Old Master Paintings & Sculpture

OLD MASTER
PAINTINGS & SCULPTURE

NEW YORK, THURSDAY 29 JANUARY 2015
OLD MASTER
PAINTINGS &
SCULPTURE
PART II
PROPERTIES FROM
Thursday 29 January 2015
The Estate of William W. Appleton

The Louise Bloomingdale and
Edgar M. Cullman Collection
The Forbes Collection
AUCTION
Thursday 29 January 2015 at 4.00 pm
The Helena Goldsmith Trust
20 Rockefeller Plaza
New York, NY 10020
The Former Collection of

Cecile Lehman Mayer
VIEWING
The Metropolitan Museum of Art
Saturday
24 January
10.00am 5.00pm
Sunday
25 January
1.00pm 5.00pm
Monday
26 January
10.00am 5.00pm
Tuesday
27 January
10.00am 5.00pm
Wednesday
28 January
10.00am 5.00pm
The Art Gallery of Ontario,

Deaccessioned to Benefit Art
Purchases at The AGO
Sold to Benefit The Art Acquisition
Fund of The Seattle Art Museum
The Collection of Arthur and
Charlotte Vershbow
Special Lecture
Michael Clarke CBE, Director of the Scottish
National Gallery
Masterpieces from the
AUCTIONEER
James Hastie #1244430
AUCTION CODE AND NUMBER
CONDITIONS OF SALE
In sending absentee bids or

making enquiries, this sale should
be referred to as
This auction is subject to

Important Notices,
Conditions of Sale and
to reserves.
SNUFFY-3709
Scottish National Gallery
Join us starting at 11am

Saturday, 24 January 2015
[40]
AUCTION RESULTS
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CONTENTS
Auction Information
International Old Master Paintings Department
Specialists for this Auction
10
Auction Calendar
11
Services for this Auction
12
Property for Sale
98
Important Notices and Explanation of Cataloguing Practice
99
Buying at Christies
101
Handling and Collection
102
Conditions of Sale and Limited Warranty
104
Salerooms and Offices Worldwide
106
Christies Specialist Departments and Services
111
Absentee Bids Form
112
Catalogue Subscriptions
114
Index
front cover:
Lot 223 (detail)

inside front
cover:
opposite old
master paintings
department:
Lot 231 (detail)

12:
Lot 288
Lot 224 (detail)
page
opposite auction
information:
page 13:
Lot 215
Lot 271
opposite
contents:
back cover:
Lot 270 (detail)
Lot 233
INTERNATIONAL OLD MASTER &

BRITISH PAINTINGS DEPARMENT
Nicholas Hall
Co-Chairman, New York (Auction)
Richard Knight
Co-Chairman, London (Private Sales)
Karl Hermanns
International Managing Director
Jussi Pylkknnen
President, EMERI
LONDON
Henry Pettifer
International Director
Head of Department
Francis Russell
Deputy Chairman
Paul Raison
Deputy Chairman
James Bruce-Gardyne
International Director,
Head of Private Sales
John Stainton
International Director,
Head of British Paintings
Nicholas White
International Director
Chairmans Office
Sandra Romito
Senior Specialist
Clementine Sinclair
Head of Evening Sale
Alexis Ashot
Specialist (Private Sales)
Freddie de Rougemont
Head of Day Sale
Eugene Pooley
Specialist
Assunta von Moy

Associate Specialist
Sarah de Clerq
Head of Department, Amsterdam
Manja Rottink
Senior Specialist, Amsterdam
Anke Charlotte Held

Senior Specialist, Amsterdam
Elvire de Maintenant
International Director, Paris
Olivier Lefeuvre
Head of Department, Paris
EUROPE
ASIA
Yuan Fang
Junior Specialist, Hong Kong
Sophie Bremers
Specialist, Amsterdam
SPECIALISTS FOR THIS AUCTION

OLD MASTER PAINTINGS
Nicholas Hall
Co-Chairman, New York (Auction)
Ben Hall
Deputy Chairman
Alan Wintermute
Senior Specialist
Joshua Glazer
Specialist
Emma Kronman
Associate Specialist
EUROPEAN SCULPTURE
Will Russell
Specialist, Head of Depatmant
OLD MASTER PAINTINGS DEPARTMENT

CO-CHAIRMAN
WORLDWIDE SPECIALISTS
SAN FRANCISCO
(Auction)
Nicholas H. J. Hall
Tel: +1 212 636 2122
AMSTERDAM
Alan Wintermute
Tel: +1 415 982 0982
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
Nol 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
Sarah de Clercq
Manja Rottink
Anke Charlotte Held
Sophie Bremers
Tel: +31 (0)20 575 59 66
BRUSSELS
Gregory Martin (UK)

Everett Fahy (New York)
Clare McKeon (New York)
Marco Riccomini (Milan)
Roland de Lathuy
Tel: +32 (0)2 289 13 36
BUSINESS DIRECTORS
HONG KONG
PRIVATE SALES
Yuan Fang
Tel: + 852 9863 5591
Alexandra Baker
Tel: +44 (0)20 77389 2521
LONDON KING STREET
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
Anthea Peers
Tel: +44 (0)20 7389 2124
INTERNATIONAL DIRECTORS
LONDON SOUTH KENSINGTON
Henry Pettifer, Head of Department,

London
Tel: +44 (0)20 7389 2084
James Bruce-Gardyne (Private Sales)
Tel: +44 (0)20 7389 2505
John Stainton
Tel: +44 (0)20 7389 2945
Nicholas White
Tel: +44 (0)20 7389 2565
Amparo Martinez-Russotto
Flavia Lefebvre DOvidio
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 2120
PARIS
Elvire de Maintenant
Olivier Lefeuvre
Tel: +33 (0)1 40 76 86 15
Email. First initial followed by last name@christies.com
(eg. Emma Kornman = ekronman@christies.com)
8
CONSULTANTS
LONDON SOUTH KENSINGTON
Nigel Shorthouse
Tel: +44 (0)20 7752 3221
INTERNATIONAL OLD MASTER AUCTIONS
AUCTION CALENDAR 2015

TO INCLUDE YOUR PROPERTY IN THESE SALES PLEASE CONSIGN TEN WEEKS BEFORE THE SALE DATE.
CONTACT THE SPECIALISTS OR REPRESENTATIVE OFFICE FOR FURTHER INFORMATION.
28 JANUARY
OLD MASTER PAINTINGS PART I
NEW YORK
28 JANUARY
RENAISSANCE
NEW YORK
29 JANUARY
OLD MASTER PAINTINGS PART II
NEW YORK
29 JANUARY
OLD MASTER AND BRITISH DRAWINGS
NEW YORK
25 MARCH
DESSINS ANCIENS & DU XIXME SICLE
& THE I.Q. VAN REGTEREN ALTENA
COLLECTION PART III
PARIS
1 APRIL
TABLEAUX ANCIENS & DU XIXME
SICLE
PARIS
30 APRIL
OLD MASTER & BRITISH PAINTINGS
LONDON, SOUTH KENSINGTON
13 MAY
THE I.Q. VAN REGTEREN ALTENA
COLLECTION PART IV
AMSTERDAM
7 JULY
EVENING SALE
LONDON, KING STREET
8 JULY
OLD MASTER & BRITISH PAINTINGS DAY
SALE
LONDON, KING STREET
9 JULY
LONDON, KING STREET
29 OCTOBER
4 NOVEMBER
OLD MASTER & 19TH CENTURY ART &
DUTCH IMPRESSIONIST ART
AMSTERDAM
8 DECEMBER
EVENING SALE
LONDON, KING STREET
9 DECEMBER
OLD MASTER & BRITISH PAINTINGS DAY
SALE
LONDON, KING STREET
9 DECEMBER
3 JUNE
NEW YORK
TO BE ANNOUNCED
OLD MASTER, 19TH CENTURY &
IMPRESSIONIST ART
AMSTERDAM
Subject to change
10
05/18 /14
SERVICES FOR THIS AUCTION

SALE ADMINISTRATOR
Annie Stuart
arstuart@christies.com
Tel: +1 212 636 2120
SALE MANAGER
Andrea Rico
arico@christies.com
Tel: +1 212 636 2118
BUSINESS DIRECTOR
Anthea Peers
apeers@christies.com
Tel: +44 (0)20 7389 2124
EMAIL
For general enquiries about this auction,

emails should be addressed to the Auction
Administrator(s).
AUCTION SERVICES
ABSENTEE AND
TELEPHONE BIDS
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AUCTION RESULTS
ART TRANSPORT
CORPORATE COLLECTIONS
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HANDLING AND COLLECTION
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LOSS & DAMAGE LIABILITY
CHRISTIES AUCTION ESTIMATES
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PAYMENT
Buyers
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Consignors
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ESTATES AND APPRAISALS
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MUSEUM SERVICES
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11
PROPERTY FROM THE LOUISE BLOOMINGDALE AND EDGAR M.

CULLMAN COLLECTION
201
CIRCLE OF BALTHASAR VAN DER AST (MIDDELBERG

1593/4-1657 DELFT)
Tulips, carnations, an iris, a dog rose, a cyclamen, roses, a pansy
and other fowers in a roemer with a caterpillar and a butterfy
oil on panel
10 x 8 in. (26.7 x 20.3 cm.)
$25,000-35,000
14
16,000-22,000
21,000-28,000
PROVENANCE:
Gilbert Kahn Collection, as Ambrosius Bosschaert.

with Knoedler, New York, according to a label on the reverse.
with Van Diemen Gallery, Amsterdam, c. 1969.
with Johnny van Haeften, London, where acquired in 1995 by the family of
the present owner.
LITERATURE:
L.J. Bol, Een Middelburse Breughel-groep. V. Cristoffel van den Berghe:

bloemen en landschap, Oud Holland, LXXI,1956, pp. 186, 188, fg. 2, 203,
as Christoffel van den Berghe.
L.J. Bol, Hollndische Maler des 17. Jahrhunderts nahe grossen Meistern:
Landschaften und Stilleben, Braunschweig, 1969, pp. 52, 53, fg. 44 (reprint
p. 48, fg. 40) as Christoffel van den Berghe.
PROPERTY OF A PRIVATE COLLECTOR
202
STUDIO OF JAN VAN KESSEL II

(ANTWERP 1626-1679)
The Garden of Eden, with the Fall of Man
oil on copper
9 x 12 in. (23.8 x 30.5 cm.)
$25,000-35,000
16,000-22,000
21,000-28,000
202
203
CIRCLE OF LOUIS DE CAULLERY

(CAMBRAI 1555-1622 ANTWERP)
King Nimrod ordering the construction of
the Tower of Babel
oil on panel
18 x 24 in. (48 x 62.9 cm.)
$15,000-20,000
9,600-13,000
13,000-16,000
PROVENANCE:
with Michel Segoura, Paris, where acquired in

1990 by the present owner.
203
15
204
STUDIO OF SIR ANTHONY VAN DYCK

(ANTWERP 1599-1641 LONDON)
Study of a head of a man
oil on paper, laid down on canvas
15 x 14 in. (38.1 x 35.6 cm.)
$20,000-30,000
13,000-19,000
17,000-24,000
Dr. Hans Vlieghe, to whom we are grateful,

attributes the present painting to the studio of
Sir Anthony van Dyck after frst hand inspection
and dates it to Van Dycks second Antwerp
period (1627-1632). On basis of a photograph,
Dr Christopher Brown has not excluded an
attribution to the master himself (private
communication).
204
PROPERTY FROM THE HELENA GOLDSMITH

TRUST
205
BONAVENTURA PEETERS (ANTWERP

1614-1652 HOBOKEN)
A Rowing Vessel approaching a Zeeland
States Yacht fring a salute, in choppy
sees off Vlissingen, with other shipping
beyond
signed B. Peeters. (lower center, on the
driftwood)
oil on panel
21 x 28 (55.3 x 71.7 cm.)
$30,000-50,000
20,000-32,000
25,000-40,000
PROVENANCE:
Mr. Carel Goldschmidt, Mount Kisco, New York,

by 1965, and by descent.
205
16
This painting is one of several works that

Bonaventura Peeters showing the Dutch harbor
at Vlissingen. On the horizon in the distance
are the St. Jacobstoren, the Gevangentoren,
the Stadhuis, and the Stadsmolen. The bustling
port of Vlissingen, base for the Dutch East India
Company, is the subject of at least three other
painted compositions by Peeters, including a
picture in the Muse des Beaux-Arts, Strasbourg
(inv. 431, wrongly described as depicting Hoorn).
It was also the only harbor in the Northern
Netherlands to be visited by dolphins, here
visible at left.
PROPERTY OF THE ART GALLERY OF

ONTARIO, DEACCESSIONED TO BENEFIT ART
PURCHASES AT THE AGO
206
DORDRECHT SCHOOL, 1634

Portrait of a girl, half-length, holding a
glove
inscribed and dated TATIS : 7 : AN 1634 (lower
left)
oil on panel, oval
18 x 13 in. (46.3 x 33 cm.)
$10,000-15,000
6,400-9,500
8,100-12,000
PROVENANCE:
(Possibly) John FitzPatrick, 1st Baron Castletown

of Upper Ossory and by descent to his daughter
Cecilia Emily Emma FitzPatrick, later Mrs. Lewis
Strange Wingfeld, as Hals (according to a label
on the reverse).
Frederick William Fitzgerald, by bequest in 1949
to
The Art Gallery of Toronto.
EXHIBITED:
Winnipeg, Winnipeg Art Gallery, 29 March-28

May 1958, as Cuyp.
Brantford, Glenhyrst Arts Council, 30 October-22
November 1963, as Cuyp.
206
PROPERTY FROM THE LOUISE

BLOOMINGDALE AND EDGAR M. CULLMAN
COLLECTION
207
JAN JOSEFSZ. VAN GOYEN (LEIDEN

1596-1656 THE HAGUE)
Travelers on a dune by a bridge, a village
beyond
signed and dated IV GOIEN 1628 (lower right)
oil on panel
12 x 23 in. (30.5 x 60 cm.)
$15,000-25,000
9,600-16,000
13,000-20,000
PROVENANCE:
(Possibly) Max Kann, Paris.

(Possibly) Anonymous sale; Htel Drouot, Paris, 22
April 1896, lot 21 (950 FF to Kleinberger).
(Possibly) with Franz Kleinberger, Paris.
(Possibly) Baron Knigswarter, Vienna; his
sale, Berlin, 20 November 1906, lot 26 (8900
Reichsmarks).
Anonymous sale; Galerie Hugo Helbing, Munich,
15 June 1909, lot 44 (950 Reichsmarks).
C. Chr. E. Meyer, Berlin; his sale, Lepke, Berlin, 11
March 1913, lot 72 (1150 Reichsmarks).
with Mathiesen, Hamburg.
Anonymous sale; Paul Graupe, Berlin, 26 January
207
1935, lot 670 (2300 Reichsmarks).

with W.E. Duits, Amsterdam, 1935.
with Christophe Janet, New York, 1984.
with Johnny van Haeften, London, where
acquired by the family of the present owner.
EXHIBITED:
New York, Christophe Janet Ltd., The Intimate

vision: as seen through a selection of seventeenth
century Dutch paintings, 19 March-21 April 1984,
no. 23.
LITERATURE:
C. Hofstede de Groot, A Catalogue Raisonn of

the works of the most eminent Dutch painters of
the seventeenth century, London, 1907-1913,
VIII, pp. 124 no. 479 and possibly p. 185 no. 723.
H. Gerson, De Meester P.N., Nederlandsch
Kunsthistorisch Jaarbeok, I, 1947, illustrated.
H.-U. Beck, Jan van Goyen: 1596-1656,
Amsterdam, 1973, II, no. 1066.
17
208
WILLEM VAN MIERIS (LEIDEN 1662-1747)

Portrait of a gentleman, traditionally identifed as James Butler
(1665-1745) 2nd Duke of Ormonde, KG KT
signed and dated W.V. Mieris / Fecit Ao 1705 (lower right)
oil on silvered copper
5 x 4 in. (13 x 10.2 cm.)
$25,000-35,000
16,000-22,000
21,000-28,000
PROVENANCE:
J. Lawrence; Christies, London, 17 July 1911, lot 120.

Anonymous sale; Sothebys, Monaco, 5 December 1991, lot 132 ($14,699).
with Noortman, Maastricht, 1992.
LITERATURE:
C. Hofstede de Groot, A catalogue raisonn of the works of the most

eminent Dutch painters of the seventeenth century based on the work of
John Smith, London, 1928, X, no. 370, p. 201.
208
208A
DIRCK HALS (HAARLEM 1591-1656)

A boy singing and playing the clapper
signed in monogram DH (center right, in ligature)
oil on panel
5 x 4 in. (14 x 11.4 cm.)
$10,000-15,000
6,400-9,500
8,100-12,000
PROVENANCE:
Dr. Georg Adolf Rem, Hamburg; his sale, Hans W. Lange, Berlin, 7-9 April
1938, lot 15.
with D. Katz, Dieren, 1940, where acquired by the family of the present
owner, 15 January 1940, as Frans Hals.
LITERATURE:
B. Nehlsen-Marten, Dirck Hals 1591-1656: Oeuvre und Entwicklung eines

Haarlemer Genremalers, Berlin, 2003, no. 370, fg. 215.
Britta Nehlsen-Marten records that at the 1938 sale the present work bore a
date of 1636.
208A
18
209
ANTHONY CLAESZ. II (AMSTERDAM

1616-1652)
Roses, tulips, and other fowers in a glass
vase with insects and a lizard in a stone
niche
signed and dated Anthony . Claesz fecit . 1641.
(lower right)
oil on panel, arched top
21 x 15 in. (55.3 x 38.1 cm.)
$40,000-60,000
26,000-38,000
33,000-48,000
PROVENANCE:
with Newhouse Galleries, New York, according to

a label on the reverse.
We are grateful to Fred Meijer, of the RKD in
The Hague, for confrming the attribution on
frst hand inspection (29 October 2014).
PROPERTY FROM AN ESTATE
210
CARSTIAN LUYCKX (ANTWERP 1623AFTER 1657)

A woodcock, partridge, kingfsher,
fnches and a cat, with a decoy whistle
and a wooden snare
209
oil on panel
12 x 17 in. (31.1 x 43.2 cm.)
$15,000-20,000
9,600-13,000
13,000-16,000
PROVENANCE:
E. Warneck, Paris; sale, Galerie George Petit, Paris,

28 May 1926, lot 41, as Jan Fijt (catalogue by F.
Lugt; 64,000 FF to M. Max Kuan).
with Newhouse Galleries, New York, as Jan Fyt,
where acquired by the family of the present
owner.
EXHIBITED:
Dallas, Meadows Museum, Private Views: Flemish

and Dutch Paintings from Dallas Collection, 19
April-27 May 1990, as Jan Fyt (catalogue by S.A.
Sullivan).
LITERATURE:
E. Greindl, Les peintres famands de nature morte

au XVIIe sicle, Brussels, 1983, p. 353, no. 269,
as Jan Fyt.
We are grateful to Fred Meijer of the RKD,
The Hague, for confrming the attribution to
Luyckx on the basis of photographs (private
communication, 24 April 2014).
210
19
211
FOLLOWER OF DAVID TENIERS II

A gin distillery with an elderly man buying
gin from a woman
oil on oak panel, unframed
19 x 26 in. (50.1 x 66 cm)
$8,000-12,000
5,100-7,600
6,500-9,600
PROVENANCE:
Anonymous sale; Christies, London, 29 October

2008, lot 39, as Follower of Teniers (6,800).
This composition is known in another, weaker
version, which was offered at auction c. 1976
with a full attribution to David Teniers (according
to a Witt Library mount).
211
212
ABRAHAM STORCK (AMSTERDAM

1644-1708)
A river landscape with a ferry in the
foreground, other shipping beyond
signed A: Stork (lower center, on the ferry)
oil on panel
9 x 14 in. (25.1 x 35.5 cm.)
$40,000-60,000
26,000-38,000
33,000-48,000
PROVENANCE:
Oberstleutenant Mettlerkamp and Oberalten

Martens; sale; E.Harzen, 9 May 1825, lot 9 (to
Johannes Nodt).
Richard Green, London, 1980.
Private collection, Great Britain.
212
20
213
CIRCLE OF THE BRUNSWICK

MONOGRAMMIST (ACTIVE
ANTWERP, SECOND QUARTER OF
THE 16TH CENTURY)
A brothel scene
oil on panel
11 x 16 in. (28.9 x 42.8 cm.)
$40,000-60,000
26,000-38,000
33,000-48,000
EXHIBITED:
Arnhem, Gemeentemuseum (according to a label

on the reverse).
Other versions with similar compositions are
recorded in the Gemldegalerie Berlin, the
Staedel, Frankfurt, the Hermitage, St. Petersburg
and in the Museo Correr, Venice.
The identity of the artist remains a subject of
debate, and he has in the past, been suggested
by such scholars as Max Friedlnder, to be the
youthful Jan van Hemessen. The majority of
recent scholars however consider the most likely
candidate to be Jan van Amstel (Amsterdam
c. 1500-c. 1542 Antwerp), thought to have been
the brother of Pieter Aertsen and married to the
sister-in-law of Pieter Coecke van Aelst.
213
PROPERTY FROM PRIVATE BELGIAN

COLLECTION
214
CIRCLE OF DENIJS VAN ALSLOOT

(BRUSSELS BEFORE 1573-1625/6)
A winter landscape with skaters on a
frozen river
oil on canvas, unframed
15 x 17 in. (38 x 45.5 cm.)
$15,000-20,000
9,600-13,000
13,000-16,000
PROVENANCE:
Acquired before 1980 by the parents of the

present owner.
214
21
215
FRANS VAN MIERIS II (LEIDEN 1689-1763)

The Doctors Visit
signed and dated F.V. Mieris Fecit Ao 1713 . (lower left) and inscribed Meluff/ Meluff Sara Spoor/
te / Leiden (lower center on the letter)
oil on panel
19 x 16 in. (49.5 x 41 cm.)
$70,000-100,000
45,000-64,000
57,000-80,000
PROVENANCE:
Mrs. Edward Romilly, London; (), Christies,

London, 23 March 1878, lot 125 (158 gns. to
Lesser).
Private collection, Switzerland; (), Christies,
London, 7 April 1995, lot 20A (43,300).
with Salomon Lilian, Amsterdam, where acquired
by the present owner.
The fgure of a doctor trying to determine the

illness that ails his patient, unable to see that
she is afficted with nothing more serious than
lovesickness, was a popular comedic theme
in Dutch genre painting of the 17th century.
In the present work by the late Dutch Golden
Fig. 1 Frans van Mieris, A Woman in a Red Jacket

feeding a Parrot, c. 1663 National Gallery, London
/ Art Resource, NY
22
Age painter Frans van Mieris II, the cause of the

young ladys distress is clear to the viewer the
opened letter which has fallen to the ground in
front of her, addressed to Meluff Sara Spoor.
While the doctor takes the elegantly dressed
young womans pulse, unable to comprehend
why it has quickened so suddenly, the old
woman standing next to him is able to see what
the doctor cannot she gestures to him with
one hand placed over her heart, revealing the
true nature of the womans illness.
Both depictions of people receiving letters,
weighty with the dramatic potential of the
messages they might contain, and images
of foolish doctors tending to their lovesick
patients were particularly popular among
the genre scenes of the fjnschilders, or fne
painters, a group of 17th-century Leiden
artists distinguished by their highly realistic,
meticulously fnished paintings. Frans van Mieris
II, one of the last important painters to work
in this style, came from a long family tradition
of fjnschilders. His grandfather, Frans van
Mieris I, was a student of Gerrit Dou and an
internationally regarded master in his lifetime,
and his father, Willem van Mieris, is also among
the best-known exponents of the genre. Both
Willem van Mieris and Frans van Mieris II were
infuenced heavily by the style and compositions

of the elder Frans, as particularly evident in the
present panel.
The subject of ladies writing and receiving letters
was taken up by Frans I more than six times,
from the 1660s to the end of his career, as was
the theme of a doctor attending a swooning
young woman. The motif of a gray parrot on a
stand is taken from the composition that Otto
Naumann calls Frans Is most popular subject,
that of a woman feeding a parrot, of which
two of the fnest examples are preserved in
the National Gallery, London (fg. 1) and the
Leiden Collection, New York. The dramatically
lit velvet curtain and stool in the immediate
foreground at left function as an effective
repoussoir for the painting, playing with the
notion of the illusionistic nature of the pictorial
space, which was itself a popular theme among
the fjnschilders. Van Mieris II likely found his
inspiration for this motif in his grandfathers
work as well, as it appears in several of his
paintings, including his celebrated The Cloth
Shop of 1660 (Vienna, Kunsthistorisches
Museum).
216
A BRONZE BUST OF A BOY
PROBABLY FLEMISH, 16TH CENTURY
On a later ebonized base

5 in. (12.7 cm.) high
$5,000-8,000
24
3,200-5,100
4,000-6,400
217
A BRONZE BUST OF BACCHUS
ITALIAN, EARLY 16TH CENTURY
Depicted with an ivy headband, on a later socle

5 in. (14 cm.) high
$8,000-12,000
5,100-7,600
6,500-9,600
25
218
A BRONZE FIGURE OF CHRIST AT THE
COLUMN
ITALIAN, 17TH CENTURY
5 in. (14 cm.) high
$3,000-5,000
218
219
A BRONZE FIGURE OF A STANDING WOMAN
ITALIAN, 17TH CENTURY/ 18TH CENTURY
On a rouge-griotte marble stand

9 in. (22.9 cm.) high
$3,000-5,000
2,000-3,200
2,400-4,000
219
26
2,000-3,200
2,400-4,000
220
A BRONZE FIGURE OF VENUS AT THE BATH
ITALIAN, AFTER THE ANTIQUE, 18TH CENTURY
Depicted leaning on an urn and standing on her

right foot
9 in. (22.9 cm.) high
$3,000-5,000
2,000-3,200
2,400-4,000
27
221
FOLLOWER OF ROGIER VAN DER

WEYDEN, C. 1513
Portrait of Jean de Bourgogne, Bishop of
Cambrai
oil on oak panel
14 x 8 in. (35.5 x 22.3 cm.)
$50,000-70,000
32,000-45,000
41,000-56,000
PROVENANCE:
Anonymous sale; Sothebys, New York, 24

January 2002, lot 138, as Burgundian School,
circa 1470.
John of Burgundy (c. 1418-80) was the
illegitimate son of John the Fearless (Dijon 13711419) by Agns de Cro. His mothers nephew,
Philippe de Cro, was one of Rogier van der
Weydens patrons (see his Portrait Diptych in
the Koninklijk Museum voor Schone Kunsten,
Antwerp). John studied with Antoine Haneron
at Leuven, and in 1437 became Provost of SaintPierre at Lille. He was consecrated at Hesdin in
May 1440 by Jean Chevrot, and made his entry
into Cambrai on 10 July 1442, although he left a
month later, never to return, preferring to live in
Brussels and Mechlin. The identity of the sitter is
confrmed by a drawing in the Recueil dArras
(fol. 96; see fg. 1) of nearly the same likeness,
with minor differences. The coat of arms bearing
the feur de lys and bars references the court of
Burgundy, and the dividing line signals Johns
illegitimate status. The three blue lions and gold
feld reference Cambrai and the Cambrsis.
We are grateful to Dr. Lorne Campbell his
assistance with cataloguing this painting, and
for suggesting that the panel probably originally
formed the left wing of a half-length diptych,
and that it is likely based on a lost original by
Rogier of c. 1460. Dendrochronological analysis
of the oak panel by Professor Peter Klein of
Hamburg University has revealed that the earliest
date of the painting could be 1503. However it
is more probable that the panel was used after
1513 (written communication, 5 November
2014).
Fig. 1John of Burgundy, Bishop of Cambrai, from

the Recueil dArras / Biblothque Municipale, Arras,
France / Bridgeman Images
28
222
CIRCLE OF JEAN HEY, FORMALLY

CALLED THE MASTER OF MOULINS
(FL. 1494-1504)
Ecce Homo
oil and gold on walnut panel, arched top, in an
integral frame
12 x 9 in. (31.7 x 25.1 cm.)
inscribed ECCE HOMO (lower center)
$60,000-80,000
39,000-51,000
49,000-64,000
This hitherto unknown panel is an exceptionally

rare example of early French painting, a feld
that suffered losses from revolutionary turmoil
as much as from centuries of neglect caused by
change in artistic tastes. Its delicate execution,
the sculptural quality of the fgures, and its
bright color scheme evoke the work of the
Master of Moulins, today convincingly identifed
as Jean Hey, the court painter to the powerful
duke Pierre II of Bourbons who was praised by
the chronicler Jean Lemaire des Belges as one of
the foremost artist of his day. Jean Heys elegant
courtly style spread across the Bourbonnais and
Lyon regions and fnds undisputed echoes in this
Ecce Homo. This panel is especially reminiscent
of a picture of the same subject from 1494
now in the Muses Royaux des Beaux-Arts de
Belgique in Brussels, commissioned by Jean
Cueillette, a former court offcial to the duke of
Bourbons and by then secretary to King Charles

VIII of France. The present work shares with the
Brussels panel its subject, depicting the moment
after the scourging during which Christ is
presented to the people, and its restrained sense
of pathos. Considering that the present Christ
faces left, and given the original function of
the Brussels picture, it is possible that this work
would have had a pendant or served as a diptych
alongside a Mater Dolorosa mourning at the
torments inficted on her son, a portrait showing
a donor in prayer in front of the suffering Christ,
or another similar image. The intimately-sized
panel would certainly have functioned as an
object of private devotion, whose purpose and
emotional appeal are underscored by the lack of
narrative details which allow the viewer to focus
on Christs quiet acceptance of his fate and the
beautiful crying angels beside him.
29
223
CIRCLE OF LUCAS VAN VALCKENBORCH I

(LEUVEN AFTER 1535-1597 FRANKFURT AM MAIN)
Portrait of Freiherr Ernst Lbl of Greinburg, full-length, aged 15
with inscription Herz[...] Ernnst Lbl Freijherr / auf Greinburg. / AETATIS SVAE
15 / ANNO 1609 (upper right) and with the sitters coat-of-arms
(upper right)
oil on canvas
73 x 36 in. (185.4 x 91.5 cm.)
$80,000-120,000
51,000-76,000
65,000-96,000
PROVENANCE:
Anonymous sale; Christies, London,

21 October 2001, lot 65, as Follower of Lucas
van Valkenborch.
This engaging portrait of a young boy depicts

one of the last members of the Barons Lbl zu
Greinburg. Dashingly attired, the teenager seems
both proud and nervous, a complex emotional
demeanor which is captured astonishingly well
by the artist. The Lbl, or Loeble, family originally
came from the Alsace and Swabia but came
to settle in Austria by the early 16th century.
Johann Lbl, who had been appointed royal
treasurer (Pfennigmeister) to Archduke Ferdinand
of Austria in 1524, acquired Greinburg and the
surrounding lands from Julius Count zu Hardegg
in 1531. All members of his family were raised to

the peerage by Archduke Maximilian of Austria
on 13 June 1590 and given the hereditable
status of baron (Freiherr). The family line ended
with Johann Bernard Lbl, who died in 1649
without issue.
While more remains to be discovered about
the sitter, he must have been one of the last
members of the family living at Greinburg, which
was sold in 1621 to Baron Leonhard Helfrich
von Meggau. Situated in Upper Austria, it had
been erected between 1488 and 1493 as one of
the frst castles in the German-speaking region.
Under Johann Lbl the building took most of its
present-day form. After several changes of hands
after 1621, the castle was acquired in 1822 by
the Dukes of Saxe-Coburg and Gotha, becoming
their offcial residence.
Georg Matthus Vischer, Greinburg, in Topographia Austriae superioris

modernae, 1674.
30
PROPERTY FROM A PRIVATE EUROPEAN COLLECTION
224
MARTEN RIJCKAERT (ANTWERP 1587-1631)

A wooded landscape with Hercules and Cacus; and
A mountainous river landscape with the Prodigal Son
oil on copper
11 x 14 in. (27.5 x 37.4 cm.)
$150,000-180,000
PROVENANCE:
Private collection, France.

Private collection, Germany.
32
a pair (2)
96,000-110,000
130,000-140,000
These previously unpublished landscapes have

been examined frsthand by Dr. Luuk Pijl, who
endorses the attribution to Marten Rijckaert
(written communication, 12 November 2011).
The scion of a dynasty of Antwerp painters,
Marten Rickaert was the son of David Rijckaert I
and uncle to David Rijckaert II. In 1630, he sat for
Anthony van Dyck, whose portrait of him is today
in the Prado, Madrid.
Dr. Pijl has also identifed the subject of the
present coppers. The frst depicts the legend
of Hercules and Cacus, a rare appearance in

Northern European art, though it is the subject of
a famous woodcut of 1588 by Hendrick Goltzius.
The story, from Ovid, tells that during his tenth
Labor Hercules killed the fre-breathing monster
Cacus who had been terrorizing local cattle.
The second work shows the Prodigal Son, as
recounted in Luke 15:11-32, who has squandered
his inheritance and found himself alone in the
wilderness.
33
225
A GILT BRONZE FIGURE OF HERCULES
NORTH EUROPEAN, POSSIBLY LATE 16TH / EARLY 17TH CENTURY
The young Hercules depicted standing with his right fst clenched behind his back, while
holding his club over his left shoulder and gazing to his left; on an integrally cast oval plinth
8 in. (21.5 cm.) high
$10,000-20,000
6,400-13,000
8,100-16,000
PROVENANCE:
Dr. A. von Frey, Berlin.

Camillo Castiglione, Vienna, no. 32.
Property of a Gentleman, sold Christies, London,
4 July 1989, lot 128 (85,000).
Property of a Gentleman, sold Christies, New
York, 26 October 2001, lot 370 ($47,000,
including premium).
Private Collection.
LITERATURE:
L. Planiscig, Venezianische Bildhauer der

Renaissance, Vienna, 1921, pp. 297-300, fgs.
306-309.
id., Collezione Camillo Castiglioni, Catalogo dei
Bronzi: Con Introduzion e Note Descrittive di Leo
Planiscig, Vienna, 1923, no. 32.
COMPARATIVE LITERATURE:
C. Avery, La Spezia, Museo Civico Amedeo

Lia - Sculture, Bronzetti, Placchetti, Medaglie,
La Spezia, 1998, no. 97.
When the present bronze fgure was discussed
by Leo Planiscig in his landmark study of
Venetian bronzes (loc. cit.) it was attributed to
Francesco da SantAgata on the basis of stylistic
comparisons with the signed boxwood fgure
(S273) in the Wallace Collection thought to
have been executed in 1522. Since that time, it
34
has been recognized as one of a group of small

bronzes attributable to a single artist who has
thus far defed a frm attribution, but who was
most recently given the name The Master of
the Fitzwilliam Museum by Charles Avery (loc.
cit.). Most of the bronzes are of secular subjects
and a large proportion of them are gilded, as in
the present case. They all display a goldsmithlike attention to detail, as is evident here in
the details of the hair, the facial features and
the punching of the club and base. The Seated
Hercules, in the Quentin Collection, illustrates
most of the same similarities in the modeling
and fnished details as the present bronze (M.
Leithe-Jasper and P. Wengraf, European Bronzes
from the Quentin Collection, exh. cat., The Frick
Collection, 28 September, 2004-2 January,
2005, no. 26, pp. 246-251).
Several bronzes by this master have appeared on
the international market in the past decade; they
include a seated Bacchus (Sothebys, 9 December
1993, lot 106, sold 95,000), another version
of the present model (Christies, 15 December,
1998, lot 130, sold 100,000), and two versions
of a Seated Hercules (Christies, 2 July 1996,
lot 171, sold 45,000 and 6 July 1999, lot 81,
sold 120,000 [the Quentin bronze mentioned
above]).
226
FOLLOWER OF ROGIER VAN DER

WEYDEN, C. 1500
The Virgin Nursing the Christ Child
oil and gold on Baltic oak panel, in an integral
frame
11 x 8 in. (29.2 x 20.3 cm.)
$40,000-60,000
26,000-38,000
33,000-48,000
PROVENANCE:
Private Noble collection, Europe; Sothebys,

8 December 2005, lot 207 (31,200), where
acquired by the present owner.
LITERATURE:
P. Syfer-dOlne et al., Catalogue of Early

Netherlandish Painting: Royal Museums of Fine
Arts of Belgium. The Flemish Primitives IV: Masters
with Provisional Names, Brussels, 2006, p. 151,
fg. 101.
226
Based on a composition by Rogier van der

Weyden, this sensitively painted image shows
the Christ Child holding a delicate fower which
appears to be a type of violet, symbol both of
Marys humility and Christs Passion. As told in
one legend, violets were once pure white until
they began to turn purple to echo the Virgins
anguish at the suffering of her Son.
227
CIRCLE OF MICHIEL SITTOW

(REVAL C. 1468-1525/6)
Saint Margaret of Antioch
oil and gold on panel
11 x 8 in. (28.6 x 21 cm.)
$10,000-15,000
6,400-9,500
8,100-12,000
PROVENANCE:
with Newhouse Galleries, New York, as Flemish

School, c. 1500.
with J. & S. Goldschmidt, Frankfurt am Main,
where acquired on 30 May 1927 by
Mr. H.J.L. Stark, and by descent to
The Nelda C. and H.J. Lutcher Stark Foundation;
sold to beneft the acquisitions fund, Christies,
New York, 25 May 2005, lot 200 ($50,400),
where acquired by the present owner.
227
36
228
FRANS FRANCKEN II (ANTWERP

1581-1642)
The Last Judgment
signed and dated D.I. F.FRANKEN FECIT /
INVENTOR Ao 1606 (lower left)
oil on copper, the reverse stamped with the
makers mark of Peeter Stas (c. 1564-after 1616)
and the date 1604
26 x 19 in. (66 x 50.5 cm.)
$40,000-60,000
26,000-38,000
33,000-48,000
PROVENANCE:
Anonymous sale; De Vuyst, Lokeren, 7 March

1998, lot 526.
Anonymous sale; Sothebys, Amsterdam, 2
November 2004, lot 46 (62,400).
LITERATURE:
U. Hrting, Frans Francken II, Freren, 1989, p.

276, no. 174, fg. 174.
Punched into the back of this large copper panel
is the mark of the Antwerp coppersmith Pieter
Stas, which consists of his initials inside a heartshaped design, along with the two hands which
were the symbols of the Antwerp guild. The
reverse is also inscribed with the date Anno
1604, and an inscription which reads Guido
Vniu / del / Franch Ollan/ dese / n. 11.
verso (detail)
37
229
OTTO VAN VEEN (LEIDEN C. 1556-1629 BRUSSELS)

Four Allegories
inscribed Fortuna dormienti plerumque / benigna.; Fortuna immeritis
plerumque benigna.; Manum admouentes inuocate Numina.; and Omnis
piger semper in egestate /[...] Proverb /Contemnuntur hi qui nec sibi, nec /
alijs, in quibus nullus labor, nulla / industria, nulla cura est. / Salust. (lower
centre)
oil on panel
9 x 13 in. (23.5 x 34.5 cm.)
a set of four (4)
$40,000-60,000
26,000-38,000
33,000-48,000
PROVENANCE:
Anonymous sale; Christies, London, 10 December 1993, lot 212.
38
Professor J.B.Trapp and Dr. Elizabeth McGrath of the Warburg Institute

have identifed the subject of these paintings as follows: the frst two
paintings show the unfair way that fortune favors the unworthy. The latter
two illustrate the moral that it is better to work hard and to trust in God
rather than to sit in poverty and misery lamenting the ironies of fate. An
emblem on the subject of Fortune usually favors the sleeper is recorded
in A. Schne (Emblemata, 1967, col.1798). The moral Fortune regularly
favors the unworthy is a variation of the saying casting pearls before
swine. Manum admoventes invocate Numina is a translation into Latin of
one of the Spartan sayings of Plutarch; a looser translation might be God
helps those who help themselves. The last painting showing a pauper lost
in self-pity includes a lengthy inscription in Latin: ostensibly from Sallust,
it does not in fact correspond with any known work by that author. The
cabbages at the feet of the pauper were a symbol of poverty for Horace
and appeared in Vaeniuss Emblemata horatiana of 1607, although the
quotation does not appear to have been taken directly from Horace. The
landscapes may be the work of another hand.
PROPERTY FROM PRIVATE BELGIAN COLLECTION
230
JOHANN JOSEPH HARTMANN (MANNHEIM OR AUGSBURG 175-1830

COTTERD)
A wooded river landscape with travelers on a path, a town beyond
oil on copper
9 x 14 in. (24.5 x 36.6 cm.)
$20,000-30,000
13,000-19,000
17,000-24,000
PROVENANCE:
Acquired before 1980 by the parents of the present owner.
39
PROPERTY FROM A PRIVATE EUROPEAN COLLECTION
231
GILLIS VAN CONINXLOO II (ANTWERP 1544-1606 AMSTERDAM)

An extensive wooded landscape with Christ healing the lame man,
a village and a town by the mountains beyond
oil on panel, unframed
13 x 21 in. (34.5 x 55.3 cm.)
$100,000-150,000
64,000-95,000
81,000-120,000
PROVENANCE:
Private collection, Belgium, 1995.

Private collection, Germany.
Anonymous sale; Lempertz, Cologne, 21 May
2005, lot 625 (105,000), where acquired by the
present owner.
Gillis van Coninxloo III is arguably the most

important landscape painter working in Northern
Europe during the second half of the 16th
century, and a key member of two important
schools the Antwerp School, into which he
was born; and the Frankenthal School, which
he helped found and of which he can be
considered the leading artist. As such, he is one
of the most interesting and notable Flemish
artists of his generation. His move from Antwerp
to Frankenthal, and ultimately to Amsterdam,
belongs to the moment when the large-scale
migration of artists and other intellectuals,
spurred on by the religious tumult of the age,
shifted the currents of artistic and cultural
infuence, creating new and fruitful channels
of cross-pollination between the traditions
40
of Germany and the Northern and Southern

Netherlands. In the realm of landscape painting,
which was frst truly born as a self-suffcient
genre only a few decades earlier, in the rocky
valleys of Patinirs Wallonia, this migration had
a particularly earth-shaking effect; artists born
and formed in the Southern Netherlands, in the
unfltered infuence of Patinir and his followers
(Herri met de Bles and Pieter Bruegel I frst
and foremost amongst them), exported these
innovations to neighbouring lands. Landscapists
like Gillis Hondecoeter, Alexander Kierincx
and above all Gillis van Coninxloo took the
revolutionary new genre of landscape painting
which had been nurtured in Flanders during
the fertile years of the mid-16th century, and
brought them to the northern Provinces, sowing
the seeds of what would become one of the
most characteristic aspects of Dutch landscape
painting.
We are grateful to Dr. Luuk Pijl for confrming
the attribution on the basis of photographs, and
for dating the picture to c. 1595.by the present
owner.
PROPERTY OF THE SAINT LOUIS ART MUSEUM, SOLD TO BENEFIT THE ACQUISITIONS FUND
(LOTS 232-236)
232
232
233
A POLYCHROME AND GILT-DECORATED LIMESTONE FIGURE OF

THE VIRGIN AND CHILD
FRENCH, POSSIBLY 14TH CENTURY
A POLYCHROME-DECORATED AND GILTWOOD FIGURE OF

SANTIAGO MATAMOROS
SPANISH, LATE 15TH/16TH CENTURY AND LATER
24 in. (62.2 cm.) high, 9 in. (23.5 cm.) wide, 6 in. (16 cm.) deep
With a landscape background and all within a gothic tracery framework, the
frame associated
39 in. (100.3 cm.) high, 10 in. (26.7 cm.) wide, 20 in. (50.8 cm.) deep
$10,000-20,000
6,400-13,000
8,100-16,000
PROVENANCE:
Louis Charles Timbal (1821-1880), Paris.

Joseph-Marie-Noel Valois (1855-1915), Paris.
Wildenstein & Co., New York, 1924.
Saint Louis Art Museum, purchased from Wildenstein & Co., 1924.
EXHIBITED:
Saint Louis, MO, City Art Museum of Saint Louis, Origins of Modern
Sculpture, March 30, 1946 - May 1, 1946
$20,000-30,000
13,000-19,000
17,000-24,000
PROVENANCE:
Jos Mara de Palacio y Abarzuza (1866-1940), Conde de las Almenas,

Madrid, 1927, sold, Art Association, New York, January 13 - 15, 1927, cat.
no. 260.
With Ercole Canessa, New York, 1928.
Saint Louis Art Museum, purchased from Ercole Canessa, 1928.
233
43
234
A PAIR OF CARVED LIMEWOOD
CANDELABRA STATUES OF ANGELS
GERMAN, CIRCA 1500
Dressed as acolytes, each holding a torch and

formerly with wings to backs
34 in. (86.3 cm.) high, 10 in. (25.4 cm.) wide,
10 in. (26.7 cm.) deep (the frst)
36 in. (92 cm.) high, 11 in. (30 cm.) wide; 9 in.
(22.9 cm.) deep (the second)
(2)
$8,000-12,000
5,100-7,600
6,500-9,600
PROVENANCE:
Benoit Oppenheim, Berlin, 1911.

Frederic Stern, Inc. New York; purchased from
Benoit Oppenheim, c. 1928.
Friedrich B. Gutmann (c.1875?-1943),
Heemstede, Holland; purchased from Frederic
Stern, Inc.; exhibited at New York Worlds Fair,
opening April 30, 1939
Heirs of Friedrich B. Gutmann, by inheritance; in
the possession of Frederick Stern, Inc., New York,
NY, USA, acting as administrator, 1943.
Saint Louis Art Museum, purchased from Frederic
Stern, Inc., sold on behalf of the Gutmann heirs,
1948.
EXHIBITED:
234
Saint Louis, MO, Saint Louis Art Museum, Art at

the Altar, May 31, 1994 - February 1, 1995
Buffalo, NY, Albright-Knox Art Gallery, Religious
Art from Byzantium to Chagall, December 13,
1964 - January 10, 1965
John Herron Museum of Art, Masterworks of
Sculpture, February 2 - March 18, 1956
235
A BRONZE RELIEF OF CAPILLIATA
COLLEONI
ITALIAN, AFTER TULLIO LOMBARDO, 19TH OR
EARLY 20TH CENTURY
In a giltwood frame
31 in. (78.7 cm.) high, 19 in. (49.5 cm.) wide,
2 in. (5.1 cm.) deep
$6,000-9,000
3,900-5,700
4,800-7,200
PROVENANCE:
C. and E. Canessa, New York, 1915

Saint Louis Art Museum, purchased from C.and E.
Canessa, 1921
235
44
236
A PAIR OF BRONZE GROUPS OF THE RAPE OF SABINES AND THE
RAPE OF PROSERPINE
FRENCH, THE FIRST AFTER GIAMBOLOGNA, THE SECOND AFTER FRANCOIS
GIRARDON, LATE 18TH / 19TH CENTURY
Both on molded ormolu bases

24 in. (62.2 cm.) high, 10 in. deep (the Rape of Sabines group), without
base
21 in. (54.6 cm.) high, 9 in. (24.8 cm.) wide (the Rape of Proserpine
group), without base
(2)
$15,000-25,000
9,600-16,000
13,000-20,000
PROVENANCE:
Baroness de Lareinty, Paris.

Seligmann, Rey & Co. Galleries, Paris.
Hugo W. Blumenthal, New York, NY, USA (1894-1969), purchased from
Seligmann, Rey & Co., 1919.
Klejman Galleries, New York, 1957.
Saint Louis Art Museum, purchased from Klejman Galleries, 1957.
EXHIBITED:
Saint Louis, MO, Washington University Gallery of Art, Giambolognas

Conception of the Rape of the Sabine Women: A Study Exhibition in the
Connoisseurship of Bronze Statuettes, October 25 - November 14, 1971
LITERATURE:
C. Avery, Giambologna - The Complete Sculpture, Oxford, 1987, pp. 109114, 254, fgs. 104-107.
F. Souchal, French Sculptors of the 17th and 18th centuries - The reign of
Louis XIV, II, Oxford, 1981, no. 42, pp. 41-43, and the supplement, London,
1993, IV, no. 42, pp. 102-104.
These bronze groups, each representing a complex multi-fgure
composition, are derived from different sources but have been put together
to create a new, and highly decorative, pair. The Abduction of Proserpina
by Girardon was originally conceived as a marble as part of a commission
of four marble groups by different artists for the frst Parterre dEau at
Versailles (F. Souchal, French Sculptors of the 17th and 18th Centuries,
Paris 1981, p. 42). The Girardon group is dated 1699. The Rape of a Sabine
Woman is considered to be Giambolognas greatest achievement in marble.
It was unveiled in the Loggia dei Lanzi, Florence, on 14 January, 1583 (C.
Avery, Giambologna: The Complete Sculpture, Oxford, 1987, pp. 109-114).
45
237
WORKSHOP OF DIERIC BOUTS (HAARLEM C. 1415-1475)

The Mater Dolorosa
oil on panel
16 x 10 in. (41.9 cm. x 27 cm.)
$40,000-60,000
26,000-38,000
33,000-48,000
PROVENANCE:
Bernhard Rsler, Schwalmtal, by 1951 (along with the pendant Christ

Crowned with Thorns) and by descent to
Joyce Rsler, by whom given in 1978 to Dr. Eduard Bhl and by descent;
Christies, London, 8 December 2006, lot 179 (54,000), where acquired by
the present owner.
46
This Mater Dolorosa originally formed the left wing of a diptych, paired
with a Christ Crowned with Thorns. The composition probably derives from
Rogier van der Weyden, who had depicted similar Virgins, for example
in the Beaune Last Judgment (1443-51; Beaune, Muse de lHtel-Dieu)
and the Triptych of Jean Braque (c. 1452-3; Louvre, Paris), that were then
popularized by his contemporaries and followers. The present composition
was itself in the past given to Rogier and his school, but was reclassifed as
Dieric Bouts by Max J. Friedlnder (Die altniederlndische Malerei, III, Berlin
and Leiden, 1925, p. 124). The composition was quite popular in Bouts
workshop and several versions exist, including those in the National Gallery,
London and the Louvre, Paris (see Lorne Campbells entry in National
Gallery Catalogues. The Fifteenth Century Netherlandish Paintings, London,
1998, pp. 63-6). While several candidates have been proposed for the
Bouts prototype, the masters original autograph work appears to be lost.
238
BOHEMIAN SCHOOL, 15TH CENTURY

The Mater Dolorosa
oil and gold on panel
6 x 5 in. (17.2 x 14.3 cm.)
$5,000-7,000
3,200-4,500
4,000-5,600
238
239
VENETIAN SCHOOL, 15TH CENTURY

The Deposition
tempera, oil and gold on poplar panel in an
engaged frame
20 x 14 in. (51.4 x 35.6 cm.)
$10,000-15,000
6,400-9,500
8,100-12,000
239
47
240
AMBROSIUS BENSON (LOMBARDY? LATE 15TH CENTURYBEFORE 1550 BRUGES)

The Virgin and Child
oil and gold on Baltic oak panel
14 x 11 in. (36.8 x 28.6 cm.)
$60,000-80,000
39,000-51,000
49,000-64,000
PROVENANCE:
Schulte, Stuttgart; sale, Helbing, Munich, 27-28 March 1935, lot 461.
Anonymous sale; Sothebys, New York, 28 January 2000, lot 10, where
LITERATURE:
G. Marlier, Ambroisius Benson, 1957, p. 331, no. 228 (under paintings not
seen by the author)
M.J. Friedlnder, Early Netherlandish Paintings, 1974, XI, p. 97, no. 262, pl.
171.
Dendrochronological analysis of the oak panel by Professor Peter Klein of
Hamburg University has revealed that the earliest date of the painting could
be 1493. However it is more probable that the panel was used after 1499
(written communication, 15 May 2014).
240
241
ALESSANDRO TURCHI, CALLED LORBETTO (VERONA

1578-1649 ROME)
The Madonna and Child with the young Saint John the Baptist
and Saint Francis
oil on copper
15 x 9 in. (39.4 x 25.1 cm.)
$50,000-70,000
32,000-45,000
41,000-56,000
PROVENANCE:
Anonymous sale; Dorotheum, Vienna, 9 April 2014, lot 740 as Veronese

school, 17th century).
Private collection, Milan.
We are grateful to Dr. Daniela Scaglietti Kelescian, who endorses the
attribution to Turchi on the basis of frsthand inspection, and points out
that this is an autograph version of the composition whose prototype is
now in a private collection in Verona. Dr. Scaglietti Kelescian notes that
the present is the only known version painted on copper, and dates it to
Turchis frst years in Rome, c. 1613/1614.
241
48
242
GIROLAMO FIGINO (ACTIVE MILAN C. 1530-70)

Christ carrying the Cross
oil on panel, unframed
31 x 21 in. (78.2 x 54.4 cm.)
$30,000-50,000
20,000-32,000
25,000-40,000
Possibly a relative of the Milanese painter Ambrogio Figino,

Girolamo was a pupil of Francesco Melzi and a prominent
follower of Leonardo da Vinci, whose drawings he appears
to have collected. The image of Christ Carrying the Cross
gained widespread popularity in Milan as artists responded
to Leonardo da Vincis exploration of the subject, such as
his celebrated drawing from the early 1490s (Gallerie dell
Accademia, Venice). Francesco Frangi has confrmed the
attribution of the present painting to Figino, remarking that it
is stylistically closely related to the Madonna del Velo of 155960 in the church of Sant Ambrogio, Milan and the Holy Family
with Saint Syrus of 1569 in the church of Saint Marco in the
same city (written communication, 8 September 2011). These
works share a strong sense of fgural plasticity, boldly defned
drapery, as well as fesh-tones brought to life by an earthy
palette.
242
243
NICOLA MALINCONICO (NAPLES 1663-1721)

The Miracle of the Ass
oil on canvas
24 x 29 in. (63.2 x 74 cm.)
$15,000-20,000
9,600-13,000
13,000-16,000
We are grateful to Nicola Spinosa for identifying this bozzetto

as the work of Nicola Malinconico (written communication, 26
November 2014), who at the end of the 17th and beginning
of the 18th centuries was becoming increasingly receptive to
the art of Francisco Solimena after working in a style heavily
infuenced by Luca Giordano.
243
49
PROPERTY SOLD TO BENEFIT THE ART ACQUISITION FUND OF THE SEATTLE ART MUSEUM (LOTS 244-265)
244
JACQUES DE CLAEUW (DORDRECHT C. 1623-AFTER 1694

LEIDEN)
A hoopoe and fnches in a carved stone niche
signed indistinctly JDCl.... (lower center)
oil on panel
18 x 14 in. (47.6 x 36.8 cm.)
$15,000-20,000
9,600-13,000
13,000-16,000
PROVENANCE:
with Jacques Goudstikker, Amsterdam (inv. 1518), likely before 1930;

Looted from the above by the Nazi authorities, July, 1940.
Restituted to Desiree Goudstikker, New York, 17 May 1949.
with Daan Cevat, London, until 1964.
with Van-Diemen-Lilienfeld Galleries, New York, by 1964, as Van Leeuwen,
where acquired in 1966 by the Seattle Art Museum (Margaret E. Fuller
purchase fund).
LITERATURE:
Art Quarterly, XXX, no. 1, 1967, p. 65.

Art Quarterly, XXX, no. 2, 1967, pp. 159, 161.
Seattle Art Museum Guild, Engagement Book, 1969.
P. Sutton, Northern European Paintings in the Philadelphia Museum of Art:
From the Sixteenth through the Nineteenth Century, Philadelphia, 1990, pp.
163-164, as Cornelis Lelienbergh.
We are grateful to Fred G. Meijer of the RKD, The Hague, for confrming
the attribution to De Claeuw on the basis of photographs.
244
245
CIRCLE OF NICOLAS DE LARGILLIRE (PARIS 1656-1746)

Portrait of a gentleman, bust-length, in a red coat
oil on canvas
25 x 21 in. (54.8 x 54 cm.)
$6,000-8,000
3,900-5,100
4,800-6,400
PROVENANCE:
Private collection, France.

Syd Hoare, Vancouver, from whom purchased in 1958 by the Seattle Art
Museum (Norman and Amelia Davis funds).
EXHIBITED:
Denver, Denver Art Museum, Images of History, 1961.

LITERATURE:
Art Quarterly, XXI, 4, Winter 1958, p. 434.

245
246
PALENCIA SCHOOL, MID-15TH CENTURY

Saints George, Lazarus, Bartholomew, Sebastian and Benedict
tempera and gold on panel, in an engaged frame
40 x 31 in. (101.6 x 80 cm.)
$15,000-20,000
9,600-13,000
13,000-16,000
PROVENANCE:
Private collection, Palencia, where acquired by the following.

with Schaeffer Galleries, New York, where acquired in 1964 by the Seattle
Art Museum (Margaret E. Fuller purchase fund) as Castillian Master, active in
Palencia around 1460.
LITERATURE:

We are grateful to Antoni Jos Pitarch for identifying the present painting
as a work from Palencia, dating to the third quarter of the 15th century.
Working from a photograph, Professor Pitarch cited stylistic similarities
to the Altarpiece of Saint John the Baptist from the church of San Juan
Bautista in Paredes de Nava.
246
247
AFTER ANGELICA KAUFFMAN, R.A.

The Three Graces distressing Cupid
oil on canvas, in a painted circle
26 x 26 in. (66.7 x 66.7 cm.)
$10,000-15,000
6,400-9,500
8,100-12,000
PROVENANCE:
H. A. Hammond Smith, New York.

with Belmont Art Galleries, New York, by 1941, from whom purchased by
Mrs. Lew V. Day, Washington, 1941-1966, from whom gifted to
The Seattle Art Museum, May 1966.
EXHIBITED:
Bellevue, Washington, Bellevue Art Museum, 17th, 18th, 19th Century

Western Art, 30 October 1975-24 November 1975, as Kauffman.
LITERATURE:
Art Quarterly, XXIX, nos. 3-4, 1966, p. 295, as Kauffman.

Seattle Art Museum Guild, Engagement Book, 1969, as Kauffman.
247
248
AN ALABASTER RELIEF OF SAINT AGNES, SAINT JOHN THE BAPTIST AND A SAINT MARTYR
HISPANO-FLEMISH, LATE 16TH/EARLY 17TH CENTURY
9 in. (23 cm.) high, 9 in. (21 cm.) wide, 1 in. (3.7 cm.) deep (the relief)
$10,000-15,000
PROVENANCE:
with Mathias Komor, New York

Mrs. Cebert Baillargeon, in memory of her husband
52
6,400-9,500
8,100-12,000
249
A STUCCO RELIEF OF THE VIRGIN AND CHILD WITH THE YOUNG
SAINT JOHN THE BAPTIST
AFTER THE MODEL BY BENEDETTO DA MAIANO (1442-1497), ITALIAN,
POSSIBLY 16TH CENTURY
With the veiled Madonna holding the standing Child both looking at St. John
the Baptist, fanked by winged cherubim masks and above a larger one, the
frame later
32 in. (83.5 cm) high, 24 in, (62.5 cm) wide (overall)
$10,000-20,000
6,400-13,000
8,100-16,000
Benedetto da Maiano was one of the most accomplished marble sculptors

in 15th century Florence, whose work infuenced such High Renaissance
artists as Andrea Sansovino and Michelangelo.
This composition, of which several examples are known, including a
variant in the Victoria & Albert Museum (inv. no. 860-1891), dates from a
late phase of Benedetto da Maianos career. The present relief may be a
contemporary squeeze (cast) after an original in another material, or it may
have been designed specifcally for replication.
PROVENANCE:
Eugene Fuller Memorial Collection
53
250
250
251
A GILT-BRONZE RELIEF OF THE LAMENTATION

ITALIAN, PROBABLY ROMAN AND AFTER A MODEL BY GUGLIELMO DELLA
PORTA (1500-1577), LATE 16TH/EARLY 17TH CENTURY
A TERRACOTTA RELIEF OF THE VIRGIN AND CHILD

WORKSHOP OF MICHELOZZO DI BARTOLOMMEO (1396-1472), ITALIAN,
15TH CENTURY
In a walnut frame
75 in. (19.2 cm.) high, 5 in. (14 cm.) wide (the relief)
In a giltwood frame, the frame possibly Renaissance period

29 in. (75 cm.) high, 21 in. (53.5 cm.) wide, 7 in. (19 cm.) deep
$2,000-3,000
1,300-1,900
1,600-2,400
$30,000-50,000
20,000-32,000
25,000-40,000
PROVENANCE:
PROVENANCE:
Frank Gair Macomber with French & Co., 22 March 1950

Palazzo Michiel dalla Colonne ora Don dalle Rose, Venice

with French & Co., New York
Gift of Mrs. Donald E. Frederick
The present lot is accompanied by a Thermoluminescence test from Oxford
Authentication stating the samples were fred between 400 and 700 years
ago.
54
251
252
A SILVERED AND GILT-COPPER RELIQUARY HEAD, DEPICTING SAINT NEREUS
CENTRAL EUROPEAN, PROBABLY SWISS, 19TH CENTURY
On a pierced, square base inscribed HOC EST CAPUD SANCTI NEREUS MARTYRS
9 in. (24.7 cm.) high, 8 in. (20.5 cm.), 7 in. (19 cm.) deep
$2,000-3,000
PROVENANCE:
Mrs. Otto H. Kahn, New York with Brummer Gallery, New York, 11 January 1949
Donald E. Frederick Memorial Collection
56
1,300-1,900
1,600-2,400
253
A CARVED STONE RELIEF OF CHRIST BEFORE PONTIUS PILATE
GERMAN, MID-16TH CENTURY
Formerly an architectural element

17 in. (44 cm.) high, 31 in. (78.8 cm.) wide, 3 in. (9.5 cm.) deep
$10,000-20,000
6,400-13,000
8,100-16,000
PROVENANCE:
Baron Cassel van Doorn

with Blumka, New York, 13 January 1960
Seattle Art Museum Purchase Fund
57
254
A CARVED SANDSTONE FIGURE OF A MERMAID
ITALIAN, 16TH CENTURY
Depicted seated on rocks, missing head

18 in. (46 cm.) high, 30 in. (76 cm.) wide
$8,000-12,000
5,100-7,600
6,500-9,600
PROVENANCE:
Brummer Sale, 20 March 1949

with Stora & Co., 10 June 1949
This fgure of a Mermaid is reminiscent of the 16th-century monster statues
visible in the Gardens of Bomarzo, North Italy.
58
255
A CARVED SANDSTONE FRAGMENT OF A CROWNED FEMALE
FIGURE
FRENCH, 14TH CENTURY, POSSIBLY STRASBURG
10 in. (26.7 cm.) high, 7 in. (19 cm.) diameter
$8,000-12,000
5,100-7,600
6,500-9,600
PROVENANCE:
Brummer Sale, 20 March 1949

with Stora & Co., 10 June 1949
59
256
A CARVED OAK GROUP OF A PIETA
FLEMISH, EARLY 16TH CENTURY
On a naturalistically- carved base

37 in. (95.5 cm) high, 31 in. (78.5 cm.) wide, 15 (39.5 cm.) deep
$15,000-25,000
9,600-16,000
13,000-20,000
PROVENANCE:
Mathias Komor, New York, by 1958

Purchased by Seattle Art Museum (funds from Seattle Art Museum Guild), 26 November 1958
60
257
A PAIR OF POLYCHROME AND GILT-DECORATED FIGURES OF ANGELS
ITALIAN, CIRCA 1500
Each kneeling and holding a pricket stick on their knee

30 in. (77.5 cm.) high, 21 in. (53.5 cm.) wide, 12 in. (30.5 cm.) deep (each)
$7,000-10,000
PROVENANCE:
Eugene Fuller Memorial Collection.
a pair (2)
4,500-6,400
5,600-8,000
258
A CARVED LIMEWOOD RELIEF OF THE TRANSFIGURATION OF CHRIST
GERMAN, POSSIBLY AUGSBURG, CIRCA 1500
Formerly with a painted and gilded surface

22 in. (57.8 cm.) high, 28 in. (73 cm.) wide
$25,000-35,000
PROVENANCE:
with Blumka Gallery, New York, 6 January 1962

Seattle Art Museum (Margaret E. Fuller Purchase Fund)
62
16,000-22,000
21,000-28,000
259
A CARVED BOXWOOD RELIEF OF THE PENITENCE OF MARY
MAGDALEN IN THE WILDERNESS
CIRCLE OF CHRISTOPH DANIEL SCHENK, GERMAN, LATE 17TH
with Loewi-Robertson, Los Angeles, California, 6 February 1969

6 in, (16.5 cm.) high, 48 in. (12.5 cm.) wide, 1 in. (3.4 cm.) deep
$8,000-12,000
5,100-7,600
6,500-9,600
Christoph Daniel Schenk (1633-1691) was an important German sculptor

of religious imagery, working primarily in wood and ivory. He is also
known for his large-scale wood altar fgures and altarpieces. He produced
his earliest works during the Counter-Reformation, a period of renewed
artistic activity when churches and monasteries were being restored
and redecorated. He frequently treated religious scenes of suffering and
penitence in his work, often repeating themes in different media. Spiraling,
activated drapery forms emphasized his combination of stark naturalism
and heightened emotionalism.
259
260
A CARVED FRUITWOOD FIGURE OF SAINT MATTHEW
GERMAN, LATE 17TH CENTURY
Depicted standing with a putto supporting the Gospel, on a later circular

marble base
$4,000-6,000
2,600-3,800
3,200-4,800
PROVENANCE:
with R. Stora, New York, 15 March 1957

Norman and Amelia Davis Collection
64
260
261
A CARVED BOXWOOD GROUP OF A SATYR WITH A GOAT
GERMAN, LATE 17TH CENTURY
Depicted standing holding a bunch of grapes aloft

11 in. (30 cm.) high, 6 in. (15.3 cm.) wide, 5 in. (12.8 cm.) deep (overall)
$10,000-15,000
6,400-9,500
8,100-12,000
PROVENANCE:
With Blumka, New York, 28 March 1955

261
262
A CARVED BOXWOOD RELIEF OF THE VIRGIN OF THE APOCALYPSE
GERMAN, LATE 16TH/ EARLY 17TH CENTURY
Depicted triumphant and fanked by angels

7 in. (17.6 cm.) high, 4 (10.8) wide, 1 in. (3.1 cm) deep
$12,000-18,000
7,700-11,000
9,700-14,000
PROVENANCE:
with Mathias Komor, 11 July 1963

Gift of Dr. Curtis Marshall, Mrs. Alfred Perthou, and friends in memory of Dr.
and Mrs. Maimon Samuels
262
65
263
A WHITE MARBLE BUST OF VOLTAIRE
WORKSHOP OF PETER ANTON VON VERSCHAFFELT (1710-1793), FLEMISH,
LATE 18TH CENTURY
On a later red and brown marble socle

18 in. (45.7 cm.) high, 15 in. (38 cm.) wide, 12. in. (30.5 cm) deep
$12,000-18,000
7,700-11,000
9,700-14,000
PROVENANCE:
Auction, Paris, June 1958

with Mathias Komor, New York
Gift of Mrs. John C. Atwood, Jr.
Another bust of Voltaire (1694-1778), also by Peter Anton von Verschaffelt
and originally from the dArenberg Palace (Brussels), is know in the Louvre
(RF. 3064). Both sculpture bears very close stylistic comparison, the drapery
and the treatment of the face being similar. However, in the Louvre version,
Voltaire is represented with hairs in the antique manner with a laurel
wreath instead of a peruke in the present.
263
264
A TERRACOTTA BOZZETTO OF TRITON AND SEAHORSE
ITALIAN, LATE 17TH CENTURY
Depicting a triton catching a seahorse

14 in. (37 cm.) high, 9 (25 cm.) wide, 10 in. (27.8 cm.) deep
$5,000-8,000
3,200-5,100
4,000-6,400
PROVENANCE:
Oscar Bondy, Vienna, by 1938.

Confscated by the Nazi authorities April 1939.
Stored at the Zentraldepot Vienna for the Fhrermuseum Linz (Inv.no.
945), by 1939; transferred to Stift Kremsmnster (Inv.no. Kr/46/3078) , by
1946.
Restituted to Elisabeth Bondy, 17 November 1948.
With Blumka Gallery, New York.
Seattle Art Museum, purchased from the above, 4 May 1950.
A terracotta of a Naiad, now in the Boston Museum of Fine Arts (acc. no.
56.144) and also from the Oscar Bondy collection, was originally certainly
constituting a pair with the present.
66
264
265
A TERRACOTTA FIGURE OF AN ECCLESIAST
CIRCLE OF PIERRE-ETIENNE MONNOT (1656-1733), FRENCH, EARLY 18TH CENTURY
Depicted standing, his proper right hand missing

23 in. high (58.3 cm.), 9 in. (24 cm.) wide, 6 (17.2 cm.) deep
$7,000-10,000
4,500-6,400
5,600-8,000
PROVENANCE:
67
266
THOMAS GAINSBOROUGH, R.A. (SUDBURY, SUFFOLK

1727-1788 LONDON)
Portrait of Lady Blackstone, bust-length
oil on canvas
30 x 25 in. (76.8 x 63.5 cm.)
$40,000-60,000
26,000-38,000
33,000-48,000
PROVENANCE:
By descent to the sitters daughter.

Miss M.E. Rennell; Christies, 21 February 1919, lot 18 (1,400 gns.).
E.W. Edwards, Cincinnati, and by descent within the family to
Thomas E. Davison, Cincinnati; Christies, London, 18 June 1976, lot 108
(6,000).
EXHIBITED:
Cincinnati, Cincinnati Art Museum, Thomas Gainsborough, 1-31 May 1931,

no. 1.
LITERATURE:
E.K. Waterhouse, Preliminary Checklist of Portraits by Thomas Gainsborough,

Oxford, 1953, XXXIII, p. 9.
E.K. Waterhouse, Gainsborough, London, 1958, p. 55, no. 68.
266
Lady Blackstone, ne Sarah Clitherow, was the daughter of James

Clitherow, a London merchant. She wed William Blackstone (1723-1780)
on 5 May 1761, at the age of 26. Their marriage was by all accounts a
happy one, resulting in a family of nine children. Sir William Blackstone
was one of the most infuential legal philosophers of the 18th century,
authoring many books including his seminal work on English common law,
Commentaries on the Laws of England (1766-1770). He is perhaps best
remembered as the author of the legal maxim known today as Blackstones
Ratio: It is better that ten guilty persons escape than one innocent suffer.
His portrait (30 x 25 in.) half-length, facing left, also by Gainsborough, is
in the Tate, London (no. N02637) and is the companion picture to Lady
Blackstones portrait.
267
ALEXANDRE HYACINTHE DUNOUY (PARIS 1757-1841

JOUY-EN-JOSAS)
A classical landscape with ruins and a shepherd and shepherdess
in the foreground
with signature A. dunouy (lower right)
oil on canvas, oval, the corners made up from another painting
23 x 18 in. (58.4 x 48 cm.)
$18,000-22,000
267
68
12,000-14,000
15,000-18,000
PROPERTY FORMERLY IN THE COLLECTION OF CECILE

LEHMAN MAYER
268
STUDIO OF GILBERT STUART (NORTH

KINGSTOWN, RI 1755-1828 BOSTON)
Portrait of Benjamin West, P.R.A., half-length
oil on canvas
28 x 36 in. (71.7 x 91.4 cm.)
$20,000-30,000
13,000-19,000
17,000-24,000
PROVENANCE:
Hamilton sale, c. 1860, as Gainsborough (according to a label on

the reverse), where acquired by
Charles Blake, Motspur Park, Northumberland, from whom
inherited in 1896 by his niece,
Miss A. M. Shrimpton Giles, Chelsea.
with Scott & Fowles, New York, by 1921 (no. 580), from whom
acquired by the family of the present owner.
268
PROPERTY OF A LADY
269
CIRCLE OF JOHN WOOTTON, R.A.

(SNITTERFIELD, WARWICKS C. 1682-1764
LONDON)
An Arcadian river landscape with soldiers resting
among classical ruins
oil on canvas
40 x 50 in. (102.2 x 127 cm.)
$8,000-12,000
5,100-7,600
6,500-9,600
PROVENANCE:
Acquired from the House of the family seat of Oxfordshire by

Lord Beville Ramsay, Croughton, Northamptonshire, by whom
given to
Mr. Butler, Parish Clerk of Croughton, Northamptonshire
(according to an old label on the reverse of the stretcher).
Mrs. Cottrellton (according to an old label on the reverse of the
stretcher).
269
69
270
ADAM PYNACKER (SCHIEDAM 1620/2-1673 AMSTERDAM)

An Italianate landscape with a traveler on a path by a waterfall
signed APynacker (AP linked, lower right)
oil on canvas
16 x 22 in. (41.3 x 57.8 cm.)
$150,000-200,000
96,000-130,000
130,000-160,000
PROVENANCE:
Csar-Gabriel de Choiseul-Praslin, 1st Duc de

Praslin (1712-1785); (), Paillet, Paris, 18th
February 1793 (FFr.1,250).
(Probably) Peter, 5th Earl Cowper (1778-1837),
and by descent to
Francis, 7th Earl Cowper (1834-1905),
Panshanger, Hertfordshire (Panshanger List, 1857,
MSS II, p. 17, small dining room, no. 7), and by
descent to
Monica, Lady Salmond, 1953, and by descent to
Rosemary, Lady Ravensdale, 1973, until at least
the mid-1980s.
The Hon. Robert Mosley; Christies, London, 24
April 1998, lot 23 (265,500).
The timeless, Arcadian setting of the present

work is typical of the early Italianate views
Pynacker made while living in his hometown of
Schiedam, near Rotterdam, after his return from
Italy c. 1648. The waterfall, plains and rocky
outcroppings evoke the countryside around
Tivoli, which was within a days ride of Rome
and a magnet for artists because of its Classical
associations and fne modern villas. Pynackers
scene shows a herdsman tending his cattle while
a peasant rides his donkey through the golden
sunset, whose low rays cast flaments of gold
across the path and adorns the distant blue
mountains with a crown of apricot light.
EXHIBITED:
The subtle glow which suffuses the present

image recalls the works of Pynackers
contemporary, the Utrecht painter Jan Both (c.
1618-1652), who was in Italy from 1638 to
1641. Like Boths Italianate pictures, the present
work also organizes the composition into a series
of wedges, leading the viewers eye deep into
the landscape and employing the slender trees
as delicate repoussoirs. Pynackers observation
of the fora and fauna, however, is uniquely
naturalistic, brilliantly evoking the changing light
on the waterfall as it falls smoothly or breaks
into droplets of spray, and the individually
articulated leaves, illuminated by the lowering
sun as it is fltered through the trees.
Doddington House, Gloucestershire until the

mid-1980s and subsequently at Hatfeld House,
Hertfordshire, on loan from Rosemary, Lady
Ravensdale.
LITERATURE:
J. Smith, A Catalogue Raisonn of the Works of

the Most Eminent Dutch, Flemish and French
Painters, London 1829-42, VI, 1835, p. 291, no.
14.
F. Waagen, Treasures of Art in Great Britain,
Supplement, London 1857, p. 346 (The warmth
of the tone and the delicacy of the whole work
class this among the best pictures of this..
master).
C. Hofstede de Groot, Verzeichnis der Werke des
hervorragendsten hllandischen Maler des XVII.
Jahrhunderts, IX, Esslingen 1926, p. 537, no. 64.
H.G. Belsey, The Cowper Collection, unpublished
M. Litt. dissertation, University of Birmingham,
1982.
L.B. Harwood, Adam Pynacker, Doornspijk 1988,
pp. 64-65, no. 36, pl. 36.
70
The rocks and waterfall at left can be compared

to Pynackers very large upright Landscape
with waterfall and shepherd, signed and dated
1654 (Bode-Museum, Berlin, inv. 897); the
motif of the waterfall in both works probably
derives from a sketch that the artist made in
Italy. A similar waterfall appears in A stony
creek (Stockholm, Nationalmuseum, inv. 575),
which Harwood also dates c. 1654 due to its
relationship to the Berlin painting.
The present work has passed through
distinguished French and English collections;
it was owned by the soldier, diplomat and
statesman Csar-Gabriel de Choiseul-Praslin, 1st
Duc de Praslin (1712-1785) and then descended
in the collection of the Earls Cowper.
271
EDWAERT COLLIER (BREDA 1642-1708 LONDON)

A trompe loeil of letters, a newspaper, a quill, a magnifying
glass and other objects assembled behind ribbons upon wooden
boards
signed and dated Edwart Collier / 1695 (center left)
oil on canvas
24 x 19 in. (63.2 x 50.6 cm.)
$60,000-80,000
39,000-51,000
49,000-64,000
PROVENANCE:
Ronald A Lee Esq., by 1954.

The Lily and Edmond J Safra Collection; Sothebys New York, 18 October
2011, lot 785 ($68,500).
EXHIBITED:
Sheffeld, Graves Art Gallery, The Eye Deceived (Trompe loeil), OctoberNovember 1954 (lent by Ronald A Lee)
LITERATURE:
F. Davis, A page for collectors: The Eye Deceived, The Illustrated London
News, 30th October 1954, illus.
72
Edwart Collier was born in Breda in the province of Brabant, and he may
well have received his training as a painter in Haarlem. Letter boards by
Collier, popular in England as well as in the Netherlands, are known from
1692 and later. In the present work, the date 1695 on the letter is likely
the date of its execution. The booklet displayed next to it, the Apollo
Anglicanus or English Apollo, is dated 1694. This seventeen-page booklet
was a popular edition on astronomy and astrology by the student in the
physical and mathematical sciences Richard Saunders, frst published
as early as 1654 and reprinted annually. It discusses the positions of the
stars throughout the year, the tides, and other related phenomena. Collier
included the booklet in at least two other still lifes of letter boards, one
dated 1676, the other 1701. A similar vertical letter board from the same
year as the present work (signed and dated on the letter Edwart Collier/
Anno 1695) also includes the numbered letter (this time NO 25), the quill,
the sealing wax and stamp, the comb and the Memorie note. While
Collier often included the same objects in his paintings, he seems to have
relished arranging them in a different but equally attractive manner time
and time again, maintaining their natural and spontaneous haphazard
impression.
Our thanks to Fred G. Meijer, of the RKD in The Hague, for his assistance in
cataloguing this lot.
PROPERTY FROM THE COLLECTION OF

ARTHUR AND CHARLOTTE VERSHBOW
272
GIOVANNI PAOLO CASTELLI, CALLED

LO SPADINO (ROME 1659-C.1730)
Melons, grapes, roses, morning glory,
and a pomegranate in a river landscape
oil on canvas
$8,000-12,000
5,100-7,600
6,500-9,600
We are grateful to Ludovica Trezzani for

identifying the present still life as a very fne
work by Giovanni Paolo Castelli (written
communication, 10 June 2014).
PROPERTY FROM AN ESTATE
272
273
CARSTIAN LUYCKX (ANTWERP 1623AFTER 1657)

Grapes, peaches, a lemon, plums,
cherries and a roemer on a partiallydraped table
signed carstian. Luickx (lower right, on the table)
oil on panel
9 x 13 in. (24.8 x 34.3 cm.)
$30,000-50,000
20,000-32,000
25,000-40,000
PROVENANCE:
J. Hauptmann, Paris.
Private collection, Paris.
F. Mont, New York, 1951.
with Newhouse Galleries, New York, 1957, from
whom acquired by the family of the present
owner.
EXHIBITED:
Milwaukee, Milwaukee Art Institute and

Cincinnati, Cincinnati Art Museum, Still Life
Paintings since 1470, September 1956 and
October 1956, no. 36.
Dallas, Meadows Museum, Private Views: Flemish
and Dutch Paintings from Dallas Collections, 19
April-27 May 1990 (catalogue by S.A. Sullivan)
LITERATURE:
273
E. Griendl, Les peintres famands de nature morte

au XVIIe sicle, Brussels, 1983, no. 18.
We are grateful to Fred Meijer of the RKD,
The Hague, for confrming the attribution to
Luyckx on the basis of photographs (private
communication, 24 April 2014).
73
274
GASPARO LPEZ, CALLED GASPARO DI FIORI (NAPLES 1650-1732 FLORENCE)

Roses, tulips, carnations, snowballs and other fowers in an urn by a fountain, with
chrysanthemums, carnations, roses, and other fowers overfowing from a wicker
basket, a landscape beyond; and Tulips, roses, carnations, and chrysanthemums and
other fowers in a classical urn on a stand, with roses, carnations, tulips, other fowers
and pomegranates by the stand, a landscape beyond
oil on canvas
23 x 17 in. (60 x 43.5 cm.)
$50,000-70,000
a pair (2)
32,000-45,000
41,000-56,000
PROVENANCE:
Private collection, Europe, since the 1960s.

Fred G. Meijer of the RKD in The Hague as confrmed the attribution to Lopez on the basis of
photographs.
74
PROPERTY OF AN ESTATE
275
FRANCESCO SIMONINI (PARMA

1686-C.1755 VENICE OR FLORENCE)
AND GIUSEPPE NOGARI (VENICE
1699-1766)
Equestrian portrait of Field Marshal
Count Johann Matthias von der
Schulenburg, full-length, in a red coat
and a breastplate, on a grey mare, before
a siege
oil on canvas
77 x 56 in. (197.5 x 143.5 cm.)
$70,000-100,000
45,000-64,000
57,000-80,000
PROVENANCE:
Painted for the sitter and recorded in the

Inventario Generale de tutta la Galleria di Sua
Eccellenza, 4 May 1737 (Quadro Rappresenta
Ritratto di S.E. Marescial Cavallo. Il ritratto
fatto dal Nogari et il cavallo co suoi Ferminti e La
Battaglia fatta dal Simonini Battaglista, Binion,
1990, p. 122, note 18); in the Inventario Generale
della Galleria, 30 May 1738 (Altro Ritratto del
medesimo sopra un caval Grigo con il capello in
Testa, Costo 100, ibid., p. 215); in the Inventario
Generale della Galleria, 30 June 1741, (Ritratto
del sud.o sopra un caval griggio con Capello in
Testa 6t a spn e , ibib., p. 238); and in the Quadri
e Ritratti Essistenti nelle differenti Camere del
Palazzo, Venice, August 1747 in the Portico, as
Simonini (Un Ritratto di Sua Ecc.za sopra un
Cavallo bianco con il Baston di Commando in
mano con battaglia al di sotto e Fortezza, valued
at 150, ibid., p. 255), and given en bloc with the
rest of his collection to his nephew
Christian Gnther von der Schulenburg,
Hehlen and Berlin, by whom transported from
Venice, 1747.
A member of the Schulenburg family; Sothebys,
London, 23 June 1982, lot 69 (17,000).
Anonymous sale; Finarte, Milan, 27 November
1984, lot 73.
Anonymous sale; Christies, London, 10 July
1998, lot 80 (111,500 to the present owner).
LITERATURE:
A. Morassi, Francesco Simonini, ein

Schlachtenmaler des Settecento, Pantheon, XIX,
1960, p. 3.
A. Binion, From Schulenburgs Gallery and
Records, The Burlington Magazine, CXII, 1970,
p. 298.
A. Binion, La Galleria Scomparsa dal Maresciallo
von der Schulenberg, Milan, 1990, pp. 38, 121122 n. 18, 154, 215, 238 and 255, fg. 14.
R. Pallucchini, La pittura nel Veneto: Il Settecento,
I, Milan, 1995, p. 273, fg. 452.
R. Pallucchini, La pittura nel Veneto: Il Settecento,
II, Milan, 1996, p. 339, fg. 519.
Count Johann Matthias von der Schulenburg
(1661-1747) became Field Marshal and
Commander in Chief of the Forces of the
Venetian Republic in 1715. His defense of Corfu

against the Turks in 1715-1716 made him a
hero to the Venetians, who erected a statue in
his honor and granted him a life pension. He
established himself at Palazzo Loredan near San
Trovaso in Venice, where in 1724, at the age of
sixty-three, he found himself in possession of
a group of eighty-eight paintings, mainly from
the collections of the Dukes of Mantua, which
were ceded to him by a dealer named Giovanni
Battista Rota who had defaulted on a loan. This
awakened a voracious appetite for collecting
and in the remaining two decades of his life
he amassed nearly a thousand pictures. Ably
assisted by his advisors, frst Pittoni and then
Piazzetta, Schulenburg acquired works by almost
all the leading Venetian painters of his day.
His purchases accelerated in the 1730s, and in

1735 he began to send regular shipments to his
estates in Germany. A bachelor, he bequeathed
the whole of his vast collection to his nephew,
with the request that it be preserved intact.
Though much of the collection was dispersed as
early as 1775, the present work remained in the
Schulenburg family for nearly two hundred and
ffty years.
Simonini was the leading Venetian battle painter
of the early 18th century, and was a natural
choice as collaborator for the present portrait,
commissioned in 1737, of this outstanding soldier
in the Venetian service. Portraits by Nogari are
unusual and this is unquestionably the most
ambitious.
75
276
A BRONZE FIGURE OF ST. JOHN THE BAPTIST
ATTRIBUTED TO FERNANDO TACCA (1619-1686)
Depicted standing on a naturalistic base with a punched ground, holding a cross

9 in. (23.5 cm.) high, the fgure; 15 in. (39 cm.) high, including base and cross
$60,000-90,000
39,000-57,000
49,000-72,000
PROVENANCE:
Private Collection, sold, Christies, New York, 7

June 2013, lot 165 ($99,750, including premium).
LITERATURE:
Y. Hackenbroch, ed., Bronzes, Other Metalwork

and Sculpture in the Irwin Untermyer Collection,
London, 1962, fg. 80, pl. 77.
There is remarkably little documented bronze

sculpture by Ferdinando Tacca, perhaps due to
the reduced patronage provided by the Medici
Grand Dukes in the mid-17th century. After
Giambolognas death in 1608, his assistant
Pietro Tacca took over as court sculptor to the
Grand Dukes and when Tacca himself died in
1640, the role went to his son Ferdinando.
Ferdinando thus inherited Giambolognas
workshop and foundry in the Borgo Pinti and he
can also be considered Giambolognas artistic
heir, carrying on as he did the elegant mannerist
style of late 16th century Florence well into the
mid-17th century. Today, there are relatively few
documented works by Ferdinando from which to
construct a reliable oeuvre, however one of his
most important commissions was for the bronze
relief of the Martyrdom of St. Stephen in Santo
Stefano al Ponte, Florence.
76
A. Radcliffe, in his paper Ferdinando Tacca, the

missing link in Florentine Baroque bronzes (in
Kunst des Barock in der Toskana, Munich, 1976),
attributes a number of small bronze groups
to Tacca on the basis of their similarity to the
Martyrdom relief, and it is in looking both at
these bronzes and the relief itself which allows
us to attribute the present bronze to Tacca as
well. The frst notable similarity is in the fnishing
of the rockwork base. It is almost a signature
of the artist that he fnishes his bases with a
series of swirling patterns of punched trails as is
evident on the base here.
There is another model of St. John the Baptist
which was part of the Untermyer Collection
and is now in the Metropolitan Museum of Art
(no. 64.101.1467). It is missing its cross and the
punching on the base is slightly more vigorous,
and these differences would be expected in any
hand-fnished work, but it is nearly identical in all
other respects.
This lot is offered without reserve
277
ETIENNE AUBRY (VERSAILLES 17451781)

Le Mariage Rompu
oil on canvas
35 x 46 in. (89.5 x 116.8 cm.)
$40,000-60,000
26,000-38,000
33,000-48,000
PROVENANCE:
Pillot collection, Chatou, by 1925.

Anonymous sale; Htel Drouot, Paris, 10 June
1963.
EXHIBITED:
Paris, Salon, 1777, no. 124.

LITERATURE:
Review of the Salon of 1777, Mercure de France,

Deloynes, pp. 1096-1097.
Lettres pittoresques sur le Salon de 1777, IV
Deloynes 190, p. 1049.
Conversations between Aglantine, a fourteen
year old Creole girl and M. de Sauvigny, Deloynes
78
178, pp. 874-875.

M. de Sauvigny, Les tableaux du Louvre ou il ny a
pas le sens commun, histoire vritable, Deloynes,
1777, 186, p. 935.
F. Ingersoll-Smouse, Quelques tableaux de genre
indits, La Gazette des Beaux Arts, Paris, 1925,
pp. 80-86.
M. Florisoone, Le dix-huitime sicle, Paris, 1948,
p. 71.
J. Thuillier and A. Chatelet, La peinture franaise
de le Nain Fragonard, Paris, 1964, p. 229.
A. Brookner, Greuze, The Rise and Fall of an
Eighteenth Century Phenomenon, London, 1972,
pp. 142-143.
P. Rosenberg and M. Stewart, French Paintings
1500-1825, San Francisco, 1987, p. 105.
Salons de Bachaumont, introduction and analysis
by Fabrice Far, reprinted Jacques Laget, 1995,
pp. 70-71.
In a grand Baroque chapel, sixteen people have
gathered for a young gentlemans marriage,
which has been interrupted at the last moment
by his former lover and children. In the words
of the 1777 Salon livret, the young mans
father, touched by the sight of the unfortunate
offspring, turns his sons gaze towards them.

The son, feeling his heart break at the sight,
gives in, and paternal love triumphs. Le Mariage
Rompu, exhibited at the Salon of 1777, was one
of three paintings shown by Aubry that year, just
four years before his untimely death. In terms of
scale, sentiment and compositional complexity,
this picture was by far the most ambitious,
and won him the protection of Frances most
infuential arbiter of taste, the surintendant des
btiments, the Comte dAngiviller.
tienne Aubry studied with Silvestre in his
hometown of Versailles, and later with Vien. His
frst successes were in the feld of portraiture,
in which genre he was agr at the Acadmie
Royale in 1771. He was greatly admired for his
portraits of Vass and Hall and in 1775 was
reu into the Academy. However, following
the infuence of such artists as Jean-Baptiste
Greuze and Jean-Simon Chardin, Aubry became
entirely absorbed in genre painting. Diderot, the
philosophe who championed Greuzes drames
bourgeois, wished to transform the Salons into
schools of virtue; a place where artists would
perpetuate noble deeds, where virtue would be
vindicated and vice stigmatized.
278
GUILLAUME VOIRIOT (PARIS 1713-1799)

Portrait of a gentleman, half-length, seated in a red velvet jacket
with a violin
oil on canvas
41 x 34 in. (104.8 x 87.6 cm.)
$30,000-40,000
20,000-25,000
25,000-32,000
PROVENANCE:
Franois lie, Comte de Moustier (17511817), according to a label on the

reverse.
Voiriot, born the son of a sculpteur des btiments du Roi, studied at the
Acadmie de France in Rome between 1746 and 1749. On his way back
to Paris he painted several portraits for the Savoy court in Turin. In 1757,
Voiriot was admitted to the Academy in Paris as an agre and two years
later became a full member. He exhibited at the Salons between 1761 and
1763.
According to a label on the reverse the present painting was once owned
by the Comte de Moustier, French envoy to the United States from 1787
to 1789 and a close friend of George Washington. After the death of his
wife he lived with his sister-in-law, who was an artist and painted one of
the rare portraits of Washington. We are grateful to Marquis Lonel de
Moustier for providing information on the paintings provenance, and to
Jean Jacques Petit who has confrmed the attribution to Voiriot on the basis
of frsthand inspection.
79
279
ANTOINE COYPEL (PARIS 1661-1722)

Flora and Zephyr
inscribed 2505. (lower left) and 9 (lower right)
oil on copper
11 x 8 in. (29.9 x 22.5 cm.)
$20,000-30,000
13,000-19,000
17,000-24,000
PROVENANCE:
(Probably) Charles-Antoine Coypel, the artists

son; his sale, Paris, 1753, no. 92 (with the
pendant): Deux Tableaux pendants peint sur
cuivre, lun reprsentante Zphire & Flore, &
lautre Vertumne & Pomone, en demie fgure:
ils ont t gravs, le premier par M. Gaspard
DUCHANGE, & le second par Corn. Vermeulen,
& sont aussi termins quils sont dune agrable
compositions; leur grandeur est de 11 pouces de
80
haut sur 8 de large, where probably acquired by

the following.
(Probably) Louis-Antoine Crozat, Baron de Thirs
until 1772, when acquired by the following.
(Probably) Catherine II of Russia, Palace of
Tsarskoe-Selo, near St. Petersburg.
with Ghislaine David, Paris, where purchased in
1992 by the present owner.
tableaux qui se trouvent dans les Galleries et

dans les Cabinets du Palais Imprial de Saint
Ptersbourg, St. Petersburg, 1774 (reprinted in
P. Lacroix, Muse du Palais de lErmitage sous le
rgne de Catherine II, Revue universelle des arts,
XIII, no. 1172).
(Probably) N. Garnier, Antoine Coypel (16611722), Paris, 1989, p. 131, under nos. 62 and 63,
as one of deux rductions originales (?).
LITERATURE:
(Probably) J.B. de la Curne de Sainte-Palaye,

Catalogue des Tableaux du Cabinet de M. Crozat,
Baron de Thirs, Paris, 1755, p. 52: Aux cts
de ces trois Tableaux, quatre Tableaux droite,
dont le premier & le plus lev reprsente Zphire
& Flore, demi-fgures; par Antoine COYPEL. Il a
t grav par Benot Audrand: sur cuivre, de 11
pouces de haut, sur 8 pouces de large.
(Probably) Count J.E. Mnnich, Catalogue des
ENGRAVED:
Benot Audran.
PROPERTY FROM A PRIVATE COLLECTION
280
ATTRIBUTED TO NICOLAS BERTIN

(PARIS 1668-1736)
Mercury entrusting the infant Bacchus to the
Nymphs of Nysa
oil on canvas
29 x 23 in. (73.7 x 59.1 cm.)
$8,000-12,000
5,100-7,600
6,500-9,600
280
PROPERTY FROM THE ESTATE OF

WILLIAM W. APPLETON
281
JEAN CHARLES JOSEPH RMOND

(PARIS 1795-1875)
Landscape with ruins
oil on canvas
14 x 17 in. (36.8 x 44.8 cm.)
$7,000-10,000
4,500-6,400
5,600-8,000
281
81
282
MARIO NUZZI, CALLED MARIO DEI FIORI (ROME 16031673)

A parrot tulip, morning glories, a spiraea and other fowers in a
sculpted urn, on a stone ledge
oil on canvas
19 x 15 in. (50 x 39.4 cm.)
$30,000-50,000
20,000-32,000
25,000-40,000
PROVENANCE:
Anonymous sale; Bukowskis, Stockholm, 26 November 1997, lot 318.
82
Mario Nuzzi, known also as Mario dei Fiori, was the pre-eminent painter
of fowers working in Italy in the 17th century, and the frst Italian still-life
artist to reach international fame. It is an indication of his status that he
exhibited with the Virtuosi at the Pantheon in 1647, that he was elected
to the Academy of St Luke in 1657, and that he was painted by Morandi
in the act of painting fowers - the fowers were painted by Nuzzi - in a
picture commissioned by the Chigi family. Nuzzis capacity to produce
fower pieces of real animation and vitality earned him numerous important
patrons, including many of the most prominent families of Papal Rome,
among them the Chigi, Colonna, Barberini, and Orsini.
283
PIETER VAN BLOEMEN,

CALLED LO STENDARDO
(ANTWERP 1657-1720)
Cavaliers setting off on a journey;
and A military blacksmith shoeing horses
by a ruin
oil on canvas
each 21 x 24 in. (53.3 x 62.2 cm.)
a pair (2)
$25,000-35,000
16,000-22,000
21,000-28,000
PROVENANCE:
Anonymous sale; Sothebys, Amsterdam, 12 May

1992, lot 5, where acquired by the present owner.
83
PROPERTY FROM A PRIVATE COLLECTION
284
GIOVANNI CRIVELLI,
CALLED IL CRIVELLINO
(MILAN? C. 1690-1760 PARMA)
A Peacock, pheasants and rabbits in a
wooded parkland landscape
oil on canvas
46 x 58 in. (118.1 x 148.6 cm.)
$15,000-20,000
9,600-13,000
13,000-16,000
PROVENANCE:
The British Interior; Christies, New York, 23-24

January 2002, lot 397.
LITERATURE:
F. Arisi, Felice Boselli, Piacenza, 1973, p. 308,

no. 508, fg. 601.
F. Arisi, Natura morta tra Milano e Parma in et
barocca. Felice Boselli, rettifche e aggiunte,
Piacenza, 1995, p. 351, fg. 412.
F. Arisi, Crivellone e Crivellino, Piacenza, 2004,
pp. 466, 587, no. 204.
284
PROPERTY OF A GENTLEMAN
285
LOMBARD SCHOOL, 18TH CENTURY

The Holy Family
oil on canvas
35 x 27 in. (90.5 x 70.5 cm.)
$8,000-12,000
5,100-7,600
6,500-9,600
PROVENANCE:
Anonymous sale; Sothebys, New York, 31

January 2009, lot 46A, where acquired by the
present owner.
The reverse of the original canvas is inscribed
C.A.L. 1758.
285
84
286
PIETRO NAVARRA (ACTIVE ROME 1685-95)

A spoonbill, woodcock, and game birds
The present work compares closely with the Still life with game and fruit in
the Pallavicini Gallery, Rome (see M. Gregori, et al., La natura morta in Italia,
Milan, 1989, III, p. 826, fg. 982.
oil on canvas
38 x 29 in. (98.4 x 74 cm.)
$10,000-15,000
6,400-9,500
8,100-12,000
PROVENANCE:
Baron and Baroness Raoul Kuffner de Diozegh; Park-Bernet Galleries,

18 November 1948, lot 24, as Jan Weenix.
Leon Medina.
Louise Heller; Sothebys, New York, 3 June 1988, lot 65, as Central Italian
School, 18th Century ($18,700).
Anonymous sale; Christies, New York, 17 October 2006, lot 227 ($19,200),
where acquired by the present owner.
286
287
VENETIAN SCHOOL, 17TH CENTURY

Saint Peter
oil on canvas
23 x 19 in. (59.7 x 49.5 cm.)
$5,000-7,000
3,200-4,500
4,000-5,600
PROVENANCE:
Anonymous sale; Sothebys, New York, 29 January 2010, lot 715, as Italian
School, 17th Century, where acquired by the present owner.
287
85
PROPERTY FROM A PRIVATE WEST COAST

COLLECTION
288
BARTOLOMEO PASSAROTTI
(BOLOGNA 1529-1592)
Portrait of a vintner, half-length, in a ruff
and black hat
oil on canvas
37 x 28 in. (95.9 x 73 cm.)
$40,000-60,000
26,000-38,000
33,000-48,000
PROVENANCE:
Anonymous sale; Sothebys, London, 9 July 1998,

lot 70, where acquired by the following.
Private collection; Christies, New York, 26
January 2005, lot 67 ($60,000), where acquired
86
This striking example of Passarottis rhetorical

portraiture was described by the artists
biographer Malvasia: non fgurandoli fermi
e insensati, ma in azione e in moto, e perci
colloperazione animandoli ed istoriandoli (see
1678 edition, G. P. Zanotti, Felsina Pittrice vite
De Pittori Bolognesi, Bologna, 1841 , I, p. 191).
The sitter gazes boldly at the viewer while his
hand points to the barrel on which he rests his
left arm, thus appearing simultaneously stoic
and poised to act. Passarotti uses a similar device
in his Portrait of a man playing with his dog
(Pinacoteca di Brera, Milan, inv. 936). The sitters
costume suggests this portrait dates to the
late 1570s, when Passarotti, along with Orazio
Samacchini and Prospero Fontana, was involved
in commissions for the cathedral in Cremona.

289
GAETANO GANDOLFI
(SAN MATTEO DELLA DECIMA
1734-1802 BOLOGNA)
The Madonna of the Rose
289
oil on canvas, oval

15 x 20 in. (38.7 x 51.4 cm.)
$50,000-80,000
32,000-51,000
41,000-64,000
PROVENANCE:
Private collection, Paris.

This luminous Madonna and Child was painted
toward the end of the 18th century by Gaetano
Gandolf, one of the leading Italian painters of
his day. The red rose is both a symbol of Christs
Passion and, as in the present case, an allusion
to the purity of the Virgin, who according to
tradition is known as the rose without thorns.
290
LUCA SALTARELLO
(GENOA 1608/9-C. 1645 ROME)
The Dead Christ
oil on canvas, circular
34 in. (86.4 cm.), diameter
$20,000-30,000
13,000-19,000
17,000-24,000
Anna Orlando has attributed this tondo to Luca

Saltarello, (written communication, September
2013). Working from photographs, Orlando dates
this painting to c. 1640.
290
87
291
STUDIO OF GUIDO RENI (BOLOGNA 1575-1642)

Saint John the Evangelist
oil on canvas, unframed
31 x 26 in. (78.8 x 66.1 cm.)
$20,000-30,000
13,000-19,000
17,000-24,000
PROVENANCE:
Anonymous sale; Sotheby Parke Bernet Inc., New York, 7 June 1979, lot 213,
as School of Guido Reni.
The present work is a studio version of the painting at Bob Jones University,
Greenville. According to Carlo Cesare Malvasia, Renis frst biographer, in
order to satisfy the demand for his work, the artist ran one of the largest
and most prodigious studios in Europe. During his last sojourn in Rome
he had sixty pupils working for him and he is believed to have employed
up to eighty in his studio in Bologna in the 1620s. As a result, it has been
historically diffcult to assess the degree of the artists own involvement in
a large amount of the work that emanated from his studio. Distinctions
between autograph works, retouched compositions or ritocchi and good
copies by pupils or assistants were often deliberately blurred.
291
PROPERTY OF A CALIFORNIA ESTATE
292
FOLLOWER OF TIZIANO VECELLIO, CALLED TITIAN

A satyr embracing a nymph
oil on canvas
36 x 29 in. (92.1 x 73.6 cm.)
$6,000-8,000
3,900-5,100
4,800-6,400
The nymphs pose and physiognomy are modeled on Titians Salome in the
Prado, Madrid and his Girl with a Basket of Fruit in the Gemldegalerie,
Berlin. Another version of this composition was formerly in the Detroit
Institute of Arts, and sold at Sothebys, New York, 15 January 1993, lot 15,
as Circle of Titian. Scholars have attributed the Detroit canvas to a wide
range of artists in Titians orbit, ranging from an unidentifed member of his
studio to Damiano Mazza, Girolamo Dente and Giovanni Contarini (see H.E.
Wethey, Titian, London, 1975, III, p. 216, no. C-28). In the late-1930s and
40s, William Suida, Giuseppe Fiocco, and W.R. Valentiner, on the basis of
photographs, attributed this work to Titian himself.
292
88
293
GUIDO RENI (BOLOGNA 1575-1642)

Portrait of the artist, bust-length, in black, a collar and a widebrimmed hat
oil on copper, oval
4 x 3 in. (11 x 8.8 cm.)
with a late-18th century inscription le Portrait du Guyde peintre fameux fait
de Sa propre main en lan 1636 duquel il a fait present a Mr. Symon francois
son Elve (on the backing board)
$30,000-50,000
20,000-32,000
25,000-40,000
PROVENANCE:
Mr. Symon, to whom presented by the artist (according to the inscription on

the backing board).
(Probably) Grand Ducal collection, Florence, where an oval portrait of Reni,
measuring some 9 by 7 cm., is recorded as inv. no. 3978 (see Borea loc. cit).
(Possibly) Cosimo III de Medici, Grand Duke of Tuscany (1642-1723) to
Sir Anthony Fountaine (1676-1753). Recorded in the posthumous inventory
of the latters collection at Narfolrd, prepared in 1753 by his nephew by
marriage William Prince: A small Guidos Head by Himself; and by descent
through Brigg Price (d. 1825), grand-nephew of Sir Anthony, who assumed
to surname of Fountaine, to the following,
Commander Andrew Fountaine; Christies, London 10 July 1992, lot 61
(19,800).
293
294
JACOPO DA PONTE, CALLED JACOPO BASSANO

(BASSANO DEL GRAPPA CIRCA 1510-1592)
Mater Dolorosa
oil on canvas
32 x 26 in. (81.3 x 67.3 cm.)
Anonymous sale; Sothebys, New York, 27 January 2006, lot 297 ($84,000).
$40,000-60,000
26,000-38,000
33,000-48,000
This moving image of the Mater Dolorosa owes much to Titian, in subject
and format as well as in expressive technique. The picture is unique in
Bassanos oeuvre in format and iconography, but Titian had painted
variations on the theme of the Mater Dolorosa, also in half-length format,
in the 1550s and 60s, and Bassano certainly knew the older artists works.
Professor Alessandro Ballarin, to whom we are grateful, dates the
painting to the fnal phase in the artists career, c. 1580 (on the basis of
photographs).
294
89
295
ALESSANDRO TURCHI, CALLED LORBETTO

(VERONA 1578-1649 ROME)
An Allegory of Painting
oil on canvas
55 x 40 in. (141.6 x 102.2 cm.)
$60,000-80,000
39,000-51,000
49,000-64,000
PROVENANCE:
Private collection, England, whence acquired in 1938 by

Virginia Stuart and Jack Conway, Montecito, CA, whence acquired in 1989
Virginia Stuart, daughter of the silent flm star Francis X. Bushman, was
producing the flm A Yank at Oxford with her husband Jack Conway in
England when she purchased the present work in 1938.
We are grateful to Dott.ssa Daniela Scaglietti Kelescian for confrming the
attribution to Turchi on the basis of photographs.
295
296
FIDELE FISCHETTI (NAPLES 1732-1792)

The Conversion of Saint Paul
oil on canvas
31 x 29 in. (79 x 74.9 cm.)
$15,000-20,000
9,600-13,000
13,000-16,000
PROVENANCE:
Anonymous sale; Sothebys, New York, 29 January 2009, lot 173, where
Working from photographs, Nicolas Spinosa has identifed this work to be
a modello for the lower section of the signed and dated altarpiece of The
Conversion of Saint Paul, which Fischetti painted for the church of Santo
Spirito, Naples (see N. Spinosa, Pittura napoletana del Settecento. Dal
Rococ al Classicismo, Naples, 1988, 2nd edition, 1993, p. 133, no. 204,
fg. 265).
296
90
297
CESARE DANDINI (FLORENCE 1596-1657)

Allegory of Intelligence
oil on canvas
38 x 29 in. (99.7 x 74 cm.)
$30,000-50,000
20,000-32,000
25,000-40,000
PROVENANCE:
Anonymous sale; Sothebys, New York, 21 May 1998, lot 151A, as attributed
to Cesare Dandini.
with Alfonsi Dipinti Antichi, Vicenza.
Private collection, Milan.
The present work, datable to c. 1645-1655, was frst attributed to Dandini

by Federico Zeri. Dr. Sandro Bellesi has confrmed the attribution on
the basis of photographs and pointed out that the woman in a slightly
smaller version of the composition (with some differences; see S. Bellesi,
Cesare Dandini, Turin, 1996, no. 74) is identifable as Vittoria della Rovere
(1622-1694), wife of Ferdinando de Medici. It is therefore possible that
the present picture is also a portrait albeit more idealized of the
erudite and politically shrewd Granduchessa. Salon pictures of half-length
allegorical fgures were among the specialties of Cesare Dandini, one of
the leading lights of Florentine seicento portraiture. The iconography of the
present work is based on the text of Cesare Ripas emblem book Iconologia,
which was hugely infuential in 17th-century Florentine intellectual circles
and often used by Dandini as a source for his allegories.
297
298
NORTH ITALIAN SCHOOL, EARLY 18TH CENTURY

Juno appearing to Io and Argus
oil on canvas
45 x 63 in. (116.5 x 160.9 cm.)
$40,000-60,000
26,000-38,000
33,000-48,000
PROVENANCE:
(Possibly) Don Miguel Martinez de Pinillos y Saenz de Velasco, early 19th

century, but
(Probably) acquired by his son, Don Antonio Martinez de Pinillos (18651923), Cadiz, and by descent to his daughter
Doa Carmen Martinez de Pinillos, Cadiz, and by descent within the family;
Sothebys, London, 6 July 2006, lot 234, where acquired by the present
owner.
The present lot is part of a set of four paintings, which were sold
individually at Sothebys, London, in 2006. The other canvases represent:
The head of Argus presented to Juno, Bacchus, Ariadne (?) and Cupid in a
landscape, and Peace crowning Learning.
298
91
299
PETER BIRMANN (BASEL 1758-1844)

View of Basel and the Rhine valley from
the quarry in Muttenz
signed and dated P. Birmann. 1810. (lower right,
on the stone)
oil on canvas
37 x 47 in. (94 x 121.3 cm.)
$40,000-60,000
26,000-38,000
33,000-48,000
The Wartenberg appears prominently

in the center of the landscape, with the
Grenzacherhorn, Tllingerhgel and Badischer
Blauen in the distance. Other versions of
this view by Birmann may be found in the
Kunstmuseum Basel (Inv. G 1962.13 and G
1986.2).
299
300
AUGUSTIN BRUNIAS (? C. 1730-1796

ROSEAU, DOMINICA)
Portrait of Sir William Young, 1st Baronet
(1724/5-1788), Governor of St Dominica,
full-length, in uniform
oil on canvas
30 x 25 in. (76.5 x 64.1 cm.)
$15,000-20,000
9,600-13,000
13,000-16,000
PROVENANCE:
Sir William Young (1725-1788), and by descent to

Captain Young Ottley.
Sir Herbert Hughes Stanton.
R. H. Jessel, acquired from the above in December
1946.
Augustin Brunias studied in the Accademia
di San Lucca in Rome before meeting Robert
Adam, for whom he was to work for in Italy
and England as a draughtsman. At the height
of his powers he travelled to the West Indies in
1770 as the personal artist of Sir William Young,
and although perhaps best known for his genre
scenes of Carib natives, this portrait of his most
important patron is a signifcant addition to his
oeuvre.
300
92
301
FRANCESCO ZUCCARELLI
(PITIGLIANO 1702-1788 FLORENCE)
A wooded river landscape with a boy fshing and two peasant
women, a village beyond
Signed Francois Zuccarelli (on the reverse of the original canvas)
oil on canvas, unlined
21 x 17 in. (55.3 x 43.9 cm.)
$60,000-80,000
39,000-51,000
49,000-64,000
PROVENANCE:
By descent in a European private collection since at least the 19th century;

Sothebys, London, 24 April 2008, lot 106 (54,500).
This exquisite example of Zuccarellis Arcadian landscapes evokes the Italian
countryside, recalling the artists birthplace in the spectacular hilltop town
of Pitigliano on the Tuscan/Umbrian border. The sun fltered through the
gnarled trees at right imparts a delicious coolness to the foreground, where
two young peasant women chat by a stream and a boy fshes. Zuccarellis
subtle, rococo palette and gossamer brushwork convey the warmth,
sensuality and natural abundance of the country with a vividness calculated
to appeal to the many Grand Tourists who hung his paintings on their walls
in memory of their happy days in Italy.
301
302
SIR NATHANIEL DANCE-HOLLAND, R.A.

(LONDON 1735-1811 WINCHESTER)
Portrait of a gentleman, traditionally identifed as Mr. John
Tomlinson, three-quarter-length, a landscape beyond
oil on canvas
50 x 40 in. (127 x 101.6 cm.)
$20,000-30,000
13,000-19,000
17,000-24,000
302
93
303
FRANCESCO FIDANZA (ROME 1747-1819 MILAN)

A winter landscape with travelers on a snowy path
signed Franco Fidanza Romano (lower center, on the rock)
canvas
35 x 48 in. (88.9 x 123.8 cm.)
$25,000-30,000
16,000-19,000
21,000-24,000
This is a rare example of a signed winter landscape by Fidanza. Marietta Vinci Corsini has confrmed
the attribution, and intends to publish the painting in a forthcoming article, discussing the unique
relationship of Francesco Foschis and Fidanzas winter landscapes.
94
PROPERTY FROM THE FORBES COLLECTION
304
AFTER ANNE-LOUIS GIRODET DE

ROUSSY-TRIOSON
The Sleep of Endymion
Inscirbed DPS Girodet. / H..Ruth.1870.
oil on canvas
25 x 32 in. (64.8 x 81.3 cm.)
$7,000-10,000
4,500-6,400
5,600-8,000
This is a reduced version of Girodets celebrated

The Sleep of Endymion (Paris, Louvre),
inscribed at upper left by the admirer who
painted it. Girodet presented his masterpiece
in the 1802 Paris Salon, where it was lauded
by contemporary critics for its originality,
strangeness, and poetic qualities.
304
305
CIRCLE OF LOUIS-LOPOLD ROBERT

(LA CHAUX-DE-FONDS, NEUCHTEL
1794-1835 VENICE)
Figure studies: a young girl, a mother
nursing her child, and others
oil and other media on canvas
17 x 23 in. (44.4 x 58.8 cm.)
$10,000-15,000
6,400-9,500
8,100-12,000
305
95
306
A BOXWOOD CORPUS FIGURE
GERMAN, 16TH CENTURY
$6,000-9,000
3,900-5,700
4,800-7,200
306
307
A LIMEWOOD CORPUS FIGURE
CIRCLE OF TILMAN RIEMENSCHNEIDER (1460-1531), GERMAN, LATE 15TH
CENTURY
12 in. (30.5 cm.) high, 13 in. (34 cm.) wide, 2 in. (7.5 cm.) deep
$6,000-9,000
3,900-5,700
4,800-7,200
307
96
PROPERTY OF THE METROPOLITAN MUSEUM OF ART
308
A GERMAN BRONZE SMALL CANON
NUREMBERG, 19TH CENTURY
Stylized dolphin handle, the touch-hole fanked by plaquettes representing helmeted tritons
with frebrands, the partial band of the plaquettes with Hercules and Antaeus
25 in. long, overall;
$5,000-8,000
3,200-5,100
4,100-6,400
PROVENANCE:
The Wrightsman Found, 1986.
END OF SALE
97
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CATALOGUING PRACTICE
IMPORTANT NOTICES
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98
PROPERTY INCORPORATING MATERIALS

FROM ENDANGERED AND OTHER
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AND MINIATURES
1. FRANCESCO GUARDI
In Christies opinion a work by the artist.
2. Attributed to FRANCESCO GUARDI*
In Christies qualified opinion a work of the period
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3. Circle of FRANCESCO GUARDI*
In Christies qualified opinion a work of the period
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Workshop of FRANCESCO GUARDI*
In Christies qualified opinion a work possibly
executed under the supervision of the artist.
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In Christies qualified opinion a work by a pupil or
follower of the artist.
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In Christies qualified opinion a work in the style of
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In Christies qualified opinion a copy of the work
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30/09/14
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99
15/02/13
A BRONZE FIGURE OF AN ECORCHE MAN

BY WILLEM DANIELSZ.VAN TETRODE (C. 1525-1580), CIRCA 1562-67
$1,500,000 2,500,000
The Abbott-Guggenheim Collection

New York 27 January 2015
Viewing
Contact
2427 January
New York, NY 10020
William Russell
wrussell@christies.com
+1 212 636 2525
christies.com

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Post-Sale
32-23 48th Avenue
Long Island City, NY 11101
Tel: +1 212 974 4500
nycollections@christies.com
Main Entrance on 48th Avenue
Receiving/Shipping Entrance
on 48th Avenue
Hours: 9.30 am - 5.00 pm
Monday-Friday except Public Holidays
101
CONDITIONS OF SALE
These Conditions of Sale and the Important Notices

and Explanation of Cataloguing Practice contain all
the terms on which Christies and the seller contract
with the buyer. They may be amended by posted
notices or oral announcements made during the
sale. By bidding at auction you agree to be bound
by these terms.
1. CHRISTIES AS AGENT
Except as otherwise stated Christies acts as agent for
the seller. The contract for the sale of the property is
therefore made between the seller and the buyer.
2. BEFORE THE SALE
(a) Examination of property
Prospective buyers are strongly advised to examine
personally any property in which they are interested,
before the auction takes place. Condition reports
are usually available on request. Neither Christies
nor the seller provides any guarantee in relation to
the nature of the property apart from the Limited
Warranty in paragraph 6 below. The property is
otherwise sold as is.
Our cataloguing practice is explained in the
Important Notices and Explanation of Cataloguing
Practice after the catalogue entries. All statements
by us in the catalogue entry for the property or in
the condition report, or made orally or in writing
elsewhere, are statements of opinion and are not to
be relied on as statements of fact. Such statements
do not constitute a representation, warranty or
assumption of liability by us of any kind. References
in the catalogue entry or the condition report to
damage or restoration are for guidance only and
should be evaluated by personal inspection by the
bidder or a knowledgeable representative. The
absence of such a reference does not imply that an
item is free from defects or restoration, nor does
a reference to particular defects imply the absence
of any others. Estimates of the selling price should
not be relied on as a statement that this is the price
at which the item will sell or its value for any other
purpose. Except as set forth in paragraph 6 below,
neither Christies nor the seller is responsible in any
way for errors and omissions in the catalogue or any
supplemental material.
(c) Buyers responsibility
Except as stated in the Limited Warranty in
paragraph 6 below, all property is sold as is
without any representation or warranty of any kind
by Christies or the seller. Buyers are responsible
for satisfying themselves concerning the condition
of the property and the matters referred to in the
catalogue entry.
3. AT THE SALE
(a) Refusal of admission
Christies has the right, at our complete discretion,
to refuse admission to the premises or participation
in any auction and to reject any bid.
(b) Registration before bidding
Prospective buyers who wish to bid in the saleroom
can register online in advance of the sale, or
can come to the saleroom on the day of the sale
approximately 30 minutes before the start of the
sale to register in person. A prospective buyer must
complete and sign a registration form and provide
identification before bidding. We may require the
production of bank or other financial references.
(c) Bidding as principal
When making a bid, a bidder is accepting personal
liability to pay the purchase price, including the
buyers premium and all applicable taxes, plus
102
all other applicable charges, unless it has been

explicitly agreed in writing with Christies before
the commencement of the sale that the bidder is
acting as agent on behalf of an identified third party
acceptable to Christies, and that Christies will only
look to the principal for payment.
(d) Absentee bids
We will use reasonable efforts to carry out written
bids delivered to us prior to the sale for the
convenience of clients who are not present at the
auction in person, by an agent or by telephone. Bids
must be placed in the currency of the place of the
sale. Please refer to the catalogue for the Absentee
Bids Form. If we receive written bids on a particular
lot for identical amounts, and at the auction these
are the highest bids on the lot, it will be sold to
the person whose written bid was received and
accepted first. Execution of written bids is a free
service undertaken subject to other commitments
at the time of the sale and we do not accept liability
for failing to execute a written bid or for errors and
omissions in connection with it.
(e) Telephone bids
Telephone bids will be accepted for lots with lowend estimates of $1,500 and above, no later than 24
hours prior to the sale and only if the capacity of our
pool of staff phone bidders allows. Arrangements to
bid in languages other than English must be made
well in advance of the sale date.
Telephone bids may be recorded. By bidding on
the telephone, prospective purchasers consent to the
recording of their conversations.
Christies offers all absentee and telephone bidding
services as a convenience to our clients, but will not
be responsible for errors or failures to execute bids.
(f) Currency converter
At some auctions a currency converter may be
operated. Errors may occur in the operation of the
currency converter and we do not accept liability to
bidders who follow the currency converter rather
than the actual bidding in the saleroom.
(g) Video or digital images
At some auctions there may be a video or digital
screen. Errors may occur in its operation and in the
quality of the image and we do not accept liability
for such errors.
(h) Reserves
Unless otherwise indicated, all lots are offered
subject to a reserve, which is the confidential
minimum price below which the lot will not be
sold. The reserve will not exceed the low estimate
printed in the catalogue. If any lots are not subject
to a reserve, they will be identified with the symbol
next to the lot number. The auctioneer may
open the bidding on any lot below the reserve by
placing a bid on behalf of the seller. The auctioneer
may continue to bid on behalf of the seller up
to the amount of the reserve, either by placing
consecutive bids or by placing bids in response to
other bidders. With respect to lots that are offered
without reserve, unless there are already competing
bids, the auctioneer, in his or her discretion, will
generally open the bidding at 50% of the low presale estimate for the lot. In the absence of a bid at
that level, the auctioneer will proceed backwards at
his or her discretion until a bid is recognized, and
then continue up from that amount. Absentee bids
will, in the absence of a higher bid, be executed at
approximately 50% of the low pre-sale estimate or at
the amount of the bid if it is less than 50% of the low
pre-sale estimate. In the event that there is no bid on
a lot, the auctioneer may deem such lot unsold.
(i) Auctioneers discretion

The auctioneer has the right at his absolute and sole
discretion to refuse any bid, to advance the bidding
in such a manner as he may decide, to withdraw or
divide any lot, to combine any two or more lots and,
in the case of error or dispute, and whether during
or after the sale, to determine the successful bidder,
to continue the bidding, to cancel the sale or to
reoffer and resell the item in dispute. If any dispute
arises after the sale, our sale record is conclusive.
(j) Successful bid and passing of risk
Subject to the auctioneers 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) Buyers premium
In addition to the hammer price, the buyer agrees
to pay to us the buyers premium together with any
applicable value added tax, sales or compensating
use tax or equivalent tax in the place of sale. The
buyers premium is 25% of the final bid price of each
lot up to and including $100,000, 20% of the excess
of the hammer price above $100,000 and up to and
including $2,000,000 and 12% of the excess of the
hammer price above $2,000,000.
(b) Payment and passing of title
Immediately following the sale, the buyer must
provide us with his or her name and permanent
address and, if so requested, details of the bank from
which payment will be made. The buyer must pay
the full amount due (comprising the hammer price,
buyers premium and any applicable taxes) not later
than 4.30pm on the seventh calendar day following
the sale. This applies even if the buyer wishes to
export the lot and an export license is, or may be,
required. The buyer will not acquire title to the
lot until all amounts due to us from the buyer have
been received by us in good cleared funds even in
circumstances where we have released the lot to the
buyer.
(c) Collection of purchases
We shall be entitled to retain items sold until all
amounts due to us, or to Christies International
plc, or to any of its affiliates, subsidiaries or parent
companies worldwide, have been received in full in
good cleared funds or until the buyer has satisfied
such other terms as we, at our sole discretion, shall
require, including, for the avoidance of doubt,
completing any anti-money laundering or antiterrorism 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, Christies
shall be entitled to cancel the sale and to take any
other actions that are required or permitted under
applicable law. Subject to this, the buyer shall collect
purchased lots within seven calendar days from the
date of the sale unless otherwise agreed between us
and the buyer.
(d) Packing, handling and shipping
Although we shall use reasonable efforts to take care
when handling, packing and shipping a purchased
lot, we are not responsible for the acts or omissions
of third parties whom we might retain for these
purposes. Similarly, where we may suggest other
handlers, packers or carriers if so requested, we do
not accept responsibility or liability for their acts or
omissions.
(e) Export licence

Unless otherwise agreed by us in writing, the
fact that the buyer wishes to apply for an export
license does not affect his or her obligation to make
payment within seven days nor our right to charge
interest or storage charges on late payment. If the
buyer requests us to apply for an export license on
his or her behalf, we shall be entitled to make a
charge for this service. We shall not be obliged to
rescind a sale nor to refund any interest or other
expenses incurred by the buyer where payment is
made by the buyer in circumstances where an export
license is required.
(f) Remedies for non payment
If the buyer fails to make payment in full in good
cleared funds within the time required by paragraph
4(b) above, we shall be entitled in our absolute
discretion to exercise one or more of the following
rights or remedies (in addition to asserting any other
rights or remedies available to us by law):
(i)
to charge interest at such rate as we shall

reasonably decide;
(ii) to hold the defaulting buyer liable for the
total amount due and to commence legal
proceedings for its recovery together with
interest, legal fees and costs to the fullest
extent permitted under applicable law;
(iii) to cancel the sale;
(iv) to resell the property publicly or privately on
such terms as we shall think fit;
(v) to pay the seller an amount up to the net
proceeds payable in respect of the amount bid
by the defaulting buyer;
(vi) to set off against any amounts which we,
or Christies 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 Christies 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
buyers obligations to us;
(x) to take such other action as we deem necessary
or appropriate.
If we resell the property under paragraph (iv) above,
the defaulting buyer shall be liable for payment of
any deficiency between the total amount originally
due to us and the price obtained upon resale as well
as for all costs, expenses, damages, legal fees and
commissions and premiums of whatever kind
associated with both sales or otherwise arising from
the default. If we pay any amount to the seller under
paragraph (v) above, the buyer acknowledges that
Christies shall have all of the rights of the seller,
however arising, to pursue the buyer for such amount.
(g) Failure to collect purchases

Where purchases are not collected within 35
calendar days from the date of the sale, whether or
not payment has been made, we shall be permitted
to transfer the property to our Long Island City
facility at the buyers expense, and only release
the items after payment in full has been made of
transportation, administration, handling, insurance
and any other costs incurred, together with payment
of all other amounts due to us or our affiliates.
(h) Selling Property at Christies
In addition to expenses such as transport and
insurance, all consignors pay a commission
according to a fixed scale of charges based upon
the value of the property sold by the consignor
at Christies in a calendar year. Commissions are
charged on a sale by sale basis.
5. EXTENT OF CHRISTIES LIABILITY
We agree to refund the purchase price in the
circumstances of the Limited Warranty set out in
paragraph 6 below. Apart from that, neither the
seller nor we, nor any of our officers, employees
or agents, are responsible for the correctness of any
statement of whatever kind concerning any lot,
whether written or oral, nor for any other errors or
omissions in description or for any faults or defects
in any lot. Except as stated in paragraph 6 below,
neither the seller, ourselves, our officers, employees
or agents, give any representation, warranty or
guarantee or assume any liability of any kind in
respect of any lot with regard to merchantability,
fitness for a particular purpose, description, size,
quality, condition, attribution, authenticity, rarity,
importance, medium, provenance, exhibition
history, literature or historical relevance. Except
as required by local law any warranty of any kind
whatsoever is excluded by this paragraph.
6. LIMITED WARRANTY
Subject to the terms and conditions of this
paragraph, Christies 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 Christies. Christies warranty does
not apply to supplemental material which appears
below the UPPER CASE TYPE headings of each
lot and Christies 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)
(ii)
(iii)
(iv)
(v)
(vi)
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.
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 Christies when the lot was sold at
auction.
The original buyer must have remained the
owner of the lot without disposing of any
interest in it to any third party.
The buyers sole and exclusive remedy against
Christies 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 Christies nor the seller will be liable
for any special, incidental or consequential
damages including, without limitation, loss of
profits nor for interest.
The buyer must give written notice of claim
to us within five years from the date of the
auction. It is Christies general policy, and
Christies shall have the right, to require the
buyer to obtain the written opinions of two
recognized experts in the field, mutually
acceptable to Christies and the buyer, before
Christies decides whether or not to cancel the
sale under the warranty.
The buyer must return the lot to the Christies
saleroom at which it was purchased in the
same condition as at the time of the sale.
7. COPYRIGHT
The copyright in all images, illustrations and written
material produced by or for Christies relating to a
lot including the contents of this catalogue, is and
shall remain at all times the property of Christies
and shall not be used by the buyer, nor by anyone
else, without our prior written consent. Christies
and the seller make no representation or warranty
that the buyer of a property will acquire any
copyright or other reproduction rights in it.
8. SEVERABILITY
If any part of these Conditions of Sale is found by
any court to be invalid, illegal or unenforceable,
that part shall be discounted and the rest of the
conditions shall continue to be valid to the fullest
extent permitted by law.
9. LAW AND JURISDICTION
The rights and obligations of the parties with respect
to these Conditions of Sale, the conduct of the
auction and any matters connected with any of the
foregoing shall be governed and interpreted by the
laws of the jurisdiction in which the auction is held.
By bidding at auction, whether present in person or
by agent, by written bid, telephone or other means,
the buyer shall be deemed to have submitted, for the
benefit of Christies, to the exclusive jurisdiction of
the courts of that country, state, county or province,
and (if applicable) of the federal courts sitting in
such state.
103
15/02/13
WORLDWIDE SALEROOMS AND OFFICES
ARGENTINA
CANADA
BUENOS AIRES
+54 11 43 93 42 22
Cristina Carlisle
TORONTO
+1 416 960 2063
Brett Sherlock
AUSTRALIA
CHILE
SYDNEY
+61 (0)2 9326 1422
Ronan Sulich
SANTIAGO
+56 2 2 2631642
Denise Ratinoff
de Lira
AUSTRIA
COLOMBIA
VIENNA
+43 (0)1 533 8812
Angela Baillou
BOGOTA
+571 635 54 00
Juanita Madrinan
BELGIUM
DENMARK
BRUSSELS
+32 (0)2 512 88 30
Roland de Lathuy
COPENHAGEN
+45 3962 2377
Birgitta Hillingso
(Consultant)
+ 45 2612 0092
Rikke Juel Brandt
(Consultant)
BERMUDA
BERMUDA
+1 401 849 9222
Betsy Ray
FINLAND AND THE

BALTIC STATES
BRAZIL
RIO DE JANEIRO
+5521 2225 6553
Candida Sodre
SO PAULO
+5511 3061 2576
Nathalie Lenci
HELSINKI
+358 40 5837945
Barbro Schauman
(Consultant)
FRANCE
BRITTANY AND THE
LOIRE VALLEY
+33 (0)6 09 44 90 78
Virginie Greggory
(Consultant)
GREATER EASTERN
FRANCE
+33 (0)6 07 16 34 25
Jean-Louis Janin Daviet
INDIA
PARIS
+33 (0)1 40 76 85 85
POITOU-CHARENTE
AQUITAINE
+33 (0)5 56 81 65 47
Marie-Ccile Moueix
PROVENCE - ALPES
CTE DAZUR
+33 (0)6 71 99 97 67
Fabienne Albertini-Cohen
RHNE ALPES
+33 (0)6 61 81 82 53
Dominique Pierron
(Consultant)
GERMANY
DSSELDORF
+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 Grfin
zu Rantzau
MUNICH
+49 (0)89 24 20 96 80
Marie Christine Grfin
Huyn
STUTTGART
+49 (0)71 12 26 96 99
Eva Susanne
Schweizer
MEXICO
MUMBAI
+91 (22) 2280 7905
Sonal Singh
MEXICO CITY
+52 55 5281 5503
Gabriela Lobo
DELHI
+91 (98) 1032 2399
Sanjay Sharma
MONACO
+377 97 97 11 00
Nancy Dotta
INDONESIA
THE NETHERLANDS
JAKARTA
+62 (0)21 7278 6268
Charmie Hamami
Priscilla Tiara Masagung
ISRAEL
TEL AVIV
+972 (0)3 695 0695
Roni Gilat-Baharaff
ITALY
MILAN
+39 02 303 2831
ROME
+39 06 686 3333
Marina Cicogna Business
Development Director
JAPAN
AMSTERDAM
+31 (0)20 57 55 255
PEOPLES REPUBLIC
OF CHINA
BEIJING
+86 (0)10 8572 7900
HONG KONG
+852 2760 1766
SHANGHAI
+86 (0)21 6355 1766
Jinqing Cai
PORTUGAL
LISBON
+351 919 317 233
Mafalda Pereira Coutinho
(Independent Consultant)
TOKYO
+81 (0)3 6267 1766
Ryutaro Katayama
MALAYSIA
KUALA LUMPUR
+60 3 6207 9230
Lim Meng Hong
(Consultant)
NORD-PAS DE CALAIS
+33 (0)6 09 63 21 02
Jean-Louis Brmilts
(Consultant)
DENOTES SALEROOM
ENQUIRIES?
104
Call the Saleroom or Office
03/11/14
EMAIL
info@christies.com
RUSSIA
SWEDEN
MOSCOW
+7 495 937 6364
+44 20 7389 2318
Katya Vinokurova
STOCKHOLM
+46 (0)70 5368 166
Marie Boettiger Kleman
(Consultant)
+46 (0)70 9369 201
Louise Dyhln (Consultant)
SINGAPORE
SINGAPORE
+65 6235 3828
Wen Li Tang
SOUTH AFRICA
CAPE TOWN
+27 (21) 761 2676
Juliet Lomberg
(Independent
Consultant)
DURBAN &
JOHANNESBURG
+27 (31) 207 8247
Gillian Scott-Berning
(Independent
Consultant)
WESTERN CAPE
+27 (44) 533 5178
Annabelle Conyngham
(Independent
Consultant)
SOUTH KOREA
SEOUL
+82 2 720 5266
Hye-Kyung Bae
SPAIN
SWITZERLAND
UNITED KINGDOM
UNITED STATES
LONDON,
KING STREET
+44 (0)20 7839 9060
BOSTON
+1 617 536 6000
Elizabeth M. Chapin
LONDON,
SOUTH KENSINGTON
+44 (0)20 7930 6074
CHICAGO
+1 312 787 2765
Lisa Cavanaugh
GENEVA
+41 (0)22 319 1766
Eveline de Proyart
NORTH
+44 (0)20 7752 3004
Thomas Scott
DALLAS
+1 214 599 0735
Capera Ryan
ZURICH
+41 (0)44 268 1010
Dr. Bertold Mueller
SOUTH
+44 (0)1730 814 300
Mark Wrey
HOUSTON
+1 713 802 0191
Jessica Phifer
EAST
+44 (0)20 7752 3004
Thomas Scott
LOS ANGELES
+1 310 385 2600
TAIWAN
TAIPEI
+886 2 2736 3356
Ada Ong
THAILAND
BANGKOK
+66 (0)2 652 1097
Yaovanee Nirandara
Punchalee Phenjati
TURKEY
ISTANBUL
+90 (532) 558 7514
Eda Kehale Argn
(Consultant)
UNITED ARAB
EMIRATES
DUBAI
+971 (0)4 425 5647
BARCELONA
+34 (0)93 487 8259
NORTHWEST
AND WALES
+44 (0)20 7752 3004
Jane Blood
SCOTLAND
+44 (0)131 225 4756
Bernard Williams
Robert Lagneau
David Bowes-Lyon
(Consultant)
ISLE OF MAN
+44 (0)20 7389 2032
CHANNEL ISLANDS
+44 (0)1534 485 988
Melissa Bonn
IRELAND
+353 (0)59 86 24996
Christine Ryall
MIAMI
+1 305 445 1487
Jessica Katz
NEWPORT
+1 401 849 9222
Betsy D. Ray
NEW YORK
+1 212 636 2000
PALM BEACH
+1 561 833 6952
Maura Smith
PHILADELPHIA
+1 610 520 1590
Christie Lebano
SAN FRANCISCO
+1 415 982 0982
Ellanor Notides
Carmen Schjaer
MADRID
+34 (0)91 532 6626
Juan Varez
Dalia Padilla
For a complete salerooms & offices listing go to christies.com
08/08/14
105
CHRISTIES SPECIALIST DEPARTMENTS AND SERVICES
DEPARTMENTS
AFRICAN AND OCEANIC
ART
PAR: +33 (0)140 768 386
NY: +1 212 484 4898
COSTUME, TEXTILES AND

FANS
SK: +44 (0)20 7752 3215
OLD MASTER DRAWINGS

NY: +1 212 636 2120
ENTERTAINMENT
MEMORABILIA
SK: +44 (0)20 7752 3281

AND 19TH CENTURY
EUROPEAN ART
NY: +1 212 636 2120
AMERICAN DECORATIVE
ARTS
NY: +1 212 636 2230
FOLK ART
NY: +1 212 636 2230
PHOTOGRAPHS
NY: +1 212 636 2330
AMERICAN FURNITURE
NY: +1 212 636 2230
FURNITURE
NY: +1 212 636 2200
PICTURE FRAMES
SK: +44 (0)20 7389 2763
AMERICAN ART
NY: +1 212 636 2140
HOUSE SALES
SK: +44 (0)20 7752 3260
POST WAR AND

CONTEMPORARY ART
NY: +1 212 636 2100
ANGLO-INDIAN ART
KS: +44 (0)20 7389 2570
ICONS
SK: +44 (0)20 7752 3261
ANTIQUITIES
NY: +1 212 636 2245
IMPRESSIONIST AND
MODERN ART
NY: +1 212 636 2050
PRINTS
NY: +1 212 636 2290
ASIAN 20TH CENTURY

AND CONTEMPORARY
ART
NY: +1 212 468 7133
INDIAN AND SOUTHEAST

ASIAN ART
NY: +1 212 636 2190
RUSSIAN
WORKS OF ART
NY: +1 212 636 2260
INDIAN CONTEMPORARY
ART
NY: +1 212 636 2190
KS: +44 (0)20 7389 2700
SCIENTIFIC INSTRUMENTS
SK: +44 (0)20 7752 3286
AUSTRALIAN PICTURES
KS: +44 (0)20 7389 2040
BOOKS AND
MANUSCRIPTS
NY: +1 212 636 2665
BRITISH & IRISH ART
KS: +44 (0)20 7389 2682
NY: +1 212 636 2120
SK: +44 (0)20 7752 3257
BRITISH ART ON PAPER
KS: +44 (0)20 7389 2278
SK: +44 (0)20 7752 3293
NY: +1 212 636 2120
BRITISH PICTURES
1500-1850
KS: +44 (0)20 7389 2945
CARPETS
NY: +1 212 636 2217
CERAMICS AND GLASS
NY: +1 212 636 2215
CHINESE PAINTINGS
NY: +1 212 636 2195
CHINESE WORKS OF ART
NY: +1 212 636 2180
CLOCKS
KS: +44 (0)20 7389 2357
CORKSCREWS
SK: +44 (0)20 7752 3263
INTERIORS
NY: +1 212 636 2032
SK: +44 (0)20 7389 2236
ISLAMIC WORKS OF ART
KS: +44 (0)20 7389 2370
SK: +44 (0)20 7752 3239
JAPANESE ART
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106
POSTERS
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06/12/13
ABRAHAM GIBBENS (ACTIVE PARIS 1629 - 1635)

Cherries, strawberries, and gooseberries in a porcelain bowl, with two salsify roots on a wooden ledge
oil on panel 25.5 x 35.4 cm.
15,00020,000
Old Masters & 19th Century Art

including Dutch Impressionism
Amsterdam 2-3 June 2015

Consigment Deadline
Viewing
Contact
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29 May1 June
Cornelis Schuytstraat 57
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Sarah de Clercq
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christies.com
Masterpieces
from the Scottish
National Gallery
On view through
February 1
The Frick Collection

1 East 70th Street, NYC 212-288-0700 frick.org
John Singer Sargent, Lady Agnew of Lochnaw (detail), 1892, oil on canvas, Scottish National Gallery, Edinburgh, Trustees of the National Galleries of Scotland
This exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities.
Mandarin & Menagerie:

The James E. Sowell Collection
New York 26 January 2015
Viewing
Contact
17-25 January
New York, NY 10020
Becky MacGuire
bmacguire@christies.com
+1 212 636 2215
christies.com
THE WILLIAM RANDOLPH

HEARST PENTHOUSE
NEW YORK, NEW YORK
This 10,000-square-foot landmark penthouse was once the tapestry gallery of William
Randolph Hearsts former apartment. Located in the Riverside-West End Historic District,
the three-level home revolves around a mahogany and brass central staircase hall
illuminated by a skylight through glass plank foors above.
Offered at $38,000,000
CHRISTIES INTERNATIONAL REAL ESTATE
BROWN HARRIS STEVENS
Kathleen Coumou +1 212 468 7140

kcoumou@christies.com
Paula Del Nunzio +1 212 906 9207

pdelnunzio@bhsusa.com
www.christiesrealestate.com
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OLD MASTER PAINTINGS &

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THURSDAY 29 JANUARY 2015

AT 4.00 PM
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111
OMP & 19TH CENTURY PAINTINGS
expert knowledge beautifully presented
Continental 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 watercolors from the 19th century, including Romanticism, Genre, Realist,
Salon, Orientalist, Macchiolo and Symbolism. Maritime paintings and
nautical items, ship models and maritime instruments.
Code
Subscription Title
Location
A1
L193
L1
L195
L98
N193
N1
P1
K193
K9
K1
K2
K97
W9
OMP & C19th Paintings

Old Master and 19th Century Art
19th Century European Art including Orientalist Art
Old Master and British Paintings
Victorian and British Impressionist Pictures
Topographical Pictures
19th Century European Art
Old Master Paintings
Old Master & 19th Century European Paintings
19th Century Paintings
Old Master & Early British Drawings & Watercolours
Old Master Paintings
Victorian, Traditionalist & Sporting Pictures
Australian Art
Old Master & Early British Drawings & Watercolours
Amsterdam
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Post-War and Contemporary Art
Old Master Paintings and 19th Century Paintings
112
Issues
2
2
5
2
1
2
3
1
2
1
4
5
1
4
UKPrice
US$Price
EURPrice
27
48
119
48
20
48
71
38
43
14
57
71
14
95
44
72
181
76
32
76
108
61
71
24
95
119
24
152
40
76
190
72
30
72
114
57
66
22
87
109
22
144
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Catalogue photo credits:
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18/12/14
113
INDEX
A
van Alsloot 214
van der Ast 201
Aubry 277
B
Bassano 294
Benedetto da Maiano 249
Bertin 280
Benson 240
Birmann 299
van Bloemen 283
Bohemian School 238
Bouts 237
Brunias 300
Brunswick Monogrammist 213
C
Caselli 272
de Caullery 203
Central European School 252
Claesz. 209
de Claeuw 244
Collier 271
van Coninxloo 231
Coypel 279
Crivelli 284
D
Dance-Holland 302
Dandini 297
Dordrecht School 206
Dunouy 267
van Dyck 204
F
Fidanza 303
Figino 242
Fischetti 296
Flemish School 216, 256
Francken 228
French School 232, 255
G
Gainsborough 266
Gandolfi 289
Gasporo di Fiori 274
German School 234, 253,
258-262, 306, 308
Giambologna 236
Girardon 236
Girodet de Roussy-Trioson 304
Guglielmo della Porta 250
van Goyen 207
H
Hals 208A
Hartmann 230
Hey 222
Hispano-Flemish School 248
I
Italian School 217- 220, 254,
257, 264
K
Kauffman 247
van Kessel 202
L
de Largillire 245
Lombard School 285
Lombardo 235
Lpez 274
Luyckx 210, 273
M
Malinconico 243
Mario dei Fiori 282
Master of Moulins 222
Michelozzo 251
van Mieris, F. 215
van Mieris, W. 208
Monnot 265
N
Navarra 286
North European School 225
North Italian School 298
Nuzzi 282
O
lOrbetto 241, 295
P
Palencia School 246
Passarotti 288
Peeters 205
Pynacker 270
R
Rmond 281
Reni 291, 293
Riemenschneider 307
Rijkaert 224
Robert 305
S
Saltarello 290
Schenk 259
Simonini 275
Sittow 227
lo Spadino 272
Spanish school 233
lo Stendardo 283
Storck 212
Stuart 268
T
Tacca 276
Teniers 211
Titian 292
Turchi 241, 295
V
van Valckenborch 223
van Veen 229
Venetian School 239, 287
von Verschaffelt 263
Voiriot 278
W
van der Weyden 221, 226,
Wootton 269
Z
Zuccarelli 301
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OLD MASTER

PAINTINGS & SCULPTURE

Thursday 29 January 2015

The Estate of William W. Appleton

Thursday 29 January 2015 at 4.00 pm

The Helena Goldsmith Trust

The Former Collection of

The Metropolitan Museum of Art

The Art Gallery of Ontario,

James Hastie #1244430

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Lot 223 (detail)

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PROPERTY FROM THE LOUISE BLOOMINGDALE AND EDGAR M.

CIRCLE OF BALTHASAR VAN DER AST (MIDDELBERG

Gilbert Kahn Collection, as Ambrosius Bosschaert.

L.J. Bol, Een Middelburse Breughel-groep. V. Cristoffel van den Berghe:

PROPERTY OF A PRIVATE COLLECTOR

STUDIO OF JAN VAN KESSEL II

Old Master Paintings & Sculpture

Old Master Paintings & Sculpture