was evidently keenly interested in pictures, patronizing contemporary artists and buying a

Pictures from the Petworth Collection

considerable number of old masters, many of which were placed at Egremont House in London. In a ffteen year period he bought some 183 pictures: he was equally active as a collector of classical sculpture and patron of the cabinet makers of the day.

The second Earl died in 1763. His son George, now 3rd Earl of Egremont (1751-1837) (fg. 1), was only twelve at the time. The third Earl was to become one of the great patrons of his time, and during his seventy-fve year tenure left an indelible mark on Petworth and its collections. He sold Egremont House in 1794, calling in James Christie to sell many of his father’s pictures, but transferring others to Petworth, thus changing the character of the picture hang there. He is of course now best remembered for his understanding patronage of Turner (fg. 2), but he also bought pictures from a large number of other painters, as the visitor to the North Gallery at Petworth can still see. Pictures by Fuseli and Glover represent facets of the third Earl’s patronage. On the death of the third Earl, Petworth passed to his eldest natural son, George Wyndham (1789-1869), who was created Lord Leconfeld in 1859. In 1947 Charles, 3rd Lord Leconfeld gave the house and park with an endowment to the National Trust. The 3rd Lord Leconfeld’s nephew and heir, John Wyndham, offered a large proportion of the contents to the Treasury in lieu of tax payable on his uncle’s death in 1952. In recent years, the historic picture hangs in the house have been successfully recreated incorporating many pictures that remain in the Egremont collection.

Petworth House, Sussex

© National Trust Images / Oliver Benn

Fig. 1 Thomas Phillips, R.A.,

George Wyndham,3rd Earl of Egremont, 1839

© National Trust Images / Derrick E. Witty

Fig. 2 Joseph Mallord William Turner, Petworth: the White

Library, looking down the Enfilade from the Alcove, 1827 © Tate, London 2014

60

PROPERTY OF LORD EGREMONT DL, REMOVED FROM PETWORTH HOUSE (LOTS 22, 23 & 147-155)


George Wyndham, 3rd Earl of Egremont (1751-1837), at Petworth House, Sussex, by 1837 (Inventory of Paintings, Sculpture and Books at Petworth

House, Property of The Late George, 3rd Earl of Egremont) and later at Egremont House, 94 Piccadilly, London, and by descent.


Catalogue of Pictures in Petworth House, Sussex, London, 1856, p. 47, no. 445, where listed as ‘Francis Mieris’ and hanging in London.C.H. Collins Baker, Catalogue of the Petworth Collection of pictures in the

possession of Lord Leconfeld, London, 1920, p. 84, no. 445.C. Hofstede de Groot, Beschreibendes und kritisches Verzeichnis der Werke

der hervorragendsten Holländischen Maler des XVII. Jahrhunderts, X, Stuttgart, 1928, p. 140, no. 144.

147

WILLEM VAN MIERIS (LEIDEN 1662-1747)

An interior with a man consoling a distressed lady, an invalid in bed beyond

oil on panel18æ x 15¿ in. (47.4 x 38.2 cm.)in an early 19th century carved composition frame

£20,000-30,000 $33,000-48,000� Ç26,000-38,000

61



Catalogue of Pictures in Petworth House, Sussex, London, 1856, p. 14, no. 119, as ‘Murillo, Head of a Boy’.C.H. Collins Baker, Catalogue of the Petworth Collection of pictures in the

possession of Lord Leconfeld, London, 1920, p. 102, no. 119, as ‘Rembrandt School’.W. Sumowski, Gemälde Der Rembrandt-Schüler, Landau, 1983, IV, p. 2538, no. 1697a.

Sumowski (loc. cit.) dates this striking portrait of a young boy to the mid 1650s and compares it with van Savoy’s portrait, painted in 1655, of Jan Jansz. de Doot, a work now in the Academisch Historisch Museum, Leiden.

148

CAREL VAN SAVOY (ANTWERP 1621-1665 AMSTERDAM)

Portrait of a boy, half-length, in a brown jacket and red mantle, holding a plumed hat, in a landscape

oil on canvas26º x 21º in. (66.8 x 54 cm.)

£20,000-30,000 $33,000-48,000� Ç26,000-38,000


George Wyndham, 3rd Earl of Egremont (1751-1837), Petworth House, Sussex, and by descent.

62


149

CIRCLE OF NICHOLAS MAES (DORDRECHT 1632-1693 AMSTERDAM)

An old women at a vegetable stall, a girl with a milk pail and two children, a town square beyond

oil on canvas31º x 40√ in. (79.3 X 103.8 cm.)

£15,000-20,000 $25,000-32,000� Ç19,000-25,000


George Wyndham, 3rd Earl of Egremont (1751-1837), at Egremont House, 94 Piccadilly, London, by 1837 (Inventory of Paintings, Sculpture and Books

at Petworth House, Property of The Late George, 3rd Earl of Egremont), and later at Petworth House, Sussex, and by descent.


C.H. Collins Baker, Catalogue of the Petworth Collection of pictures in the

possession of Lord Leconfeld, London, 1920, p. 102, no. 626a, as ‘Rembrandt School’.W. Robinson, The early works of Nicolaes Maes, 1653-1661, Phil. Diss., Cambridge (Mass.), 1996, no. C-25, as ‘Nachfolger von Maes’,L. Krempel, Studien zu den datierten Gemälden des Nicolaes Maes

(1634-63), Fulda, 1999, p. 364, no. E7, fg. 410, as ‘Maes(?)’.

63


150

MICHELE PACE DEL CAMPIDOGLIO (?ROME ?1610-?1670)

A melon, pomegranates, grapes, quinces, apples and other fruit on a stone ledge

oil on canvas39º x 52æ in. (99.8 x 124 cm.)

£20,000-30,000 $33,000-48,000� Ç26,000-38,000


George Wyndham, 3rd Earl of Egremont (1751-1837), Egremont House, 94 Piccadilly, London, and later moved to Petworth House, Sussex, by 1837 (Inventory of Paintings, Sculpture and Books at Petworth House, Property of

The Late George, 3rd Earl of Egremont), and by descent.


Catalogue of Pictures in Petworth House, Sussex, London, 1856, p. 10, no. 86, as ‘M. Angelo di Campidoglio’ and hanging on the ‘Oak Stairs’.C.H. Collins Baker, Catalogue of the Petworth Collection of pictures in the

possession of Lord Leconfeld, London, 1920, p. 13, no. 86.




Frederick Ponsonby, 3rd Earl of Bessborough (1758-1844); his sale Christie’s, London, 5 February 1801, lot 62 (37 gns. to Hogg). George Wyndham, 3rd Earl of Egremont (1751-1837), by 1803, and at Petworth House, Sussex, by 1837 (Inventory of Paintings, Sculpture

and Books at Petworth House, Property of The

Late George, 3rd Earl of Egremont), and by descent.


G. Waagen, Treasures of Art in Great Britain, London, III, 1854, p. 36.Catalogue of Pictures in Petworth House, Sussex, London, 1856, p. 7, no. 51, as ‘ Swanevelt, Landscape. Evening’ and hanging in the ‘Duke of Somerset’s Room’.C.H. Collins Baker, Catalogue of the Petworth

Collection of pictures in the possession of Lord

Leconfeld, London, 1920, pp. 118-9, no. 51.


George Wyndham, 3rd Earl of Egremont (1751-1837), at Petworth House, Sussex, by 1837 (Inventory of Paintings, Sculpture and Books at

Petworth House, Property of The Late George,

3rd Earl of Egremont), and by descent.


Catalogue of Pictures in Petworth House, Sussex, London, 1856, p. 40, no. 372, as ‘Dirk Maas’ and hanging in the ‘Duke of Somerset’s Room’.C.H. Collins Baker, Catalogue of the Petworth

Collection of pictures in the possession of Lord

Leconfeld, London, 1920, p. 82, no. 372, as ‘Dirk Maes’.

151

HERMAN VAN SWANEVELT (?WOERDEN, C. 1600-1655 PARIS)

A wooded landscape with fgures on a track, the Temple of Minerva Medica beyond

oil on canvas17º x 44Ω in. (44 x 63 cm.)in a mid-18th century frame

£8,000-12,000 $13,000-19,000� Ç11,000-15,000

152

ATTRIBUTED TO JACOB DE HEUSCH (UTRECHT 1656-1701 AMSTERDAM)

A rocky estuary with troops on a bank

oil on canvas46æ x 84 in. (118.5 x 213.4 cm.)

£10,000-15,000 $17,000-24,000� Ç13,000-19,000

65


153

JAN FRANS VAN BLOEMEN, CALLED IL ORIZZONTE (ANTWERP 1662-1749 ROME)

A classical landscape with the Tomb of Cecilia Metella, fgures conversing on the bank of a river, mountains beyond; and A classical landscape with a capriccio of the Vatican Belvedere, fgures conversing in the foreground

oil on canvas19¬ x 26¬ in. (49.9 x 67.6 cm.) a pair (2)

£20,000-30,000 $33,000-48,000� Ç26,000-38,000


George Wyndham, 3rd Earl of Egremont (1751-1837), Egremont House, 94 Piccadilly, London, and later moved to Petworth House, Sussex, and by descent.

66


154

JOHN GLOVER (HOUGHTON-ON-THE-HILL, LEICS 1767-1849 LAUNCESTON, TASMANIA)

A lake landscape with a shepherd, cattle and goats in the foreground

oil on canvas25 x 30 in. (64.1 x 76 cm.)

£10,000-15,000 $17,000-24,000� Ç13,000-19,000


Presumably acquired from the artist by George Wyndham, 3rd Earl of Egremont (1751-1837), at East Lodge, Brighton, by 1837, and later moved to Petworth House, Sussex, and by descent.


Catalogue of Pictures in Petworth House, Sussex, London, 1856, p. 38, no. 350.C.H. Collins Baker, Catalogue of the Petworth Collection of pictures in the

possession of Lord Leconfeld, London, 1920, p. 49, no. 350.

67


155

HENRY FUSELI (Z†RICH 1741-1825 PUTNEY HILL, NEAR LONDON)

Salome with the head of Saint John the Baptist

oil on canvas50 x 40¡ in. (127 x 102.4 cm.)

£8,000-12,000 $13,000-19,000� Ç11,000-15,000


Presumably acquired from the artist by George Wyndham, 3rd Earl of Egremont (1751-1837), Egremont House, 94 Piccadilly, London, and later moved to Petworth House, Sussex, by 1837 (Inventory

of Paintings, Sculpture and Books at Petworth House, Property of The Late

George, 3rd Earl of Egremont).


Catalogue of Pictures in Petworth House, Sussex, London, 1856, p. 43, no. 401, as hanging in the ‘North Gallery’. C.H. Collins Baker, Catalogue of the Petworth Collection of pictures

in the possession of Lord Leconfeld, London, 1920, p. 46, no. 401.G. Schiff, Johan Heinrich Füssli, 1741-1825, Zürich, 1973, I, p. 487, no. 710, II, p. 158, pl. 710. G. Schiff and P. Viotto, L’Opera Completa di Johann Heinrich Füssli, Milan, 1977, p. 88, no. 19.

68

156

SCHOOL OF VALENCIA, 15TH CENTURY

The Madonna and Child enthroned, with Saint John the Baptist and other saints

on gold ground panel, in an integral frame20Ω x 12√ in. (52 x 32.7 cm.)

£30,000-50,000 $49,000-80,000� Ç38,000-63,000

157

JAUME CABRERA (ACTIVE BARCELONA, 1394-1432)

The Martyrdom of Saints Acisclus and Victoria

on gold ground panel, in an engaged frame43 x 45æ in. (109.2 x 116.2 cm.)

£50,000-80,000 $81,000-130,000� Ç64,000-100,000

156

69

The panel was commissioned around 1405-10 for the main altar of the parish church of Saints Acisclus and Victoria, in the small town of Rajadell, just north-east of Barcelona. It was certainly part of a monumental polyptych, characteristic of this region, where numerous panels, set above each other in an elaborate architectural frame, narrated the episodes of the Passion of Christ or the life of a saint, the central part of the altarpiece being often occupied by a sculpted depiction of that saint (see for instance the altarpiece of the church of Santa Maria in Sant Martí Sarroca also by Jaume Cabrera). Saint Acisclus and his sister Victoria, to whom the church was dedicated, were two early Christian martyrs from Cordoba, who suffered at the hands of Dion, the local Roman governor depicted standing in front of an elaborate wooden throne to the left. The scene, set in front of a beautifully and imaginatively rendered city, is not that of their martyrdom – Acisclus was eventually decapitated while his sister died by the stroke of an arrow – but instead depicts the tortures they endured without renouncing their faith. Typical of late Gothic painting, this panel displays an elegant and sinuous design that counters the rather gruesome subject depicted.


Commissioned for the Church of Saints Acisclus and Victoria, Rajadell.Private collection, Barcelona.


J. Gudiol, Pintura Gotica Catalana, Barcelona, 1986, p. 96, no. 255, fg. 459, as ‘Jaume Cabrera’. A. Pladevall, L’Art gòtic a Catalunya, Barcelona, 2005, p. 107, as ‘Jaume Cabrera, 1405-10’.

E X H I B I T E D :

Madrid, Cason del Buen Retiro, Exposición de pintura catalana, 1962, no. 40.

This refned panel is a rare surviving example of late Gothic Catalan painting. At the turn of the ffteenth century Barcelona was, along with Valencia, the most important city and trading harbour in Aragon, a kingdom then still independent from Castile and ruling over vast territories scattered across the Mediterranean, from Mallorca to Naples. In this stimulating environment, Barcelona’s talented artists, including Jaume Cabrera, formulated a personal and accomplished interpretation of the International Gothic style that was then spreading across the continent.

157

159

CIRCLE OF GIOVANNI BELLINI (?1431/6-1516 VENICE)

The Penitent Magdalen

oil on panel, shaped top, with later additions19º x 16 in. (48.9 x 40.6 cm.)in a tabernacle frame

£10,000-15,000 $17,000-24,000� Ç13,000-19,000

PROPERTY FROM A PRIVATE COLLECTION (LOTS 158 & 160)

158

LORENZO D’ALESSANDRO DA SAN SEVERINO (SAN SEVERINO C.1455-1503)

The Virgin Annunciate

on gold ground panel, in an engaged frame16√ x 6¬ in. (43 x 16.9 cm.)

£8,000-12,000 $13,000-19,000� Ç11,000-15,000


with Agnew’s, London.

We are grateful to Everett Fahy for confrming the attribution to Lorenzo d’Alessandro da San Severino, on the basis of photographs.

158

159

71

PROPERTY FROM A PRIVATE COLLECTION (LOTS 158 & 160)

160

GIOVANNI DI NICCOLÒ MANSUETI (ACTIVE VENICE, DIED BEFORE 1527)

The Madonna and Child enthroned, with Saints Jerome and John the Baptist, in a landscape

signed ‘IOANNES DE MANSVETIS FACIEBAT’ (lower centre) and inscribed ‘ECCE AGNVS DEI QV’ (on the scroll)oil on panel14¡ x 23¬ in. (36.5 x 60 cm.), with later additions of c. º in. on all sides

£25,000-35,000 $41,000-56,000� Ç32,000-44,000


Conte Carlo Castelbarco, Milan. Peter II, Grand Duke of Oldenburg (1827-1900), Augusteum, Oldenburg, by 1869.H.W.C. Tietje, Amsterdam, by 1934.Anonymous sale; Sotheby's, London, 22 February 1956, lot 84.Anonymous sale [The Property of a Gentleman]; Christie’s, London, 18 March 1960, lot 50 (949 gns. to Scharf). with Arthur Kauffmann, London, from whom acquired by the late husband of the present owner.

E X H I B I T E D :

Amsterdam, Stedelijk Museum, Italiaansche Kunst in Nederlandsch Bezit, 1 July-1 October 1934, no. 213.


T. Borenius, ‘The Venetian School in the Grand Ducal Collection, Oldenburg’, The Burlington Magazine, April 1913, XXIII.35, p. 26, pl. IIb.R. van Marle, The Development of the Italian Schools of Painting, The Hague, 1935, XVII, p. 200.B. Berenson, Pitture Italiane del Rinascimento: catalogo dei principali artisti e

delle Ioro opere, con un indice dei luoghi, Milan, 1936, p. 288.

161

PIERO DI COSIMO (?FLORENCE 1461/2-?1521 FLORENCE)

The Rest on the Flight into Egypt

oil on panel15¡ x 11¡ in. (38.4 x 29 cm.)

£20,000-30,000 $33,000-48,000� Ç26,000-38,000

The present composition closely relates to the tondo sold in these Rooms on 24 April 2009, lot 95 (£37,250). We are grateful to Everett Fahy for confrming the attribution, on the basis of photographs.

162

CIRCLE OF ANDREA SABATINI, CALLED ANDREA DA SALERNO (SALERNO C. 1480-1530/1 GAETA)

The Stoning of Saint Stephen

oil on panel, unframed21 x 21¡ in. (53.2 x 54.3 cm.)

£20,000-30,000 $33,000-48,000� Ç26,000-38,000

161

162

73

163

ATTRIBUTED TO BERNARDINO DE’ CONTI (CASTELSEPRIO C.1470-AFTER 1523)

The Madonna and Child

oil on panel17Ω x 13√ in. (44.4 x 35.3 cm.)

£20,000-30,000 $33,000-48,000� Ç26,000-38,000

Bernardino de’ Conti was one of the wave of artists working in Milan at the turn of the 16th century, heavily influenced by Leonardo, producing portraits and sacred works. Painted on a walnut panel, the composition of the present lot incorporates elements drawn directly from Leonardo himself, and relates closely to the latter’s drawings for the Madonna del

gatto. A version of this same composition was sold at the Dorotheum, 15 October 2013, lot 534.

74

164

GIROLAMO ROMANINO (BRESCIA 1484/7-1560)


oil on canvas, unlined26 x 26 in. (66 x 66 cm.)

£50,000-70,000 $81,000-110,000� Ç64,000-89,000


Anonymous sale; Sotheby’s, London, 2 July 1986, lot 110 (£29,700).

An idiosyncratic talent, little is known of Romanino’s early years, but he became an artist of signifcant stature in northern Italy during the High Renaissance. His oeuvre testifes to the twin infuences of Lombardy and Venice, as he rose to become the leading painter in Brescia, alongside Alessandro Bonvicino, known as Moretto da Brescia, in the early 16th century, receiving key commissions in Cremona, Trent and Asola. Romanino distinguished himself from his contemporaries by his greater tendency towards naturalism, evident in the present work, which suggests he took an interest in artists from north of the Alps too.

Though a chronology of Romanino’s work has not been established with absolute certainty, this Madonna and Child would seem to date to the 1540s: the tonality is reminiscent of the Madonna and Child with Saint Paul in Brescia, Banca San Paolo, painted circa 1547-8, while the features of the Madonna can be instructively

compared to the picture in the Pinacoteca Nazionale in Siena, dating to circa 1539-40. The key compositional elements of the work – the inclined head of the Madonna seen in three-quarter view, the Child on her lap engaging the viewer, the curtain behind and the landscape beyond – also feature in the picture by Moretto in the Pinacoteca di Brera, Milan, which dates to the 1540s. These elements appear to draw on works by Titian, such as the Madonna and Child

in the Accademia Carrara, Bergamo, circa 1507 and that in the Metropolitan Museum of Art, New York, circa 1508, indicating his undoubted formative infuence on Romanino. This present composition must have been well-known to Romanino’s followers: as much is clear by the copy that was exhibited during the XXII Mostra

Mercato Antiquari Milanesi in November 1984.

We are grateful to Dr Marco Tanzi for confrming the attribution, on the basis of photographs.

166 No Lot

�

165

SANTI DI TITO (BORGO SANSEPOLCRO 1536-1602 FLORENCE)

The Holy Family

signed and dated ‘Santi di Tito 1561’ (lower right)oil on panel33º x 27Ω in. (85.7 x 70 cm.)in a carved and gilded Florentine frame

£30,000-50,000 $49,000-80,000� Ç38,000-63,000

Schooled under Bronzino and Baccio Bandinelli, Santi di Tito was one of the most accomplished painters and architects in Florence during the latter half of the 16th century. This panel, signed and dated 1561, belongs to his Roman period, where he stayed from 1558 until his return to Florence in 1564. During this spell in Rome, where he notably completed frescoes for rooms in the Vatican, he was deeply influenced by Raphael, whose impact is clear in the graceful classicism of the present lot.

77



Lucien Baszanger, Geneva, by 1953.

E X H I B I T E D :

Delft, Museum Het Prinsenhof, Vijftig werken uit de collectie

Baszanger te Geneve, 1953, as ‘Veronese’.

167

BOLOGNESE SCHOOL, 16TH CENTURY

Portrait of a lady, three-quarter-length, in a red, gold and green dress, her right hand resting on a basket

oil on canvas49Ω x 38æ in. (125.5 x 98.5 cm.)

£40,000-60,000 $65,000-97,000� Ç51,000-76,000

78


168

ALONSO SçNCHEZ COELLO (VALENCIA 1531/2-1588 MADRID)

Portrait of Archduke Wenceslaus of Austria (1561-1578), as a boy, bust-length, in a white doublet and lace collar

oil on canvas17¡ x 13Ω in. (44.2 x 34.2 cm.)

£60,000-80,000 $97,000-130,000� Ç76,000-100,000


F. Mont, New York, by 1950.with Newhouse Galleries, New York, by February 1954, as ‘Philip III’.Anonymous sale [Property from a Spanish Private Collection]; Sotheby’s, London, 8 December 2005, lot 290 (£90,000), when acquired by the present owner.


M. Kusche, Retratos y Retratadores, Alonso

Sánchez Coello, Madrid 2003, p. 322, fg. 281 (with erroneous provenance).

The eleventh child of Maximilian II, Holy Roman Emperor and Maria of Spain, Archduke Wenceslaus of Austria spent his youth in the Spanish court of Philip II, who had married his sister, Ana of Austria. He moved to Madrid with his siblings in 1570, and must have sat to Sánchez Coello for this portrait shortly thereafter; it was presumably commissioned by Ana herself.

Maria Kusche (op. cit.) dates the work to 1571-2, preceding therefore the signed and dated full-length portrait of 1574, showing Wenceslaus aged thirteen, which hangs together with its pendant, a portrait of his elder brother, Archduke Albert (1559-1621), in the Castle of Ambras, Innsbruck.

Sánchez Coello was one of the most renowned portraitists of his time. He served as a court painter to Philip II for over thirty years, from 1555 until 1588, continuing the tradition of Titian and Anthonis Mor (with whom he trained) in producing representations of the Habsburgs. Whilst relatively little is known of his studio practices, and a signifcant amount of his work was lost in the devastating fres at the Royal Palace of El Pardo in 1604 and the Royal Alcázar in 1734, his reputation as a highly skilled portraitist endures.

80


169

CIRCLE OF DIEGO VELçZQUEZ (SEVILLE 1599-1660 MADRID)

Portrait of the Infante Baltasar Carlos (1629-1646), son of King Philip IV of Spain and his wife Isabella of Bourbon, full-length, in armour with a red sash

oil on canvas67æ x 48Ω in. (172.1 x 123.3 cm.)

£60,000-80,000 $97,000-130,000� Ç76,000-100,000


by descent to Maria Ronchi, Bologna, by whom presented to the Cavalieri d’Oro family, circa 1930; Christie’s, London, 2 November 2001, lot 69 (£80,750), when acquired by the late owner.


A.L. Mayer, Velasquez: A catalogue raisonné of

the pictures and drawings, London, 1936, p. 68, no. 286, pl. 109.J. Lopez-Rey, Velasquez: A catalogue raisonné

of his oeuvre, London, 1963, p. 230, no. 31, illustrated, as ‘Workshop of Velasquez, on the basis of photographs’. P.M. Barbi, L’Opera complete di Velasquez, Milan, 1969, p. 100, no 83D, illustrated.

Prince Baltasar Carlos was the only son of Philip IV of Spain by his frst marriage, to Elisabeth of France (Isabel de Borb—n). Though he only lived until he was 16, when he died of smallpox, he was painted on numerous occasions, sitting to both Velázquez (see for example the notable portraits in the Prado, Madrid, showing him on horseback and in hunting attire) and Juan Bautista Martinez del Mazo. August Mayer was the frst to propose that the present picture was possibly connected with a lost original by Velázquez, although he does not exclude that it could also be related to a lost Mazo (loc. cit.).

82

171

ANTIVEDUTO GRAMATICA (SIENA 1571-1627 ROME)


oil on canvas39 x 29√ in. (99 x 75.9 cm.)

£50,000-70,000 $81,000-110,000� Ç64,000-89,000

170

GIOVANNI BATTISTA SALVI, IL SASSOFERRATO (SASSOFERRATO 1609-1685 ROME)

The Madonna adoring the sleeping Christ Child

oil on canvas, oval15 x 17Ω in. (38.1 x 44.4 cm.)

£30,000-50,000 $49,000-80,000� Ç38,000-63,000

170


Anonymous sale [Miss A.C. Rennie]; Christie’s, London, 24 February 1933, lot 119, as ‘Carracci’ (10 gns. to Druits).Anonymous sale; Sotheby’s, London, 12 October 1983, lot 101, as ‘Attributed to Sisto Badalocchio’. Anonymous sale; Sotheby’s, London, 30 November 1983, lot 15, as ‘Antiveduto Gramatica’.


G. Papi, Antiveduto Gramatica, Soncino, 1995, p. 104, no. 36, fg. 22.R. Contini and G. Papi (eds.), Giovanni Serodine (1594/1600-1630) e i

precedenti romani, exhibition catalogue, Lugano, 1993, p. 144.

This work was frst given to Gramatica by Erich Schleier in 1983, after it had passed through sale at Sotheby’s with an attribution to Sisto Badalocchio. Gianni Papi, in his 1995 catalogue (op. cit.), dates the picture to circa 1620, and suggests it was executed later than the other known autograph version of the composition, held at the Residenz Museum, Munich. The present lot is distinguished by the softer modelling of the Madonna’s features and the twisted ribbon around her hair.

171

84


172

ADAM DE COSTER (MECHELEN 1586-1643 ANTWERP)

The Denial of Saint Peter

oil on canvas42º x 60¡ in. (107.3 x 153.3 cm.)

£100,000-150,000 $170,000-240,000� Ç130,000-190,000


with Whitfeld Fine Art, London, where acquired by the present owner in 2004.

By the early 1630s, as Benedict Nicolson notes, Adam de Coster had established himself in Antwerp as a renowned painter of nocturnal scenes, a pictor noctium (B. Nicolson, ‘Notes on Adam de Coster’, Burlington Magazine, CIII, May 1961, p. 186). He is labelled as such in a portrait etching by Sir Anthony van Dyck from 1626, later published in The Iconography. Though no signed or dated pictures have survived, a body of work has been ascribed to de Coster on the basis on the engraving by Lucas Vosterman of a candlelit game of backgammon, a picture that shows his clear debt to Gerrit van Honthorst. De Coster frequently used the trope of the half-masked fame in his compositions, as seen here,

a variation on the single candlelight that was pioneered by Honthorst and found such success amongst northern followers of Caravaggio. Another staging by de Coster of the same subject, in the Koelliker Collection, featuring the same device of the hand masking the fame, was exhibited in the show Caravaggio & His World

(Art Gallery of New South Wales and National Gallery Victoria, 2003-4). Where the latter showed Saint Peter stage left, as the soldiers eavesdrop on his conversation with a maid, as he denies knowing Christ for the frst time, here we see him in full view, making his third and fnal, dramatic denial.

86

~173

LUCA GIORDANO, CALLED FA PRESTO (NAPLES 1634-1705)

The Entombment

oil on glass16æ x 21æ in. (42.5 x 54 cm.)in a South Italian 17th century ebonised frame with tortoiseshell and verre

eglomisé panels

£30,000-50,000 $49,000-80,000� Ç38,000-63,000


Anonymous sale [European Private Collection]; Dorotheum, 13 April 2011, lot 416 (Ç30,800).

Professor Nicola Spinosa and Professor Riccardo Lattuada independently confrmed the attribution to Luca Giordano, after inspection of the original, at the time of the 2011 sale.

87

174

STUDIO OF JUSEPE DE RIBERA, LO SPAGNOLETTO (JçTIVA, VALENCIA 1591-1652 NAPLES)

The Adoration of the Shepherds

with signature, inscription and date ‘Jusepe de Ribera espanol valenciano / F 1633’ (partially strengthened, centre right, on the saddle)oil on canvas, unlined83º x 113 in. (211.5 x 287 cm.)

£30,000-50,000 $49,000-80,000� Ç38,000-63,000

Thought initially to derive from an invention by Ribera, there are at least three other known versions of this composition, the most-discussed of which, of marginally smaller dimensions than the present lot, is held at the Real Academia de Bellas Artes de San Fernando in Madrid. That picture is now attributed to Juan (or Giovanni) Dò, an artist working in Naples in the second quarter of the seventeenth century, and frequently claimed to be the hand behind the body of work currently given to the Master of

the Annunciation to the Shepherds. It was once thought to be by Ribera himself, given its close similarities to the two compositions of the same subject in the Escorial, before being downgraded to a studio copy of a lost original: until the name of Juan Dò was put forward, it was suggested that it might in fact be by Luca Giordano (see A.E. Pérez Sánchez, L’opera

completa del Ribera, Milan, 1978, p. 141, no. 419), and that hypothesis has in fact more recently been reasserted. Indeed, Giordano’s possible authorship of the present work, when he was a young apprentice in Naples, has been proposed by Professor Riccardo Lattuada, acknowledging the proximity of the late production of Ribera and the early works of Giordano. Though it is not certain that Giordano trained under Ribera, the task of distinguishing their hands in some works has proved problematic, as Giordano sought to emulate the latter’s style in the mid-seventeenth century.

*175

BARTOLOMMEO MANCINI (FLORENCE, C.1670-C.1715)

Ecce Homo

oil on copper, oval10¬ x 7√ in. (27 x 20 cm.)

£10,000-15,000 $17,000-24,000� Ç13,000-19,000


John Campell, 2nd Marquess of Breadalbane (1796-1862), Langton Duns, Berwickshire, and by inheritance to, Lt.-Col. The Hon. T.G.B. Morgan-Greenville, D.S.O., O.B.E., M.C.; Christie’s, London, 6 December 1946, lot 6, as ‘Carlo Dolci’ (7 gns. to Dent).Anonymous sale; Sotheby’s, New York, 1 June 1990, lot 65.Property of the Oshkosh Public Museum [Wisconsin, USA], sold to beneft the collections fund for the acquisition and conservation of museum collections; Sotheby's, New York, 6 June 2013, lot 101.


176

JUSTUS VAN HAMME (BRUSSELS 1629/30-AFTER 1657 ROME)

Saints Paul the Hermit and Anthony Abbot

oil on canvas47¡ x 38Ω in. (120.3 x 97.8 cm.)

£20,000-30,000 $33,000-48,000� Ç26,000-38,000


Private collection, Sweden.with Whitfeld Fine Art, London, where acquired by the present owner in 2003.

E X H I B I T E D :

Bath, The Holburne Museum of Art, A Pelican in the Wilderness:

Hermit and Solitude in Art, 2001.

89

177

GIOVANNI ANDREA DE FERRARI (GENOA 1598-1669)

The Sacrifce of Isaac

oil on canvas53 x 67æ in. (134.6 x 172 cm.)

£25,000-35,000 $41,000-56,000� Ç32,000-44,000



90

178

GIOVANNI ANDREA DE FERRARI (GENOA 1598-1669)

Rebecca and Eliezer at the Well

oil on canvas48æ x 78 in. (124 x 198 cm.)

£30,000-50,000 $49,000-80,000� Ç38,000-63,000




R.D., ‘Un dipinto genovese del ‘600’, Arte Figurativa Antica e Moderna, IV, 1956, p. 41.G.V. Castelnovi, ‘Giovanni Andrea de Ferrari’, C. Bozzo Dufor, et al., La

pittura a Genova e in Liguria dal 600 al primo 900, II edition, Genoa, 1987, p. 136.

91

179

PIETRO LIBERI (PADUA 1605-1687 VENICE)

Christ and the Woman taken in Adultery

oil on canvas75æ x 55æ in. (192.4 x 141.7 cm.)

£20,000-30,000 $33,000-48,000� Ç26,000-38,000

The attribution to Liberi has been confrmed by Ugo Ruggeri in a private communication to the vendor.

92

180

BERNARDO POLO (SPANISH, ?-C. 1700 ?)

Foxgloves, a red fritillaria and branches of apples in a vase, with a plate of fsh and apples on a stone ledge; and Irises, snowballs and branches of apples in a glass vase, with an artichoke, asparagus and birds in a woven basket on a stone ledge

oil on canvas, unlined34Ω x 48Ω in. (87.6 x 123.2 cm.) a pair (2)

£70,000-100,000 $120,000-160,000� Ç89,000-130,000

Though he is recorded in his lifetime as a highly skilled still-life painter, renowned in both Zaragoza and Madrid, the discovery of Bernardo Polo’s oeuvre is relatively recent. His hand was only fully recognised in 2009, when a signed picture was discovered in a private collection. It proved that he was, in fact, the same hand previously identifed as the Pseudo-Hiepes (in reference to the still-life painter Tomás Hiepes), a name given to him by Drs William Jordan and Peter Cherry (see W. Jordan, ‘El Pseudo-Hiepes es Bernardo Polo’, Archivo Español de Arte, LXXXII, no. 328, October-December 2009, pp. 395-403). Though he varied his compositional types, they are characterised by a strong sense of symmetry and carefully stylised arrangements, evident here in both pictures, less given to naturalism and more to ornamentation.

93

94

PROPERTY OF THE WILL TRUST OF THE LATE LADY MURIEL BARCLAY-HARVEY (LOTS 181-184)

181

GEORGE ROMNEY (DALTON-IN-FURNESS, LANCS 1734-1802 KENDAL, CUMBRIA)

Portrait of General Albemarle Bertie, 9th Earl of Lindsay (1744-1818), half-length, in the uniform of the Grenadier guards

inscribed ‘ALBEMARLE EARL of LINDSAY’ and with the sitter’s coat of arms and motto ‘VERTUS ARIETE FORTIOR’ (upper left)oil on canvas, unlined35√ x 28 in. (91 x 71 cm.)in a George III Maratta frame

£30,000-50,000 $49,000-80,000� Ç38,000-63,000


By descent through the sitter’s grandson, Montague Peregrine Albemarle, 12th Earl of Lindsey (1861-1938), to his daughter, the late Lady Muriel Barclay-Harvey (1893-1980).


H. Ward and W. Roberts, Romney: A Biographical and Critical Essay with a

Catalogue Raisonné of his Works, London, 1904, II, p. 11.

The artist’s account book, held in the Huntington Library, records Colonel Bertie receiving his Kitcat portrait on 18 August 1784. For a note on the sitter, see lot 184. We are grateful to Alex Kidson for confrming the attribution on the basis of a photograph.

95


182

FRANCIS HAYMAN (?EXETER ?1708-1776 LONDON)

Portrait of Peregrine Bertie, 13th Lord Willoughby de Eresby (1555-1601), full-length, in a black doublet and pantaloons, wearing damascened armour, in a wooded river landscape by a waterfall, with a bridge and a castle beyond

signed[?], inscribed and dated ‘THE RT. HON. PEREGRINE BERTIE LD. WILLOUGHBY / OF ERESBY BORN IN THE CHURCH PORCH OF / ST. WILLEBRODE AT WESEL IN GERMANY OCTR. 12th. 1555 / TAKEN FROM THE ORIGINAL IN THE COLLECTION / OF HIS GRACE THE DUKE OF ANCASTER DECR 1739 / BY FRANCIS HAYMAN’, and with identifying inscription ‘THE RT. HON. PEREGRINE LORD WILLOUGHBY OF ERESBY / FATHER OF ROBERT EARL OF LINDSEY (both lower left), with the sitter’s coat-of-arms and motto ‘LOYALTY ME OBLIGE.’ (twice, lower left) and inscribed ‘AMARE DE LAS DOLCES.’ (centre left) and ‘CONTRA AVENDTIOR’ (upper right), and ‘VBIQVE PEREGRINVS / HIC DOMI.’ (upper right)oil on canvas81Ω x 51¡ in. (207 x 131.4 cm.)in a carved, gilded and pounced frame

£15,000-25,000 $25,000-40,000� Ç19,000-32,000


Probably commissioned by Peregrine Bertie (1709-1777), son of Charles Bertie (d. 1730), of Uffngton House, Lincolnshire, and by descent through his son, Albemarle, 9th Earl of Lindsey (1744-1818), to his grandson, Montague Peregrine Albemarle, 12th Earl of Lindsey (1861-1938), and by descent to his daughter, the late Lady Muriel Barclay-Harvey (1893-1980).


B. Allen, Francis Hayman, New Haven and London, 1987, p. 175, no. 76.

Painted in 1739, this portrait of Peregrine Bertie, 13th Lord Willoughby de Eresby, after the picture in the Ancaster Collection, Grimsthorpe Castle, is one of only two known copies made by Francis Hayman. The sitter was the son of Richard Bertie (1517-1582) and his wife, Katherine, Duchess of Suffolk, daughter of William Willoughby, 11th Baron Willoughby de Eresby, whom she succeeded as 12th Baron in her own right. He was born in Wesel, Cleves, while his parents were in exile during the reign of Mary I, returning to England on Elizabeth I's accession. He married Mary, daughter of John de Vere, 16th Earl of Oxford. Willoughby’s illustrious military career and exceptional powers of leadership on the battle feld were celebrated in contemporary verse, including the ballad of ‘Brave Lord Willoughby’.

96


183

ANGLO-FLEMISH SCHOOL, CIRCA 1630

Portrait of Martha, Countess of Lindsey (1605-1641), full-length, in a brocaded silk petticoat and matching bodice with a black gown, two bands of scalloped fine linen and sleeve ruffles of bobbin lace, wearing feathers in her hair, holding an ostrich feather fan, beside a chair under a red canopy, a landscape beyond

with identifying inscription ‘THE RT. HONLE, THE COVNTESS / OF LINDSEY OF IST. WIFE OF MOVN= / TAGVE EARL OF LINDSEY LORD / GREAT CHAMBERLAIN OF / ENGLAND.’ (centre right)oil on canvas79º x 50¡ in. (201.3 x 128 cm.)in a giltwood and gilt composition frame

£40,000-60,000 $65,000-97,000� Ç51,000-76,000


By descent through the sitter’s ffth son, Charles Bertie (c.1640-1711) of Uffngton House, Lincolnshire, through his great grandson, Albemarle, 9th Earl of Lindsey (1744-1818), to his grandson, Montague Peregrine Albemarle, 12th Earl of Lindsey (1861-1938), and by descent to his daughter,the late Lady Muriel Barclay-Harvey (1893-1980).

Martha, Countess of Lindsey, was the second daughter of William Cockayne (1561-1626), a prominent London merchant, and his wife, Mary Morris. The sitter’s father, who served as Lord Mayor of London from 1619-20, accumulated a vast fortune by exporting cloth to the Baltic states on a considerable scale. Cockayne became an infuential adviser to King James I, to whom he lent money, and who frequently consulted with him both in council and privately. He was buried on 12 December 1626 at St. Paul’s Cathedral and the funeral sermon was delivered by the poet John Donne, Dean of St. Paul’s. Martha, along with her fve sisters, received £10,000 on her father’s death.

In 1624 Martha married John Ramsay, 1st Earl of Holderness (c.1580-1626), the frst favourite of James I after his accession to the throne in 1603. The marriage was childless and Holderness died on 28 February 1626. On 18 April 1627 she married, secondly, Bertie Montague, 2nd Earl of Lindsey (1607/8-1666), with whom she had fve sons and three daughters. A Royalist army offcer, Lindsey attended Charles I during his trial and was one of four peers to accompany the King’s body to its grave at Windsor after his execution. Martha died in July 1641, aged thirty-six.

This portrait would appear to have been painted soon after her second marriage in 1627. The sitter’s beautifully observed dress can be dated to 1628-1631. The paned, ‘double-puff’ sleeve can be compared with that worn by Katherine, Duchess of Buckingham in Honthorst’s group portrait, painted in 1628, of The Duke of

Buckingham and his Family (Royal Collection).

The elaborate sleeve can also be seen in Cornelius Johnson’s portrait, painted in 1631, of Lady Margaret Hungerford (Iveagh Bequest, Kenwood House). The dress in the Kenwood picture can be further compared with that in the present portrait in the blue and gold ribbon bows and girdle.

The seemingly pointed inclusion of a single dead tree in the superbly rendered landscape behind the sitter may be a reference to the deaths of her father and frst husband in 1626.

98


184

SIR THOMAS LAWRENCE, P.R.A. (BRISTOL 1769-1830 LONDON) AND STUDIO

Portrait of General Albemarle Bertie, 9th Earl of Lindsey (1744-1818) and his second wife, Charlotte Susanna Elizabeth (1780-1858), daughter of the Rev. Charles Peter Layard, Dean of Bristol, full-length, he in military uniform, she in a white dress

inscribed ‘WATERLOO’ (centre right, on the book)oil on canvas94 x 55¡ in. (238.8 x 140.6 cm.)

£50,000-80,000 $81,000-130,000� Ç64,000-100,000


By descent through the sitter’s grandson, Montague Peregrine Albemarle, 12th Earl of Lindsey (1861-1938), to his daughter, the late Lady Muriel Barclay-Harvey (1893-1980).


D.E. Williams, Life and Correspondence of Sir

Thomas Lawrence, Kt., London, 1831, II, p. 384.W. Armstrong, Lawrence, London, 1913, p. 149.K. Garlick, ‘Catalogue of the Paintings, Drawings and Pastels of Sir Thomas Lawrence’, Walpole

Society, XXXIX, 1964, p. 126.K. Garlick, Sir Thomas Lawrence, Oxford, 1989, p. 225, no. 495.

The execution of this full-length portrait of General Albemarle Bertie, 9th Earl of Lindsay, and his second wife Charlotte Susanna Elizabeth Layard, is recorded in a letter, dated 25 September 1815, sent by Lawrence from Lord Stewart’s residence in Paris to his studio assistant in London. The letter provides a fascinating insight into the artist’s studio practice whilst he was at work on the frst portraits of the allied leaders who had defeated Napoleon earlier that year, the pictures that would form the nucleus of his celebrated series for the Waterloo Chamber at Windsor. Lawrence implores ‘his coadjutor in his Atelier’ to ‘complete, exactly

according to its present plan, the picture of Lord and Lady Lyndsay [sic.]. I left it in my painting room.’ (Williams, loc. cit.)

Albemarle Bertie was the son of Peregrine Bertie (1709-1779) and his wife, Elizabeth Payne. In 1762 he was commissioned in the 1st Foot Guards, the regiment for which he would later be appointed Colonel in 1781. In 1809, having reached the rank of General, he retired from active service upon inheriting the title of Earl of Lindsey from his third cousin. In 1794 he married Eliza Maria, daughter of William Clay. After Eliza’s death in 1806 he married secondly, in 1809, Charlotte Susannah Elizabeth, daughter of the Very Rev. Charles Peter Layard, Dean of Bristol. The marriage produced a daughter and two sons. The family lived at Uffngton House, South Kesteven, Lincolnshire (fg. 1), which was later destroyed by fre in 1904.

Fig. 1 Uffngton House, Lincolnshire © England's Lost Country Houses - www.lostheritage.org.uk

100

185

SIR PETER LELY (SOEST, WESTPHALIA 1618-1680 LONDON)

Portrait of Anne de Laune, née Sandys (b. 1634), half-length, in a blue dress; and Portrait of Abraham de Laune (1629-1709), half-length, in black

oil on canvas, oval21√ x 16√ in. (55.6 x 42.8 cm.) a pair (2)

£15,000-20,000 $25,000-32,000� Ç19,000-25,000


By descent in the sitters’ family to Alvred Faunce de Laune (†); Christie’s, London, 20 November 1964, lot 35 (90 gns.)

Abraham de Laune was the son of Gideon Delaune (1564/5-1659), the eminent Huguenot physician and theologian, and his wife Judith Chamberlain. The sitter’s father was appointed apothecary for Anne of Denmark, James I’s queen, some time between 1606 and 1610. Gideon was also one of the foremost members of the Huguenot immigrant community in the capital, which gathered together in the autonomous French church in Threadneedle Street, London. Abraham married Anne Sandys, the daughter of Edwin Sandys of Northbourne Court, Kent. They lived at Sharstead Court, Newnham, Kent.


186

TOBIAS STRANOVER (SIBU 1684-AFTER 1731 LONDON)

Roses, carnations, morning glories and flowers in a parcel-gilt vase, a nautilus shell goblet, a parcel-gilt two handled cup and porringer, strawberries on a tazza with other utensils with a green parrot and chaffinch on a partly draped stone ledge

signed ‘T. Stranover f’, (lower left)oil on canvas54√ x 46¡ in. (149.6 x 117.7 cm.)in an English 18th century carved giltwood frame

£50,000-70,000 $81,000-110,000� Ç64,000-89,000


with Simon Dickinson, London.

Stranover was born in Sibiu, the wine-growing capital of central Romania, situated in the northern foothills of the Transylvanian Alps. He travelled to Hamburg and Dresden and fnally settled in England, where he married Elizabeth Bogdani, the daughter of the painter Jakob Bogdani. Bogdani, who had arrived in England in 1684, studied many exotic species of bird in Admiral George Churchill’s aviary at Windsor, as well as from stuffed models in his own studio. Repeated use of the same fruits and bird species in the two artists’ pictures suggests close collaboration on a number of occasions, or perhaps even a shared studio. Bogdani left all his bird models, with his house and contents at Finchley, to Stranover and his wife in his will dated 18 September 1723.

186

102

PROPERTY OF A LADY (187, 201 & 202)

187

PETER TILLEMANS (ANTWERP 1684-1734 NORTON)

A view of Greenwich, with riders and other fgures in the foreground, the Observatory to the left on One Tree Hill, the Thames and London in the distance

oil on canvas40Ω x 48æ in. (102.9 x 123.7 cm.)in an English 18th century carved giltwood frame

£50,000-80,000 $81,000-130,000� Ç64,000-100,000


Jacob Pleydell-Bouverie, 2nd Earl of Radnor (1750-1828).Major W.F. Batt; Sotheby’s, London, 19 July 1972, lot 75 (£6,500 to the following),with Leggatt, London.


R. Raines, ‘Peter Tillemans, Life and Work, with a list of representative paintings’, in Walpole

Society, XLVII, 1978-1980, p. 53, no. 52.

E N G R A V E D :

J. Wood.

This view of Greenwich, taken from the East, is dominated by Greenwich Hospital and The Queen’s House which are at the centre of the composition. On the far left is the Royal Observatory, perched on One Tree Hill, built by Sir Christopher Wren for John Flamsteed, the frst Astronomer Royal, between 1675 and 1676. In the distance, on the opposite side of the Thames, lies the City of London with the elegant spires of its post Great Fire churches, dominated by St. Paul’s Cathedral.

Greenwich Palace and park had become Crown property at the Reformation and became the favourite residence of the Tudor Monarchs. In 1605 King James I settled the park and Palace on his wife, Anne of Denmark, for whom Inigo Jones built the Queen’s House which was completed in 1635. Unlike most Crown lands,

Greenwich was not sold after the Civil War, but was retained to become the residence of the ‘Protector’, and following the Restoration King Charles II planned the construction of an impressive New Palace on the site as well as improvements to the Park; only one wing of the New Palace was completed before funds ran out in 1669. After the ‘Glorious Revolution’ Queen Mary decided that the project on which King Charles II had embarked should be completed to provide the Royal Naval Hospital for disabled seamen. The buildings were designed by Wren, with Hawksmoor as his assistant, and completed by Vanburgh. In this picture King William’s Block of the Hospital, built between 1698 and 1723, appears to be near completion, but there is no sign of the dome over the Chapel which was completed sometime after 1716.

188

JEAN-BAPTISTE VAN LOO (AIX-EN-PROVENCE 1684-1745)

Portrait of a lady, traditionally identifed as Margaret “Peg” Woffngton (1720-1760), half-length, in a blue dress with lace wrap, cuffs and bonnet, behind a stone ledge with a bird’s cage

oil on canvas36 x 27√ in. (91.2 x 70.8 cm.)in a contemporary carved giltwood frame

£15,000-20,000 $25,000-32,000� Ç19,000-25,000


F. Hanbury Williams (†); Christie’s, London, 17 March 1888, lot 44 (45 gns. to the following), with Colnaghi, London.Major-General Sir John Hanbury-Williams, by 1940, and by descent to the present owner.

E X H I B I T E D :

Belfast, Ulster Museum, An Exhibition of Portraits of Great Irishmen and

Women, 24 June-24 July 1965, no. 239.


W.J. Lawrence, ‘The Real Peg Woffngton’, The Connoisseur, VIII, January-April 1904, p. 42, illustrated. Major-General Sir John Hanbury-Williams, ‘Peg Woffngton and her portraits’, The Connoisseur, CVI, December 1940, p. 227, illustrated.J. Kerslake, National Portrait Gallery: Early Georgian Portraits, London, 1977, pp. 313-4, as ‘identifed as Peg on insuffcient evidence’.

The sitter has traditionally been identifed as the celebrated actress Margaret (Peg) Woffngton. Born in Dublin, Peg attracted attention on account of her beauty when still a child, and at the age of ten she was already acting with the Dublin Lilliputian company in the role of Polly Peachum in a production of The Beggar's Opera. Her frst important role was as Ophelia in a production at the Smock Alley Theatre in Dublin in 1737 which was followed by one of her greatest roles as Sir Harry Windair in Farquhar's Constant Couple which in 1740 led to her engagement by John Rich for Covent Garden. At Drury Lane and Covent Garden she played several Shakesperian roles and performed opposite Garrick in King Lear and Richard III, with whom she had a well publicised affair. Ill-health however forced her to quit the stage in 1757.

105

PROPERTY OF A LADY

189

THOMAS HUDSON (DEVON 1701-1779 TWICKENHAM)

Portrait of Thomas Braddyll (d. 1776), three-quarter-length, in Van Dyck costume, his right hand resting on a plumed hat on a table

oil on canvas50º x 40¿ in. (127.6 x 102 cm.)in a contemporary carved giltwood frame

£20,000-30,000 $33,000-48,000� Ç26,000-38,000


by descent through the family of the sitter to the present owner.

The sitter was the son of Dodding Braddyll, M.P., of Conishead Priory, Cumbria. Thomas was appointed High Sheriff of Lancashire in 1762, but died, unmarried, four years later, leaving Conishead to Wilson Gale (1756-1818), his frst cousin once removed. Wilson, who changed his name to Gale-Braddyll, was a signifcant patron of Hudson’s pupil, Sir Joshua Reynolds. Reynolds’s group portrait of The Braddyll Family, painted in 1789, is now in the Fitzwilliam Museum, Cambridge, and that of Wilson’s wife, Jane, executed the previous year, can be found in the Wallace Collection, London.

106

190

GEORGE SMITH OF CHICHESTER (CHICHESTER C. 1714 - 1776)

A wooded river landscape with an angler on a bridge and fgures resting on the bank, ruins on the hills beyond

signed and dated ‘Geo: Smith / 1769.’ (lower right)oil on canvas40¿ x 50 in. (101.7 x 127 cm.)

£20,000-30,000 $33,000-48,000� Ç26,000-38,000

*191

THOMAS HUDSON (DEVON 1701-1779 TWICKENHAM)

Portrait of Joseph van Aken (1709-1749), half-length, in a blue jacket and a fur hat, holding a palette, his right arm resting on a canvas

oil on canvas32Ω x 27æ in. (82.5 x 70.5 cm.)

£15,000-25,000 $25,000-40,000� Ç19,000-32,000


(Possibly) The artist’s sale, Messrs. Langford, London, 3 March 1779, lot 18.John Lane (1854-1925), The Bodley Head, Vigo Street, London (†); Sotheby’s, London, 1 July 1925, lot 117.Sir George Sutton, Bt.


C.H. Collins-Baker, ‘Notes on some Portraits in Mr John Lane’s Collection’, The Cononoisseur, XLVIII, July 1917, p. 130.E. G. Miles, in the exhibition catalogue Thomas Hudson 1701-1779, Portrait

painter and collector. A bicentenary exhibition, London, 1979, under no. 37.

E N G R A V E D :

John Faber, mezzotint.

190

107

This highly engaging portrait of Joseph van Aken, the artist who acted as Thomas Hudson's drapery painter during the 1640s when he was establishing his reputation as the leading portraitist in London, has not been seen in public since the Lane sale in 1925 and constitutes an exciting rediscovery.

Collins Baker, who saw the picture when it was still in the collection of the publisher, John Lane, observed that it is 'an unusually vivacious and un-Hudson-like instance of his portraiture', and praised the work for being 'alive with character and individuality' (loc. cit.). There is a palpable sense of Hudson untethering himself from the normal restraints of commissions and the expectations of his sitters. The portrait, which is a rare example of Hudson experimenting with his technique whilst revealing the artist's interest in Rembrandt, is not the usual half or three-quarter-length pose and the contrasts of tone

are greater than is usually encountered in his work. Van Aken is shown holding his brushes and palette with his arm resting on a primed canvas in a gesture that recalls Rembrandt's self-portrait aged thirty-four (London, National Gallery), a work in which the Dutch master shows his sumptuously Titian-like sleeve resting on a stone parapet.

After his arrival in England in circa 1720 van Aken spent the next decade painting genre works in the Flemish tradition, conversation pieces, and contemporary London scenes, achieving some success with the latter. In the following decade he abandoned independent work and took employment as a drapery painter for other artists, including Joseph Highmore, Allan Ramsay and Hudson. Such was the level of success he attained in this capacity that it lead Horace Walpole to famously declare 'As in England almost everybody's picture is painted, so almost every

painter's works were painted by Vanaken' (H. Walpole, Anecdotes of Painting in England, London, 1786, reprinted 1871, p. 354).

This portrait, which appears to have been painted towards the end of van Aken's life was seen by George Vertue when still in Hudson's possession. Vertue recalls the picture as being 'painted mighty well and very like him' and describes the sitter as 'a man of good compleaxion [sic.] a good round fatt [sic.] face and shortish stature, a small cast with one eye' ('Vertue Note Books, Volume III', Walpole Society, XII, Oxford, 1934, p. 150). Hudson was a joint executor of the sitter's will along with Allan Ramsay. His younger brother Alexander van Aken (d. 1736) was employed by Hudson as a drapery painter after Joseph's death. Portraits of Alexander by Hudson are in the National Portrait Gallery, London, and The Yale Center for British Art.

191

108

192

THOMAS JONES (TREVONEN, POWYS 1742-1803 PENCERRIG, POWYS)

A wooded river landscape at dusk with Alpheus and Arethusa in the foreground

oil on canvas54 x 77 in. (137.3 x 195.6 cm.)

£40,000-60,000 $65,000-97,000� Ç51,000-76,000


Richard Grosvenor, 1st Earl Grosvenor (1731-1802); Christie’s, London, 24 June 1772, lot 81, as ‘Joners [sic.] Mortimer’ (4 gns. to the following),Sir Charles Watson, 1st Bt. (1751-1844).Anonymous sale; Christie’s, London, 6 February 1802, lot 61, as ‘Alpheus and Arethusa, in a landscape, which Picture gained the Premium at the Arts and Sciences’ .George Kinnaird, 7th Lord Kinnaird (1754-1805); (†) Christie’s, London, 7 May 1806 (= 3rd day), lot 59, (8 gns. to Wade).Anonymous sale [The Property of a Gentleman, Removed from his Seat in the Country]; Christie’s, London, 18 November 1809, lot 80, as ‘A capital landscape with Alpheus and Arethusa’.

E X H I B I T E D :

London, Society of Artists, 1769, no. 73, as ‘A sunset, with the story of Alpheus and Arethusa’, with its pendant ‘A land-storm, with the story of of Dido and Aeneas’.


A.P. Oppé (ed.), ‘Memoirs of Thomas Jones’, Walpole Society, XXXII, 1946-48, pp. 12 and 19.

Last seen in public at the time of the 1809 sale at Christie’s, and unavailable to recent scholars of Thomas Jones’ work, this impressive landscape constitutes an important rediscovery and is a fne example of the artist’s early work. Painted in 1767, the picture won frst premium for landscape painting at the Society of Artists that year and was later bought by Richard, 1st Earl of Grosvenor, along with its pendant, A Land Storm, with the Story of Dido and

Aeneas (1769; St. Petersburg, Hermitage Museum), a work that was one of the artist’s most celebrated during his lifetime.

Described by the artist as a ‘most faring Sun Set’ (A.P. Oppé, op. cit., p. 14), Jones records the story of his winning the premium and the ensuing commission to paint a pendant landscape in his Memoirs: ‘The large picture which won the frst premium in 1767, still remained unsold – the size of it, 6 feet 4 Inches by four feet 6 Inches – being much too inconvenient for the generality of Purchasers – So I was glad to accept of the proposal of a Picture–dealer, to paint a Companion of the same size and take 50 Guineas for the pair –

accordingly in March last I began the Picture (a Storm) which was now fnished, and in which my friend Mortimer had introduced the Story of Dido and Æneas retiring to the Cave from Virgil – This was one of the best pictures I ever painted, and attracted much attention’ (ibid., p.19).

An engraving entitled The Travellers Repose

by James Peake (published in 1784) shows the landscape in the present work depicted in reverse. However, rather than including the fgure of Alpheus in pursuit of Arethusa, Peake has abandoned the Ovidian story in favour of a more bucolic scene.

We are grateful to Dr. Greg Smith for confrming the attribution to Thomas Jones on the basis of photographs and for his assistance with this catalogue entry.

110

193

DAVID MORIER (BERNE C. 1705-1770 LONDON) AND STUDIO

Equestrian portrait of King George II (1683-1770), in a red velvet coat with gold embroidery, in a landscape with a military camp and infantry beyond

oil on canvas50 x 40 in. (127 x 101.6 cm.)

£20,000-30,000 $33,000-48,000� Ç26,000-38,000


Anonymous sale; Christie’s, London, 16 June 2005, lot 219 (£38,400), when acquired by the present owner.

This portrait relates to Morier’s equestrian portrait of King George II in the Royal Collection. The original version was painted circa 1745 and was probably presented by King George II to Charles Watson-Wentworth, 2nd Marquess of Rockingham.

111

194

STUDIO OF ALLAN RAMSAY (EDINBURGH 1713-1784 DOVER)

Portrait of King George III (1738-1820), full-length, in robes of state, his crown on a cushion on a table beside him; and Portrait of Queen Charlotte (1744-1818), full-length, in robes of state, in front of a richly carved and gilded chair decorated with the crown, sceptres, cipher and royal supporters, her left hand resting on her crown

oil on canvas97 x 63Ω in. (246.5 x 161.3 cm.) a pair (2)

£30,000-50,000 $49,000-80,000� Ç38,000-63,000


Anonymous sale [G. Oliver & Sons]; Christie’s, London, 15 February 1957, lot 103 (145 gns. to the following),Anonymous sale [V.L. Sanderson]; Christie’s, London, 5 April 1957, lot 117 (100 gns. to Wiggins).


A. Smart, Allan Ramsay, A Complete Catalogue of his Paintings, J. Ingamells, ed., New Haven and London, 1999, p. 120, nos. 192ew and 192ex, under ‘Undated versions’.

The present portraits are versions of Ramsay’s celebrated portrait types of King George III and Queen Charlotte, of which the prime originals are respectively in the Royal Collection (see O. Millar, Later Georgian Pictures

in the Collection of Her Majesty the Queen, London, 1969, I, p. 95, no. 996); and in the Schloss Wilhelmshöhe, Kassel.

112

PROPERTY OF A PRIVATE COLLECTOR

195

NICHOLAS THOMAS DALL (ACTIVE 1748-1776 LONDON)

A view of Eshott Hall, North Yorkshire, with anglers on the River Aire

indistinctly signed and dated ‘N.T. Dall 177[?]’ (lower left)oil on canvas45 x 65æ in. (114 x 167.5 cm.)

£10,000-15,000 $17,000-24,000� Ç13,000-19,000


Acquired in the late 1980s by the current owner.

196

ENGLISH SCHOOL, CIRCA 1820

Head studies

inscribed with the artist’s palette notes (upper right)oil on canvas24 x 20 in. (61 x 50.7 cm.)

£10,000-15,000 $17,000-24,000� Ç13,000-19,000

195

196

113

197

MASON CHAMBERLAIN (1727–1787 LONDON)

Portrait of George Lindsay-Crawford, 21st Earl of Crawford (1728-1781), full-length, seated on a bank, holding a gun, with his sons

signed and dated ‘Chamberlain pinxt / 1775’ (lower left)oil on canvas60º x 72 in. (153 x 182.8 cm.)

£30,000-50,000 $49,000-80,000� Ç38,000-63,000


By descent through the sitter’s family to,The Rt. Hon. The Earl of Crawford and Balcarres, removed from Haigh Hall, Wigan; Christie’s, London, 11 October 1946, lot 47 (unsold);Christie’s, London, 28 March 1947, lot 66 (31 gns. to Ellis & Smith?).Messrs. Hutchinson & Co. (Publishers) Ltd.; Christie’s, London, 20 July 1951, lot 83.

E X H I B I T E D :

London, Royal Academy, 1775, no. 59, ‘Portraits of a nobleman and his sons; whole lengths’.London, Colnaghi, The British Face, A View of Portraiture 1625-1850, 19 February-29 March 1986, no. 29.

This portrait of the Earl of Crawford with his sons in a landscape displays the vogue for informal portraiture during the 1770s, a genre which arguably began with works such as Gainsborough's depiction of John

Plampin (c.1752; London, National Gallery) and reached its zenith at the beginning of the following decade with Joseph Wright of Derby's celebrated portrait of Sir Brooke Boothby (1781; London, Tate Gallery).

114

198

SIR WILLIAM BEECHEY, R.A. (BURFORD, OXFORDSHIRE 1753-1839 LONDON)

Portrait of Miss Hadfeld, full-length, in a white dress with a blue ribbon and hat, with a spaniel in a park landscape

oil on canvas94º x 58º in. (239.5 x 148 cm.)

£20,000-30,000 $33,000-48,000� Ç26,000-38,000


Acquired from F.B. Henson for £1,200, by the following,Michael Arthur Bass, 1st Lord Burton (1837-1909), by 1896, by whom hung in the Morning Room at Rangemore Hall, Burton-on-Trent, and by descent to,The Right Hon. Baroness Burton, Needwood House, Burton-on-Trent; Christie’s, London, 4 May 1951, lot 44 (170 gns. to Valero).Anonymous sale; Sotheby’s, New York, 23 January 2003, lot 255 ($33,600), when acquired by the present owner.

E X H I B I T E D :

London, Royal Academy, 28th exhibition, 1796, no. 158.


Catalogue of the pictures forming the collection

of The Right Hon. Lord Burton, at Rangemore

Hall, Burton-on-Trent, London, 1904, p. 3.W. Roberts, Sir William Beechey, R.A., London, 1907, p. 48.

Roberts notes that the sitter in this portrait is 'probably Amelia Caroline, daughter of General White, and wife of Joseph Hadfeld, Esq., of Broad Street, London a merchant to whom she was married at Low Layton, Essex, on June 16, 1795' (loc. cit.).

115

199

JACOB MORE (EDINBURGH 1740-1793 ROME)

A view of Lake Albano, near Rome, with fgures resting in the foreground, Castel Gandolfo beyond

signed and dated ‘JACOB MORE pinxit / ROME. 1778’ and inscribed ‘VIEW of the LAKE of ALBANO’ (lower centre)oil on canvas57√ x 80º in. (149.5 x 203.7 cm.)

£50,000-80,000 $81,000-130,000� Ç64,000-100,000


Poynder family, Hilmarton, and by descent to the late husband of the following, Anonymous sale; Sotheby’s London, 5 June 2008, lot 46, when acquired by the present owner.

E X H I B I T E D :

London, Society of Artists, 1777, no. 81.

In this captivating landscape, depicting the diminishing evening light across Lake Albano, Jacob More displays the exceptional talent that earned him the accolade amongst contemporaries as ‘without doubt the fnest landscape-painter in the world‘ (D. Irwin, ‘Jacob More, Neo-Classical Landscape Painter‘, The Burlington Magazine, 114, no. 836, November 1972, p. 775). The golden hue presiding over the landscape with More’s peaceful fgures settling in the fore endow this scene with calmness and serenity.

Scottish-born More, who passed most of his adult life in Italy, earning himself the sobriquet ‘More of Rome‘, was patronised by such distinguished fgures as Prince Rezzonico, and Prince Marcantonio Borghese. His work was known to fetch higher prices than those of Claude, and he could number Goethe and Sir Joshua Reynolds among his admirers.

116

201


200

BEN MARSHALL (SEAGRAVE, LEICESTERSHIRE 1768-1835 LONDON)

A white setter in a landscape by a gateway

signed and dated ‘B Marshall / 1802’ (centre right)oil on canvas17 x 20¬ in. (43.2 x 52.4 cm.)

£15,000-25,000 $25,000-40,000� Ç19,000-32,000


Mrs. R. Montgomerie Charrington; Christie’s, London, 2 April 1965, lot 29 (780 gns. to the following),with Agnew’s, London.


201

JOHN FERNELEY (THRUSSINGTON 1782-1860 MELTON MOWBRAY)

A saddled hunter in a stable yard, a wooded landscape beyond

signed, inscribed and dated ‘J. Ferneley / Melton Mowbray / 1829’ (lower right)oil on canvas34º x 42º in. (87 x 107.3 cm.)

£15,000-25,000 $25,000-40,000� Ç19,000-32,000


Sir Walter Gilbey, 1st Bt. (1831-1914).with Leger, London, 1954.

E X H I B I T E D :

Kingston-upon-Hull, Ferens Art Gallery, Sporting

Pictures, June 1949, no. 60.

117


202

JOHN FERNELEY (THRUSSINGTON 1782-1860 MELTON MOWBRAY)

Portrait of Mr. White, on a hunter with hounds, a groom holding another mount to the left

signed and dated ‘J. Ferneley / Melton Mowbray / 1816’ (lower left)oil on canvas34Ω x 46Ω in. (87.6 x 118 cm.)

£30,000-50,000 $49,000-80,000� Ç38,000-63,000


with Ehrich-Newhouse Galleries, New York, 1935.Anonymous sale [William de Krafft, Heronden Hall, Tenterden, Kent]; Christie’s, London, 6 November 1959, lot 121 (900 gns. to Ackermann).


Major Guy Paget, The Melton Mowbray of John Ferneley (1782-1860), Leicester, 1931, p. 128, no. 51, as ‘Mr White, 1816, Portrait of Himself and Two Horses’.

Although this picture has traditionally been thought to show Captain John White, Master of the Cheshire Hunt from 1841-1855, the date of 1816 would suggest the sitter is more likely to be ÒMelton White”, a ‘patron of Ferneley during his frst years at Melton’ (Paget, op. cit., p. 28). This may well be the J. White Esq., for whom Ferneley painted a horse portrait the following year (ibid., p. 129, no. 78) and two further portraits in 1828 (ibid., p. 135, no. 254).

118

203

VIVIANO CODAZZI (BERGAMO C. 1604-1670 ROME)

An architectural capriccio with Helen leaving for Troy; and An architectural capriccio with Achilles amongst the daughters of King Lycomedes

oil on canvas, unlined37√ x 52º in. (96 x 132.5 cm.) a pair (2)

£60,000-80,000 $97,000-130,000� Ç76,000-100,000


Anonymous sale; Christie’s, Paris, 22 June 2006, lot 27 (Ç72,000), when acquired by the present owner.

Viviano Codazzi stages here two key episodes from the Iliad, the frst showing the departure of Helen, wife of Menelaus, for the city of Troy, the moment that triggered the Trojan war. The second shows the incident when Thetis, the mother of Achilles, knowing that he would be killed if he

fought in the war, disguised him as a young woman and entrusted him to the care of King Lycomedes, with whose daughters he lived. Odysseus, who had been sent by the Greeks to fnd the young hero, placed a sword, spear and shield amongst gifts ostensibly for the King’s daughters. Whilst the girls chose more feminine objects for themselves, Achilles instinctively picked up the arms, thereby revealing his true identity.

Professor David Marshall confrmed the attribution of the works on the basis of photographs, at the time of the Paris sale (written communication 2006), dating the pair to the 1660s. The double arch of the frst picture, he noted, is inspired by architectural designs by Giacomo Lauro, published in Antiquae Urbis Splendor, while the architecture in the background of the second is an adaptation of the Porta del Popolo, Rome, which was frequently depicted by Codazzi.

119

120

204

GIOVANNI ANTONIO FUMIANI (VENICE C. 1645-1710)

Rebecca at the well

oil on canvas, unframed67 x 113 in. (170.2 x 287 cm.)

£50,000-80,000 $81,000-130,000� Ç64,000-100,000



Born in Venice, Giovanni Antonio Fumiani received his artistic training in Bologna, in the studio of the quadraturista Domenico degli Ambrogi (1600-1678), before returning to his native city in 1668. His work was informed by the strong classicising strain of the Bolognese school, ultimately deriving from the Carracci, together with an interest in the lively colouring and decorative spirit that were essential to the Veronesian revival towards the end of the seventeenth century, infuences that can

be detected in the present lot. His greatest achievement was the remarkable decoration of the ceiling in San Pantalon, Venice, a tour de force of sotto in sù illusionistic painting: such was its vast scale, the project took some twenty years to complete, beginning in 1684 and fnishing in 1704.

We are grateful to Professor Ugo Ruggeri for confrming the attribution, on the basis of photographs.

122

205

GIOVANNI GIROLAMO BONESI (BOLOGNA 1653-1725)

A sibyl with a putto holding a scroll; The Samian Sibyl; The Persian Sibyl; and A sibyl with a putto holding a book

the second inscribed ‘SIB: / SAMIA’ (lower right); the third inscribed ‘SIB: PERSICA’ (lower left) and ‘[VIR]GINE MATRE SATVS...’ (centre, on the scroll) oil on canvas, unframed104¡ x 67 in. (265.2 x 170 cm.) a set of four (4)

£80,000-120,000 $130,000-190,000� Ç110,000-150,000


Palazzo Aldrovandi Montanari, Bologna.

We are grateful to Professor Daniele Benati for proposing the attribution to Giovanni Girolamo Bonesi on the basis of photographs. To date there is little published work on Bonesi, who was a pupil of Giovanni Maria Viani (1636-1700), though pictures by him can be seen in the Ritiro San Pellegrino, Bologna and in the church of the Gesù in Cingoli, in the Marches, where he was commissioned to paint the altarpiece with Saint Teresa of Ávila. This monumental set of sibyls, which once formed part of the decoration of Palazzo Aldrovandi Montanari in Bologna, hanging either side of the scala monumentale, show the influence of Lorenzo Pasinelli in the drawing of their faces, and in their grandeur they echo the previous generation of Bolognese masters, notably Domenichino and Guercino.

123

124

206

MICHELE ROCCA (PARMA ?1666-IN OR AFTER 1751 ?VENICE)

Bacchus and Ariadne; and Daphnis and Chloe

oil on canvas11Ω x 28º in. (29.2 x 72 cm.) a pair (2)

£10,000-15,000 $17,000-24,000� Ç13,000-19,000


F. Hanbury Williams, Coldbrook Park, Monmouthshire (†); Christie’s, 17 March 1888, lot 15, as 'Amiconi' [sic.] (7 gns. to the following),with Agnew’s, London, where probably acquired by the family of the present owner.

E X H I B I T E D :

London, Heim Gallery, Baroque Art for The Collector, 7 November-23 December 1969, nos. 25 and 26, as ‘Jean Baptiste van Loo’.

125

207

STUDIO OF LUCA GIORDANO, CALLED FA PRESTO (NAPLES 1634-1705)

Rinaldo and Armida

oil on canvas, unframed88 x 116 in. (223.5 x 294.6 cm.)

£20,000-30,000 $33,000-48,000� Ç26,000-38,000


Anonymous sale [The Property of a Lady]; Sotheby’s, London, 1 November 2001, lot 38 (£29,250), when acquired by the present owner.

126

208

FRANÇOIS DE TROY (TOULOUSE 1645-1730 PARIS) AND JEAN-FRANÇOIS DE TROY (PARIS 1679-1752)

Allegory of Peace and Abundance

oil on canvas78√ x 76√ in. (200.3 x 195.7 cm.)

£100,000-150,000 $170,000-240,000� Ç130,000-190,000


Probably painted for the Hôtel de Ville, Paris, in 1716.Anonymous sale; Hôtel Drouot, Paris, 16 December 1981, lot 22, as ‘J-F de Troy’.with Didier Aaron, New York and Paris.Private collection, USA, from 2000.

E X H I B I T E D :

New York, French Consulate, on loan, 1992.


A.J. Le Roux de Lincy, Hôtel de Ville de Paris, Paris, 1844, part II, p. 22, no. 80.J. Guiffrey, ‘Commande de tableaux pour la décoration de l’Hôtel de Ville de Paris aux peintres Largillierre, Dieu, Dumesnil, et Louis de Boullogne 1702-1716’, Nouvelles Archives de l’Art Français, 1886, II, pp. 93 and 96-7.A. de Champeaux, L’art décoratif dans le vieux

Paris, Paris, 1898, p. 207.L. Lambeau, L’Hôtel de Ville depuis les origines

jusqu’en 1871, Paris, 1920, p. 46.G. Brire, M. Dumolin and P. Jarry, Les tableaux de

l’Hôtel-de-Ville de Paris, Paris, 1937, p. 35.Paul Detroy, Une famille de peintres au XVIIme et

au XVIIIme siècles - Les Detroys, Algiers University, unpublished Ph.D. dissertation, 1955, p. 4.D. Brème, François de Troy (1645-1730): dessins

et peintures, exhibition catalogue, 1997, Musée Paul-Dupuy, pp. 69-71.K. Serre, Ces Messieurs de Ville: étude des

portraits offciels des échevins parisiens de 1606-

1716, unpublished MA thesis, Université de Paris IV-Sorbonne, I, pp. 187-189, and II, pp. XXXV and CIX.C. Leribault, Jean-François de Troy (1679-1752), Paris, 2002, p. 234, no. P.57.

From soon after its reappearance at auction in 1981, Allegory of Peace and Abundance has been associated with a very large allegorical painting commissioned from François de Troy by the City of Paris in 1716 to commemorate the Peace of Utrecht, in which a series of international treaties negotiated by representatives of Louis XIV had brought

to an end the devastating War of the Spanish Succession three years earlier. The City Council ordered the painting as a decoration for the Hôtel de Ville, to honour Louis XIV (who had died only a few months earlier) and its own members; it was to depict ‘magistrates of the City of Paris complimenting the King on the Peace of Utrecht with the appropriate Ornaments and Allegories (for the Salledite

des Colonels)’ and de Troy was to be paid 6000 livres for the undertaking, which was to measure 6 pieds, 2 pouces by 17 pieds, 5 pouces (approximately 188 x 530 cm.). A sketch was prepared (now lost), but nothing further is known of the project, and no more detailed description of the composition survives. Indeed, Karen Serres (op.cit.) has noted that the painting went unmentioned in the numerous contemporary guides to Paris, and it would not be certain that it had ever been completed were it not for a single remark by Dezallier d’Argenville in his ‘Life of François de Troy’ (published in 1762) which refers to the artist’s Promulgation of the Peace of Utrecht made for the Hôtel deVille, a work that he said dated from 1719 and had, by the time of his writing, already been removed from the building.

It is probable that the Allegory of Peace and

Abundance is an enormous fragment from de Troy’s painting, the only surviving piece from the Hôtel de Ville composition. Although it is less than half the width that it would have been originally, its height is exactly as commissioned, indicating that it has not been reduced vertically. On the banks of the Seine, a single life-sized fgure of a beautiful young woman combines the attributes of Peace and Abundance: dressed in white, with a crown of entwined olive branches in her hair, she lowers her faming torch to set fre to a military drum and pieces of armour, indicating that an era of peace has begun; under her left arm she holds a cornucopia overfowing with the fruits of Abundance, which shower themselves upon the River God below. Above them, a fying fgure

of Fame announces the arrival in Paris of Peace and Abundance; across the river is visible the Ile de la Cité, Notre-Dame Cathedral, the palace of the Archbishop and the Pont du Double (the latter two monuments gone since the late 18th century). As the fgures of Peace, Abundance and Fame, look resolutely to the left, we can presume that what remains of the original composition is the right-hand side; the missing left section would almost certainly have depicted the Provost and twelve city aldermen standing in front of the Hôtel de Ville, with Peace and Fame paying them homage. An oval area of repaint on the lower part of the stone column behind Peace might cover what had once been a representation of a sculpted bas-relief of the recently deceased king, as Christophe Leribault ingeniously hypothesized (op.cit.).

Although the commission was given to François de Troy, who almost certainly planned its design, it is obvious from looking at the surviving painting that the actual execution was handed over almost entirely to François’s immensely talented son, Jean-François de Troy. Few of the great History painters of eighteenth-century France have a painting style as distinctive as that of the younger de Troy and, as Leribault has observed, the fgures in the present painting are almost identical in conception and handling as those found in mythologies securely attributed to the young artist, such as the Apollo and

Daphne in The Hermitage, St. Petersburg (Leribault P.80) and Pan and Syrinx in the J. Paul Getty Museum, Los Angeles (Leribault P.81). As Leribault notes, confusions have arisen over authorship of the various parts of the fnal commission given by the Ville de Paris to François de Troy in 1725, in which father and son were to once again collaborate. In any event, it is quite possible that François’s hand would have been more evident in the now lost, left-side of the present 1716 composition, which would have consisted largely of portraiture, his principal speciality.

128

209

FRANÇOIS LEMOYNE (PARIS 1688-1737)

La fécondité, in a sculpted oval

oil on canvas23æ x 28Ω in. (60.3 x 72.4 cm.)

£25,000-35,000 $41,000-56,000� Ç32,000-44,000


with Chaplin, 88 New Bond Street, London.Lady Juliet Duff, née Lowther (1881-1965), by 1948.Sir Robert Bland Bird, 2nd Bt. (1876-1960), by inheritance to,Pamela Stephanie Helen Bird, Viscountess de Mauduit.The Property of the late Sir Robert Bird; Sotheby’s, London, 6 July 1966, lot 29.with Arthur de Heuvel, Brussels.

E X H I B I T E D :

Colnaghi, Exhibition of Paintings by Old Masters, July 1948, no. 13.Geneva, Musée d’art et d’histoire, on loan, 1963.

L I T E R A T U R E

J-L. Bordeaux, François Le Moyne and his

Generation. 1688-1737, Paris, 1984, p. 115, under no. 77.

This composition repeats a fgural group from the important canvas by Lemoyne, Louis XV

Giving Peace to Europe, painted in 1729 for the Salon de la Paix in Versailles. There are numerous studio versions and copies of the current picture, most of similar dimensions, but ours must be the one sold at Sotheby’s in July 1966, as part of the property of the late

Sir Robert Bland Bird, 2nd Bt. Labels on other pictures from the same group offered in that sale match those on the reverse of the present lot: one is a loan label of the Musée d’art et d’histoire in Geneva from 1963, which indicates it belonged to the ‘Collection de Mauduit’; this refers to Sir Robert’s only daughter, Pamela Bird, who had married Alain de Mauduit, Vicomte de Kervern. In his 1984 volume, Jean-Luc Bordeaux listed the present picture amongst the several versions then known, noting it had been part of the collection of Juliet Duff, daughter of the 4th Earl of Lonsdale. In the catalogue, and on the Witt library card, the picture is incorrectly listed as being on panel.

The picture’s early provenance, however, is as yet unresolved. Differentiating the many copies - their authorship and history – is problematic. But our picture is distinguished by its sculpted oval surround: there is only one other known version with this feature, a work of slightly larger dimensions, previously with the Galerie Heim-Gairac, Paris and at the Château de Sauvage, Yvelines. This added invention suggests both pictures may have been designed as overdoors. A further possible clue to the early provenance of the present lot, or the Heim-Gairac picture, comes from a catalogue, published in 1807,

which features engravings of works forming part of the Stroganoff collection (Collection

d’estampes d’après quelques tableaux de la

Galerie de Son Exc. Mr Le Comte A. Stroganoff, St. Petersburg, 1807). It includes an engraving of the composition in question with the same oval surround: like the present lot, the oval is trimmed on all sides, and the measurements of the Stroganoff picture - ‘deux pieds et demi de haut, sur trois pieds un pouce deux lignes de large’ (ibid.) – match closely. The one obvious difference is the laurel wreath she wears in her hair in the engraving, absent at frst glance from the our picture. On close inspection, however, the outline of the laurel can in fact be made out: it must have either been removed or possibly overpainted at a later date. This would tend to suggest that either the present lot or the Heim-Gairac picture may once have been part of the Straganoff collection. We are grateful to Jean-Luc Bordeaux for his assistance in cataloguing the present lot, which he believes, on the basis of photographs, includes some studio assistance.

130

n210

RUSSIAN SCHOOL, CIRCA 1840

Portrait of Jean-Laurent Mosnier (1743/4-1808), full-length, seated, with his daughters, in his studio, a portrait said to be of Tsar Peter the Great in uniform beyond

oil on canvas, unlined47º x 36¿ in. (120 x 91.8 cm.)

£15,000-25,000 $25,000-40,000� Ç19,000-32,000


The Saint Petersburg Drawing School, no. 139 (according to a label on the reverse), before 1917.Private collection, Germany, until acquired by the present owner in 2013.

E X H I B I T E D :

The Saint Petersburg Drawing School, Saint Petersburg, circa 1840-1917.

This unlined canvas is an exciting rediscovery from amongst the dispersed collections of the Saint Petersburg Drawing School, one of the Imperial Russian capital’s most distinguished artistic institutions during the creative heyday of the nineteenth century. It would appear to be the work of an as yet unidentifed Russian artist, whose name may however emerge through further archival research. The Drawing School was founded in 1839 to nourish high artistic standards in Russia, a role it continued to provide

until the end of the Russian Empire in 1917. Students were encouraged to copy works from the Imperial Hermitage and the Academy of Fine Arts, and one such student must have created the present work on the basis of Jean-Laurent Mosnier’s magisterial, large-scale self-portrait (230 x 175 cm.), which was then in the collections of the Academy, having been presented by Tsar Nicholas I in 1832. In 1922 it was allocated to the State Hermitage Museum, where it is still prized as a treasure of the French School, inv. no. GE3699.

The French painter Jean-Laurent Mosnier was appointed Peintre de la Reine to Marie-Antoinette in 1776 and a full member of the Académie Royale in 1788. He fed Paris for London in 1790 after the outbreak of the French Revolution, living in England and Germany for a decade before before settling, in 1801, in Saint Petersburg, where he became Court Painter to the Tsarina. Accepted into the Academy in 1802, he was professor from 1806. The autograph version of this composition is dated 1786, and an energetically painted preparatory study (The Minneapolis Institute of Arts, Bruce B. Dayton Fund) must be of the same date. It has been suggested that the portrait in the background of both the present work and the prototype is one of Tsar Peter the Great, which may indicate that Mosnier was already courting Russian Imperial patronage as early as fve years before his arrival in Russia.

131

PROPERTY FROM A DISTINGUISHED CORPORATE COLLECTION

211

AGUSTÍN ESTEVE Y MARQUES (VALENCIA 1753-1820 MADRID)

Portrait of King Charles IV (1788-1808), half-length, in a red coat and waistcoat with silver embroidery and a blue sash, wearing the Order of the Golden Fleece; and Portrait of Maria Luisa of Parma, Queen consort of Spain (1751-1819), half-length, in a blue embroidered dress with lace cuffs and a plumed lace bonnet, holding a fan

oil on canvas41Ω x 33¿ in. (105.4 x 84.2 cm.) a pair (2)

£30,000-50,000 $49,000-80,000� Ç38,000-63,000

132

PROPERTY FROM THE DESCENDANTS OF THE BARONS NATHANIEL AND ALBERT VON ROTHSCHILD

213

JEAN-BAPTISTE GREUZE (TOURMUS 1725-1805 PARIS)

Portrait of an offcer of Dragoon Regiment No. 12 of the French army, half-length, in uniform, wearing the Order of Saint Louis

oil on canvas, oval24æ x 19Ω in. (62.8 x 50.2 cm.)

£40,000-60,000 $65,000-97,000� Ç51,000-76,000

We are grateful to Edgar Munhall for confrming the attribution to Jean-Baptiste Greuze on the basis of photographs. He dates the work to an early phase of the artist’s career, between 1757 and 1765, given the close similarities to other portraits of that period, particularly in the rendering of the lace. On this, Greuze advised the young portraitist Joseph Ducreux: ‘nempastés jamais vos dentelles ni vos gazes’ (E. de Goncourt, L’art du

dix-huitième siècle, I, Paris, 1880, p. 298, n.1). The present picture can be compared to other half-lengths by Greuze, such as the portraits of Louis Gougenot, abbé de Chezal-Beno”t (Dijon, Musée des Beaux-Arts), Johann Georg Wille (Paris, Institut de France, Musée Jacquemart-André), which is signed and dated 1763, and George Gougenot de Croissy (Brussels, Musée des Beaux-Arts).

We are also grateful to Andrew Cormack for identifying the regiment and dating the uniform to circa 1760-70.

212

212

ALEXANDER ROSLIN (MALMÖ 1718-1793 PARIS)

Portrait of Adrien Jacques Puissant (1699-1782), half-length, in a red velvet coat with gold buttons and a lace cravat

signed and dated ‘Pt. par le Chev: Roslin / 1780.’ (lower right)oil on canvas31æ x 25Ω in. (80.5 x 64.8 cm.)

£20,000-30,000 $33,000-48,000� Ç26,000-38,000


Anonymous sale; Sotheby’s, Monaco, 26 June 1983, lot 506 (FF50,000).Anonymous sale; Bruun Rasmussen Auctioneers, Copenhagen, 23 February 1999, lot 270 (DKK 170,000).

E X H I B I T E D :

Paris, Salon, 1781, no. 5.


O. Levertin, Niklas Lafrensen, Stockholm, 1899, p. 153.G.W. Lundberg, Roslin: Liv och Verk, Malmö, 1957, I, pp. 212 & 310, III, p. 95, no. 528.

134

214

HENDRICK FRANS VAN LINT, LO STUDIO (ANTWERP 1684-1763 ROME)

The Colosseum, Rome, with the Arch of Constantine and fgures in the foreground; and The ruins of the Basilica of Maxentius, Rome, with elegant fgures in the foreground

the former signed ‘FH van Lint ft’ (‘FH’ linked, lower left); the latter signed ‘FH van Lint f’ (‘FH’ linked, lower right) oil on canvas13æ x 18¿ in. (30.5 x 46 cm.) a pair (2)

£40,000-60,000 $65,000-97,000� Ç51,000-76,000


Acquired by Francis Mills in the 1860s, and by descent to,John Mills, Bisterne, and by descent.

Born in Antwerp, Hendrik Frans van Lint worked under Pieter van Bredael before settling in Rome in 1710, where he established himself as a leading painter of vedute, acquiring the nickname ‘Lo Studio’. He played a prominent role in artistic life in Rome, where he lived on the via Babuino, collaborating with eminent artists of the time and becoming a member of the schildersbent, a group of northern painters in the city. He also joined the Congregazione Artistica dei Virtuosi al Pantheon from 1744, before being elected Rector in 1755.

These serene views capture an atmosphere of bucolic ease, with cattle grazing and elegant company conversing, in the shadow of Rome’s iconic ancient monuments: the Colosseum, in early evening sunlight, is seen from the south, from a point near the Celio, with the Arch of Constantine to the left, while the Basilica of Maxentius is seen from a standpoint slightly further northwest, inside the Forum itself.

135

136

215

CARLO BONAVIA (ACTIVE NAPLES 1751-1788)

An Italianate landscape, with fshermen on the shore and other fgures resting by a natural arch, at sunset; and A rocky Italianate landscape, with fgures unloading a ship and others resting on the shore by a villa, at sunrise

oil on canvas17æ x 29¡ in. (45 x 74.6 cm.) a pair (2)

£40,000-60,000 $65,000-97,000� Ç51,000-76,000


with Conaghi, London, by 1953.Anonymous sale; Christie’s, Rome, 1 June 1999, lot 739 (125,600,000 ITL).Anonymous sale; Christie’s, Milan, 25 November 2011, lot 43 (Ç76,400), when acquired by the present owner.


Art Quarterly, Spring 1959, nos. 19 and 21, fg. 14.

137

138

PROPERTY FROM AN IMPORTANT EUROPEAN COLLECTION (LOTS 217 & 219)

217

ATTRIBUTED TO THE MASTER OF THE LANGMATT FOUNDATION VIEWS, APOLLONIO DOMENICHINI? (ACTIVE VENICE C. 1740-1770)

The Piazzetta, Venice, with the Libreria, the entrance to the Grand Canal with the Dogana and Santa Maria della Salute; and The Piazzetta, Venice, with the Libreria, elegant company conversing by the columns of San Marco and San Teodoro, looking south towards San Giorgio Maggiore

oil on canvas21¡ x 31Ω in. (54.1 x 80 cm.) a pair (2)

£40,000-60,000 $65,000-97,000� Ç51,000-76,000


Anonymous sale; Christie’s, London, 28 July 1924, lot 177, as ‘Canaletto’. Anonymous sale; Sotheby’s, London, 26 April 2001, lot 118, as ‘ Venetian School, circa 1750’ (£42,000).

216

*216

NICOLA GRASSI (FORMEASO DI ZUGLIO, UDINE 1682-1748 VENICE)

Study of a bearded man, wearing a skull-cap

oil on canvas20¬ x 16º in. (52.4 x 41 cm.)

£12,000-18,000 $20,000-29,000� Ç16,000-23,000

217

140

218

THE MASTER OF THE LANGMATT FOUNDATION VIEWS, APOLLONIO DOMENICHINI? (ACTIVE VENICE C. 1740-1770)

The Grand Canal, Venice, looking towards Santa Maria della Salute and the Punto della Dogana; and The Grand Canal, Venice, looking east with the Scuola della Carità

oil on canvas17√ x 28¬ in. (44.5 x 72.8 cm.) a pair (2)

£30,000-40,000 $49,000-64,000� Ç38,000-51,000

141

PROPERTY FROM AN IMPORTANT EUROPEAN COLLECTION (LOTS 217 & 219)

219

FRANCESCO TIRONI (C. 1745-1797 VENICE)

The Bucintoro at the Molo, Venice, on Ascension Day

oil on canvas21¬ x 31¿ in. (54.7 x 80 cm.)

£30,000-50,000 $49,000-80,000� Ç38,000-63,000


Anonymous sale; Sotheby’s, London, 8 December 2005, lot 366 (£36,000), when acquired by the present owner.

END OF SALE

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143

Important Notices and Explanation of Cataloguing Practice

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

Christie’s catalogues include references to condition only in descriptions of multiple works (such as prints, books and wine). For all other property, only alterations or replacement components are listed. Please contact the Specialist Department for a condition report on a particular lot. The nature of the lots sold in our auctions is such that they will rarely be in perfect condition, and are likely, due to their nature and age, to show signs of wear and tear, damage, other imperfections, restoration or repair. Any reference to condition in a catalogue entry will not amount to a full description of condition. Condition reports are usually available on request, and will supplement the catalogue description. In describing lots, our staff assess the condition in a manner appropriate to the estimated value of the item and the nature of the auction in which it is included. Any statement as to the physical nature or condition of a lot, in a catalogue, condition report or otherwise, is given honestly and with appropriate care. However, Christie’s staff are not professional restorers or trained conservators and accordingly any such statement will not be exhaustive. We therefore recommend that you always view property personally, and, particularly in the case of any items of significant value, that you instruct your own restorer or other professional adviser to report to you in advance of bidding.

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,

30/09/14

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 familiarise 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.

RECENT CHANGES TO IMPORTS OF

ELEPHANT IVORY AND OTHER WILDLIFE

MATERIAL INTO THE USA

The USA has recently changed its policy on the import of property made of or containing elephant ivory. Only Asian Elephant ivory may be imported into the USA, and imports must be accompanied by DNA analysis and confirmation the object is more than 100 years old. We have not obtained a DNA analysis on any lot prior to sale and cannot indicate whether the elephant ivory in a particular lot is African or Asian elephant. Buyers purchase these lots at their own risk and will be responsible for the costs of obtaining any DNA analysis or other report required in connection with their proposed import of such property into the USA.

The USA is also currently requiring all imports of property made of or containing wildlife material to be accompanied by a scientific confirmation of species and in some cases an additional confirmation of age. We have not obtained such confirmations prior to sale (unless specifically indicated) and buyers will be responsible for the costs of any such additional confirmations or opinions required for their proposed import into the USA.

A buyer’s inability to export or import any lot containing elephant ivory or other wildlife material is not a basis for cancelling the purchase.

POST 1950 FURNITUREAll items of post-1950 furniture included in this sale are items either not originally supplied for use in a private home or now offered solely as works of art. These items may not comply with the provisions of the Furniture and Furnishings (Fire) (Safety) Regulations 1988 (as amended in 1989 and 1993, the “Regulations”). Accordingly, these items should not be used as furniture in your home in their current condition. If you do intend to use such items for this purpose, you must first ensure that they are reupholstered, restuffed and/or recovered (as appropriate) in order that they comply with the provisions of the Regulations.

EXPLANATION OF

CATALOGUING PRACTICE

The following expressions with their accompanying explanations are used by Christie’s as standard cataloguing practice. Our use of these expressions does not take account of the condition of the lot or of the extent of any restoration.

FOR PAINTINGS, PRINTS AND

WORKS OF ART

A work catalogued with the name(s) or recognised designation of an artist or maker, without any qualification, is, in our opinion, a work by the artist or maker. In other cases, the following words or expressions, with the following meanings are used:

Buyers are recommended to inspect the property themselves. Written condition reports are usually available on request.

“Attributed to …”

In our opinion probably a work by the artist or maker in whole or in part.

“Circle of …”

In our opinion a work of the period of the artist or maker and showing his influence.

“Manner of …”

In our opinion a work executed in the style of the artist or maker but of a later date.

“After …”

In our opinion a copy of any date of a work of the artist or maker.

“Signed …”/“Sealed …”/

Has a signature/seal which in our opinion is that of the artist

“With signature …”/ “With seal …”/

Has a signature/seal which in our opinion is not that of the artist

“Dated …”

Is so dated and in our opinion was executed at about that date.

“With date …”/

Is so dated but was not in our opinion executed at that date.

FOR PORCELAIN AND CERAMICS

(a) A piece catalogued with the name of a period, reign or dynasty without further qualification was, in our opinion, made during or shortly after that period, reign or dynasty (e.g. “a Ming vase”)

(b) A piece catalogued “in the style of ” a period, reign or dynasty is in our opinion, quite possibly a copy or imitation of pieces made during the named period, reign or dynasty (e.g. “a vase in Ming style”)

(c) A reference to a “mark and of the period” means that, in our opinion, the piece is of the period of the mark (e.g. “Kangxi six-character mark and of the period”).

(d) A reference to a mark without reference to “and of the period” means that, in our opinion, although bearing the mark, the pieces were possibly not made in the period of the mark (e.g. “Kangxi six-character mark”).

(e) Where no date, period, reign or mark is mentioned, the lot is, in our opinion, of uncertain date or 19th or 20th century manufacture.

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Buying at Christie’s

20/11/13

CONDITIONS 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 V50,000, 20% of the excess of the hammer price above V50,000 and up to and including V1,000,000 and 12% of the excess of the hammer price above V1,000,000. Exceptions: Wine and Cigars: 17.5% of the final bid price of each lot. VAT is 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 photo 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.% For other business structures such as trusts, offshore companies or partnerships, please contact Christie’s Credit Department at + 44 (0)20 7839 2825 for advice on the information you should supply.% A financial reference in the form of a recent bank statement or a reference from your bank in line with your expected purchase level. Christie’s can supply a form of wording for the bank reference if necessary.% 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 authorisation 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 auction. Clients who have not made a purchase from any Christie’s office within the last one year, and those wishing to spend more than on previous occasions, will be asked to supply a new bank reference. For assistance with references, please contact Christie’s Credit Department at +44 (0)20 7389 2862 (London, King Street) or at +44 (0)20 7752 3137 (London, South Kensington). We may at our option ask you for a financial reference or a deposit as a condition of allowing you to bid.

REGISTERING TO BID ON SOMEONE ELSE’S BEHALFPersons bidding on behalf of an existing client should bring a signed letter from the client authorising 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 sale-room, 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 BIDSAbsentee bids are written instructions from prospective buyers directing Christie’s to bid on their behalf up to a maximum amount specified for each lot. Christie’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 cannot be accepted for lots estimated below V2,000. Arrangements must be confirmed with the Bid Department at least 24 hours prior to the auction at +44 (0)20 7389 2658 (London, King Street) or +44 (0)20 7752 3111 (London, South Kensington). 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 conversation.

SUCCESSFUL BIDSWhile Invoices are sent out by mail after the auction we do not accept responsibility for notifying you of the result of your bid. 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 VAT.

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 London may be paid for in the following ways: wire transfer, credit card: Visa and MasterCard & American Express only (up to V25,000), and cash (up to V5,000 (subject to conditions)), bankers draft (subject to conditions) or cheque (must be drawn in GBP on a UK bank; clearance will take 5 to 10 business days). Wire Transfers: Lloyds TSB Bank Plc City Office PO Box 217 72 Lombard Street, London EC3P 3BT A/C: 00172710 Sort Code: 30-00-02 for international transfers, SWIFT LOYDGB2LCTY. For banks asking for an IBAN: GB81 LOYD 3000 0200 1727 10. Credit Card: Visa and MasterCard & American Express only A limit of V25,000 for credit card payments will apply. This limit is inclusive of the buyer’s premium and any applicable taxes. Credit card payments at London sale sites will only be accepted for London sales. Christie’s will not accept credit card payments for purchases made in any other sale site. The fax number to send completed CNP (Card Member not Present) authorisation forms to is +44 (0) 20 7389 2821. The number to call to make a CNP payment over the phone is +44 (0) 20 7752 3388. Alternatively, clients can mail the authorisation form to the address below. Cash is limited to V5,000 (subject to conditions). Bankers Draft should be made payable to Christie’s (subject to conditions).Cheques should be made payable to Christie’s (must be drawn in GBP on a UK bank, clearance will take 5 to 10 business days).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, Cashiers’ Department, 8 King Street, St James’s, London, SW1Y 6QTPlease direct all inquiries to King Street Tel: +44 (0) 20 7389 2996 Fax: +44 (0) 20 7389 2863 or South Kensington Tel: +44 (0) 20 7752 3138 Fax: +44 (0) 20 7752 3143

VATºVAT payable at 20% on hammer price and buyer’s premium* These lots have been imported from outside the EU for sale using a Temporary Import regime. Import VAT is payable (at 5%) on the Hammer price. VAT is also payable (at 20%) on the buyer’s Premium on a VAT inclusive basis. This VAT is not shown separately on the invoice. When a buyer of such a lot has registered an EU address but wishes to export the lot or complete the import into another EU country, he must advise Christie’s immediately after the auction.Ω

These lots have been imported from outside the EU for sale using a Temporary Import regime. Import VAT is payable (at 20%) on the Hammer price. VAT is also payable (at 20%) on the buyer’s Premium on a VAT inclusive basis. This VAT is not shown separately on the invoice. Where applicable Customs duty will be charged (per rate specified by HMRC guidance) on the Hammer price and VAT will be payable at 20% on duty. When a buyer of such a lot has registered an EU address but wishes to export the lot or complete the import into another EU country, he must advise Christie’s immediately after the auction.α �Buyers�from�within�the�EU:�

VAT payable at 20% on just the buyer’s premium (NOT the hammer price). Buyers�from�outside�the�EU:�VAT payable at 20% on hammer price and buyer’s premium. If a buyer, having registered under a non-EU address, decides that the item is not to be exported from the EU, then he should advise Christie’s to this effect immediately

q Zero rated No VAT charged.

(no symbol) Auctioneers’ Margin Scheme In all other circumstances no VAT will be charged on the hammer price, but VAT payable at 20% will be added to the buyer’s premium which is invoiced on a VAT inclusive basis.Wine�Auctions

‡ This wine is in bond. You can choose to take the wine in bond or duty paid. See the additional conditions of sale relating to wine for further details.

VAT�RefundsRefunds cannot be made where lots have been purchased with an inside EU address. Christie’s can only refund Import VAT (Lots with * or Ωsymbol) if lots are exported within 30 days of collection. Valid export documents must be returned within the stipulated time frame. No refund will be paid out where the total amount is less than V100. UK & EU private buyers cannot reclaim VAT. Christie’s will charge V35 for each refund processed. For detailed information please see the leaflets available, or email [email protected] non-EU buyers have failed to export their lots outside of the EU within the required time, HM Revenue & Customs will not allow a VAT refund to be made. This is a requirement of UK legislation and Christie’s do not have discretion to make exceptions to the rule. UK and EU private buyers cannot reclaim any VAT charged.

ARTIST’S RESALE RIGHT (“DROIT DE SUITE”)If a lot is affected by this right it will be identified with the symbol λ next to the lot number. The buyer agrees to pay to Christie’s an amount equal to the resale royalty. Resale royalty applies where the Hammer Price is 1,000 Euro or more and the amount cannot be more than 12,500 Euro per lot. The amount is calculated as follows:

Royalty For the portion of the Hammer Price (in Euro) 4.00% up to 50,000 3.00% between 50,000.01 and 200,000 1.00% between 200,000.01 and 350,000 0.50% between 350,000.01 and 500,000 0.25% in excess of 500,000

Invoices will, as usual, be issued in Pounds Sterling. For the purposes of calculating the resale royalty the Pounds Sterling/Euro rate of exchange will be the European Central Bank reference rate on the day of the sale.

SHIPPINGIt 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. Buyers should request an estimate for any large items or property of high value that require professional packing. A shipping form is enclosed with each invoice, alternatively buyers can visit www.christies.com/shipping to request a shipping estimate. For more information please contact the Shipping Department at +44 (0)20 7389 2712 or via [email protected] for both London, King Street and London, South Kensington sales.

EXPORT OF GOODS FROM THE EUIf you are proposing to take purchased items outside the EU the following applies:Christie’s�Art�Transport:�If you use Christie’s Art Transport you will not be required to pay the VAT at the time of settlement.Christie’s�VAT�authorised�Shipper:If you use a Christie’s VAT authorised shipper you will not be required to pay the VAT at the time of settlement.Own�Shipper:VAT will be charged on the invoice, refundable by the VAT Department upon receipt of the appropriate official documents sent to us by your shipper.Hand-Carried:VAT will be charged on the invoice.This will be refunded by the VAT Department upon receipt of the appropriate official document.*, Ωor ºStarred, Omega or Daggered lots – A C88 can be obtained from Christie’s Shipping Department .This document must be stamped by UK Customs on leaving the UK.(no symbol)Margin Scheme lots – Please obtain GB Tax Free form from the Cashiers. This document must be stamped by UK Customs on leaving the UK.Starred or Omega lots must be exported within 30 days of the date of collection. All other lots not subject to import VAT must be exported within three months of collection, and proof of export provided in the appropriate form

EXPORT/IMPORT PERMITSBuyers should always check whether an export licence is required before exporting. It is the buyer’s sole responsibility to obtain any relevant export or import licence. The denial of any licence or any delay in obtaining licences shall neither justify the rescission of any sale nor any delay in making full payment for the lot.Christie’s can advise buyers on the detailed provisions of the export licensing regulations and will submit any necessary export licence applications on request. However, Christie’s cannot ensure that a licence 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. For more information, please contact Christie’s Shipping Department at +44 (0)20 7389 2828 or the the Museums, Libraries and Archives Council: Acquisitions, Export and Loans Unit at +44 (0)20 7273 8269/8267.

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Storage and Collection

28/10/14

CADOGAN TATE LTD’S WAREHOUSE

241 Acton Lane,

Park Royal,

London NW10 7NP

Telephone: +44 (0)800 988 6100

Email: [email protected]

POST-WAR & CONTEMPORARY ART

To avoid waiting times on collection, we kindly advise you to contact our Post-War & Contemporary Art dept 24 hours in advance on +44 (0)20 7389 2958

BOOKS

Please note that all lots from book department sales will be stored at Christie’s King Street for collection and not transferred to Cadogan Tate.

TRANSFER, STORAGE & RELATED CHARGES

CHARGES PER LOT FURNITURE / LARGE OBJECTS PICTURES / SMALL OBJECTS

1-28 days after the auction Free of Charge Free of Charge

29th day onwards:

Transfer V70.00 V35.00

Storage per day V5.25 V2.65

Transfer and storage will be free of charge for all lots collected before 5.00 pm on the 28th day following the auction. Thereafter the charges set out above will be payable. These charges do not include: a) the Extended Liability Charge of 0.6% of the hammer price, capped at the total of all other charges b) VAT which will be applied at the current rate

EXTENDED LIABILITY CHARGE

From the day of transfer of sold items to Cadogan Tate Ltd, all such lots are automatically insured by Cadogan Tate Ltd at the sum of the hammer price plus buyer’s premium. The Extended Liability Charge in this respect by Cadogan Tate Ltd is 0.6% of the sum of the hammer price plus buyer’s premium or 100% of the handling and storage charges, whichever is smaller.

Christie’s Fine Art Storage Services

(CFASS) also offers storage solutions for fine art, antiques and collectibles in New York and Singapore FreePort. CFASS is a separate subsidiary of Christie’s and clients enjoy complete confidentiality. Visit www.cfass.com for charges and other details.

STORAGE AND COLLECTION

All furniture and carpet lots (sold and unsold)

not collected from Christie’s by 9.00 am

on the day following the auction will be

removed by Cadogan Tate Ltd to their warehouse at: 241 Acton Lane, Park Royal, London NW10 7NP Telephone: +44 (0)800 988 6100 Email: [email protected] at King Street lots are available for collection on any working day, 9.00 am to 4.30 pm. Once transferred to Cadogan Tate lots will be available for collection from the first working day following the day of their removal from King Street, 9.00 am to 5.00 pm Monday to Friday.To avoid waiting times on collection at Cadogan Tate, we advise that you contact Cadogan Tate directly, 24 hours in advance, prior to collection on +44 (0)800 988 6100.

PAYMENT

Cadogan Tate Ltd’s storage charges may be paid in advance or at the time of collection. Lots may only be released from Cadogan Tate Ltd’s warehouse on production of the ‘Collection Order’ from Christie’s, 8 King Street, London SW1Y 6QT. The removal and/or storage by Cadogan Tate of any lots will be subject to their standard Conditions of Business, copies of which are available from Christie’s, 8 King Street, London SW1Y 6QT. Lots will not be released until all outstanding charges due to Christie’s and Cadogan Tate Ltd are settled.

146

Conditions of Sale

These Conditions of Sale and the Important Notices and Explanation of Cataloguing Practice set out the terms governing the legal relationship of Christie’s and the seller with the buyer. You should read them carefully before bidding.

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. CATALOGUE DESCRIPTIONS AND

CONDITIONLots are sold as described and otherwise in the condition they are in at the time of the sale, on the following basis.

(a) ConditionThe nature of the lots sold in our auctions is such that they will rarely be in perfect condition, and are likely, due to their nature and age, to show signs of wear and tear, damage, other imperfections, restoration or repair. Any reference to condition in a catalogue entry will not amount to a full description of condition. Condition reports are usually available on request, and will supplement the catalogue description. In describing lots, our staff assess the condition in a manner appropriate to the estimated value of the item and the nature of the auction in which it is included. Any statement as to the physical nature or condition of a lot, in a catalogue, condition report or otherwise, is given honestly and with appropriate care. However, Christie’s staff are not professional restorers or trained conservators and accordingly any such statement will not be exhaustive. We therefore recommend that you always view property personally, and, particularly in the case of any items of significant value, that you instruct your own restorer or other professional adviser to report to you in advance of bidding.

(b) Cataloguing PracticeOur cataloguing practice is explained in the Important Notices and Explanation of Cataloguing Practice, which appear after the catalogue entries.

(c) Attribution etcAny statements made by Christie’s about any lot, whether orally or in writing, concerning attribution to, for example, an artist, school, or country of origin, or history or provenance, or any date or period, are expressions of our opinion or belief. Our opinions and beliefs have been formed honestly and in accordance with the standard of care reasonably to be expected of an auction house of Christie’s standing, due regard having been had to the estimated value of the item and the nature of the auction in which it is included. It must be clearly understood, however, that, due to the nature of the auction process, we are unable to carry out exhaustive research of the kind undertaken by professional historians and scholars, and also that, as research develops and scholarship and expertise evolve, opinions on these matters may change. We therefore recommend that, particularly in the case of any item of significant value, you seek advice on such matters from your own professional advisers.

(d) EstimatesEstimates 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.

(e) Fitness for PurposeLots sold are enormously varied in terms of age, category and condition, and may be purchased for a variety of purposes. Unless otherwise specifically agreed, no promise is made that a lot is fit for any particular purpose.

3. AT THE SALE(a) Refusal of admissionChristie’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 biddingProspective 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. Prospective buyers must complete and sign a registration form with his or her name and permanent address, and provide identification before bidding. We may require the production of bank details from which payment will be made or other financial references.

(c) Bidding as principalWhen 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 bidsWe 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 provided that we have exercised reasonable care in the handling of written bids, the volume of goods is such that we cannot accept liability in any individual instance for failing to execute a written bid or for errors and omissions in connection with it arising from circumstances beyond our reasonable control.

(e) Telephone bidsIf a prospective buyer makes arrangements with us prior to the commencement of the sale we will use reasonable efforts to contact them to enable them to participate in the bidding by telephone but we do not accept liability for failure to do so or for errors and omissions in connection with telephone bidding arising from circumstances beyond our reasonable control.

(f) Currency converterAt some auctions a currency converter may be operated. Errors may occur in the operation of the currency converter. Where these arise from circumstances beyond our reasonable control we do not accept liability to bidders who follow the currency converter rather than the actual bidding in the saleroom.

(g) Video or digital imagesAt some auctions there may be a video or digital screen. Errors may occur in its operation and in the quality of the image. We do not accept liability for such errors where they arise for reasons beyond our reasonable control.

(h) ReservesUnless 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.

(i) Auctioneer’s discretionThe auctioneer has the right to exercise reasonable discretion in refusing any bid, advancing the bidding in such a manner as he may decide, withdrawing or dividing any lot, combining any two or more lots and, in the case of error or dispute, and whether during or after the sale, determining the successful bidder, continuing the bidding, cancelling the sale or reoffering and reselling the item in dispute. If any dispute arises after the sale, then, in the absence of any evidence to the contrary the sale record maintained by the auctioneer will be conclusive.

(j) Successful bid and passing of riskSubject to the auctioneer’s reasonable 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 premiumIn addition to the hammer price, the buyer agrees to pay to us the buyer’s premium together with any applicable value added tax. The buyer’s premium is 25% of the final bid price of each lot up to and including V50,000, 20% of the excess of the hammer price above V50,000 and up to and including V1,000,000 and 12% of the excess of the hammer price above V1,000,000. Exceptions: Wine and Cigars: 17.5% of the final bid price of each lot, VAT is payable at the applicable rate.

(b) Artist’s Resale Right (“Droit de Suite”)If the Artist’s Resale Right Regulations 2006 apply to the lot the buyer also agrees to pay to us an amount equal to the resale royalty provided for in those Regulations. Lots affected are identified with the symbol λ next to the lot number.

(c) Payment and ownershipThe buyer must pay the full amount due (comprising the hammer price, buyer’s premium and any applicable taxes or resale royalty) immediately after the sale. This applies even if the buyer wishes to export the lot and an export licence 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.

09/08/13

147

(d) Collection of purchasesWe 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 performed any other outstanding obligations as we, in 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 two calendar days from the date of the sale unless otherwise agreed between us and the buyer.

(e) Packing, handling and shippingAlthough we shall use reasonable efforts to take care when handling, packing and shipping a purchased lot and in selecting third parties for these purposes, we are not responsible for the acts or omissions of any such third parties. Similarly, where we suggest other handlers, packers or carriers if so requested, our suggestions are made on the basis of our general experience of such parties in the past and we are not responsible to any person to whom we have made a recommendation for the acts or omissions of the third party concerned.

(f) Export licenceUnless otherwise agreed by us in writing, the fact that the buyer wishes to apply for an export licence does not affect his or her obligation to make payment immediately after the sale nor our right to charge interest or storage charges on late payment. If the buyer requests us to apply for an export licence 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 licence is required.

(g) Remedies for non paymentIf the buyer fails to make payment in full in good cleared funds within 7 days after the sale, we shall have the right to exercise a number of legal rights and remedies. These include, but are not limited to, the following: (i) to charge interest at an annual rate equal to 5%

above the base rate of Lloyds TSB Bank Plc;(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 reasonable 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.

(h) Failure to collect purchasesWhere purchases are not collected within two calendar days from the date of the sale, whether or not payment has been made, we shall be permitted to remove the property to a third party warehouse at the buyer’s expense, and only release the items after payment in full has been made of removal, storage, handling, and any other costs reasonably incurred, together with payment of all other amounts due to us.

(i) Selling Property at Christie’sIn addition to expenses such as transport, 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. LIMITED WARRANTYIn addition to Christie’s liability to buyers set out in clause 2 of these Conditions, but subject 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 recognised 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.

6. 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.

7. 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.

8. 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 England. 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 the United Kingdom.

05/01/10

148

• DENOTES SALEROOM ENQUIRIES— Call the Saleroom or Office EMAIL— [email protected]

For a complete salerooms & offices listing go to christies.com

AUSTRIA

VIENNA

+43 (0)1 533 8812

Angela Baillou

BELGIUM

BRUSSELS

+32 (0)2 512 88 30

Roland de Lathuy

DENMARK

COPENHAGEN

+45 3962 2377

Birgitta Hillingso

(Consultant)

+ 45 2612 0092

Rikke Juel Brandt

(Consultant)

FINLAND AND THE

BALTIC STATES

HELSINKI

+358 (0)9 608 212

Barbro Schauman

(Consultant)

FRANCE

• PARIS

+33 (0)1 40 76 85 85

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

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

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 86 (0)21 6355 1766

Jinqing Cai

PORTUGAL

LISBON

+351 919 317 233

Mafalda Pereira

Coutinho

(Independent

Consultant)

RUSSIA

MOSCOW

+7 495 937 6364

+44 20 7389 2318

Katya Vinokurova

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 DyhlBn

(Consultant)

SWITZERLAND

• GENEVA

+41 (0)22 319 1766

Eveline de Proyart

• ZURICH

+41 (0)44 268 1010

Dr. Bertold Mueller

TURKEY

ISTANBUL

+90 (532) 558 7514

Eda Kehale Argün

(Consultant)

UNITED ARAB EMIRATES

• DUBAI

+971 (0)4 425 5647

UNITED KINGDOM

• LONDON

+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

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(Consultant)

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+44 (0)20 7389 2032

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IRELAND

+353 (0)59 86 24996

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UNITED STATES

• NEW YORK

+1 212 636 2000

04/09/14

Worldwide Salerooms and European Offices

149

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

AMERICAN FURNITURENY: +1 212 636 2230

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27/05/14

150

Contact

John Stainton Clare McKeon

[email protected] [email protected]

+44 (0) 20 7839 9060 +1 212 636 2000

Hong Kong • 21–25 November 2014

GEORGE STUBBS, A.R.A. (British, 1724 –1806) A grey horse in a landscape

signed and dated ‘Geo: Stubbs

pinxit/1800’ (lower right)

oil on canvas

24 x 30 in. (63.5 x 76.2 cm.)

The ArT of The horse

Private Selling Exhibition

christies.com/theartofthehorse

Contact

John Stainton Clare McKeon


+44 (0) 20 7839 9060 +1 212 636 2000

Hong Kong • 21–25 November 2014

christies.com/theartofthehorse

151

Contact

Richard Knight James Bruce-Gardyne


+44 (0) 20 7389 2159 +44 (0) 20 7389 2505

RECENTLY ACQUIRED PRIVATELY BY

THE KIMBELL ART MUSEUM, TEXAS

Christie’s Private Sales offers a personalised alternative to auction.Please contact us for more details.

JACOB ISAACSZ. VAN RUISDAEL

(Haarlem 1629/30–1681)

152

A Townhouse off Grosvenor SquareThe Collection of Dr. Peter D. Sommer

London, King Street • 4 December 2014

Including Important English and

European Furniture and Decorative

Objects, Old Master Paintings,

Impressionist Works of Art, Carpets,

Ceramics, Silver, Objects of Vertu,

Hèrmes Luggage and Jewellery

Auction4 December

8 King Street

London SW1Y 6QT

ContactAmelia Walker

[email protected]

+44 (0) 20 7389 2085

Highlights at Christie’s28 November – 3 December

8 King Street

London SW1Y 6QT

Viewing at the House22–26 November

28 November – 3 December

Upper Grosvenor Street, London

Admission by catalogue only

153

christies.comContactSarah de Clercq

[email protected]

+31 (0)20 575 52 81

Viewing21–24 November 2014

Cornelis Schuytstraat 57

1071 JG Amsterdam

Old Masters & 19th Century Artincluding Dutch Impressionism

Amsterdam • 25-26 November 2014

NICOLAES MAES (DORDRECHT 1634-1693 AMSTERDAM) Portrait of a gentleman, half-length, in a `japonsche rock’, a black

stallion tethered to a post in an open landscape beyond

signed and dated `N.MAES. / .1669.’ (lower right, on the ledge) · oil on canvas · (115.5 x 94 cm.)

Ç70,000–100,000

154

christies.comContactAlexandra McMorrow

[email protected]

+44 (0)20 7389 2538

Viewing5–9 December

8 King Street

London SW1Y 6QT

19th Century European & Orientalist Art

London, King Street • 9 December 2014

PROPERTY FROM A PRIVATE COLLECTION

JEAN-BAPTISTE-CAMILLE COROT (FRENCH, 1796-1875) View of the environs of Paris, possibly from the Quai d’Ivry

signed `COROT’ (lower left) · oil on paper laid down on canvas · 8º x 13æ in. (21 x 35 cm.) · Painted circa 1835

£80,000–120,000

JAN JOSEF HOREMANS I (Antwerp 1682–1759) A young boy drawing in a studio with subsidiary studies of a leaning man and a hand

red chalk · 12 1/4 x 7 3/4 in. (31.2 x 19.5 cm.)

Ç1,000–1,500

ContactBenjamin Peronnnet

[email protected]

+44 (0) 20 7389 2272

Viewing6–9 December

Cornelis Schuytsraat 57

1071 JG Amsterdam

Amsterdam • 10 December 2014

Part II

Dutch and Flemish drawings

from 1500 to 1900

Highlights Viewing28 November – 2 December

8 King Street

London SW1Y 6QT

156

157

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1576

09/08/13

Old Master & British Paintings Day SaleWEDNESDAY 3 DECEMBER 2014 AT 10.30 AM

8 King Street, St. James’s, London SW1Y 6QT

CODE NAME: SANDRA

SALE NUMBER: 1576

(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

158

expert knowledge beautifully presented

WWW.ChRISTIES.COm/ShOP

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

159

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16/10/14

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© Christie, Manson & Woods Ltd. (2014)

160

IndexAAnglo-Flemish School, 183Antwerp School, 106, 107, 124Austrian School, 101

BBacker, 138Baullery, 117Beechey, 198Bellini, 159Benson, 105Beuckelaer, 115van Bloemen, 153Bolognese School, 167Bonavia, 215Bonesi, 205Breenbergh, 140van den Broeck, 146

CCabrera, 157Campidoglio, 150Chamberlain, 197Claesz., 127Codazzi, 203Coello, 168 Conti, 163de Coster, 172Cranach, 113

DDall, 195Decker, 128Domenichini, 217, 218Duck, 137Dutch School, 141van Dyck, 118, 119, 121, 122

EEnglish School, 196Esteve y Marques, 211

FFerneley, 201, 202de Ferrari, 177, 178Flinck, 133Fumiani, 204Fuseli, 155

GGillemans, 144Giordano, 173, 207Glover, 154van Goyen, 130, 131Gramatica, 171Grassi, 216Greuze, 213

HHals, 126van Hamme, 176Hayman, 182de Heusch, 152Hudson, 189, 191

JJones, 192

LLawrence, 184Lely, 185Lemoyne, 209Liberi, 179Lingelbach, 142van Lint, 214van Loo, 188Lorenzo d’Alessandro da San Severino, 158

MMaes, 134, 149Mancini, 175Mansueti, 160Marshall, 200Master of the Langmatt Foundation Views, 217, 218Master of the Life of the Virgin, 102Master of the Morrison Triptych, 103Master of the Parrot, 108Metsys, 110Mielich, 112van Mieris, 147More, 199Morier, 193

PSchool of Picardy, 104Piero di Cosimo, 161Polo, 180Pourbus, 111

RRamsay, 194Ree, 145School of Rembrandt, 136Ribera, 174Rocca, 206Romanino, 164Romney, 181Roslin, 212Rubens, 120van Ruisdael, 139Russian School, 210van Ruysdael, 129

SSabatini, 162da Salerno, 162Sassoferrato, 170Sellaer, 109Smith of Chichester, 190Snyders, 123Stranover, 186van Swanevelt, 151

TTillemans, 187Tironi, 219Tito, 165de Troy, 208

VSchool of Valencia, 156Velázquez, 169Vonck, 135Vrancx, 114

WWtewael, 116

8 King Street St. James’s London SW1Y 6QT +44 (0)20 7839 9060 telephone +44 (0)20 7389 2869 facsimile

Documents

Old Master & British Paintings Day Sale