Old Master & British Paintings Day Sale

OLD MASTER
& BRITISH PAINTINGS
LONDON, WEDNESDAY 3 DECEMBER 2014
OLD MASTER &

BRITISH PAINTINGS
DAY SALE
Wednesday 3 December 2014
PROPERTIES FROM
AUCTION
Lord Egremont Dl, removed from

Petworth House
Wednesday 3 December 2014

at 10.30 am
The Will Trust of The Late

Lady Muriel Barclay-Harvey
8 King Street, St. Jamess

London SW1Y 6QT
The Lord St. Oswald, removed from

The Private Apartment at Nostell Priory
VIEWING
The Descendants of The Barons

Nathaniel and Albert von Rothschild
Friday
28 November
9.00 am 4.30 pm
Saturday
29 November
10.00 am 5.00 pm
The Late Mrs. Hazel Westbury
Sunday
30 November
10.00 am 5.00 pm
Monday
1 December
9.00 am 4.30 pm
Tuesday
2 December
9.00 am 3.30 pm
AUCTIONEER
Henry Pettifer
AUCTION CODE AND NUMBER
CONDITIONS OF SALE
In sending absentee bids or

making enquiries, this sale should
be referred to as S A N D R A - 1 5 7 6
This auction is subject to

Important Notices, Conditions of
Sale and to reserves.
[25]
AUCTION RESULTS
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CONTENTS
3
Auction Information
Specialists and Services for this Auction
International Old Master Paintings Department
12
Property for Sale
143
Important Notices and Explanation of Cataloguing Practice
144
Buying at Christies
145
Storage and Collection
146
Conditions of Sale and Limited Warranty
148
Salerooms and Offices Worldwide
149
Christies Specialist Departments and Services
157
Absentee Bids Form
158
Catalogue Subscriptions
IBC
Index
front cover:
Lot 209 (detail)

inside front cover:
Lot 115 (detail)

frontispiece:
Lot 128 (detail)

pa g e 4:
Lot 183 (detail)

pa g e 9:
Lot 204 (detail)

pa g e 10:
Lot 113 (detail)

pa g e 11:
Lot 143 (detail)

p a g e 142:
Lot 205 (detail)

inside back cover:
Lot 214 (detail)

back cover:
Lot 191 (detail)

christies.com
SPECIALISTS FOR THIS AUCTION
Nicholas Hall
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Senior Specialist, Amsterdam
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Elvire de Maintenant
Olivier Lefeuvre
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Head of Department, Paris
LONDON
NEW YORK
Ben Hall
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EUROPE
29/110/14
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INTERNATIONAL OLD MASTER AUCTIONS

AUCTION CALENDAR 2014
TO INCLUDE YOUR PROPERTY IN THESE SALES PLEASE CONSIGN TEN WEEKS BEFORE THE SALE DATE.
CONTACT THE SPECIALISTS OR REPRESENTATIVE OFFICE FOR FURTHER INFORMATION.
25-26 NOVEMBER
OLD MASTERS, 19TH CENTURY
& IMPRESSIONIST ART
AMSTERDAM
3 DECEMBER
OLD MASTER & BRITISH PAINTINGS
DAY SALE
LONDON, KING STREET
2 DECEMBER
OLD MASTER AND BRITISH DRAWINGS
AND WATERCOLOURS
LONDON, SOUTH KENSINGTON
10 DECEMBER
THE I.Q. VAN REGTEREN ALTENA
COLLECTION PART II.
DUTCH AND FLEMISH DRAWINGS
FROM 1500 TO 1900
AMSTERDAM
2 DECEMBER
OLD MASTER & BRITISH PAINTINGS
EVENING SALE
LONDON, KING STREET
COPYRIGHT NOTICE
No part of this catalogue may be reproduced, stored in a retrieval system or transmitted by any form
or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior
written permission of Christies.
COPYRIGHT, CHRISTIE, MANSON & WOODS LTD. (2014)
OLD MASTER AND BRITISH PAINTINGS DEPARTMENT
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Nigel Shorthouse
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10
11
PROPERTY FROM A PRIVATE EUROPEAN COLLECTOR

(LOTS 101, 102, 109, 168 & 186)
101
AUSTRIAN SCHOOL, CIRCA 1430

The Annunciation
on gold ground panel
22 x 14 in. (56.8 x 36.5 cm.)
25,000-35,000
$41,000-56,000
32,000-44,000
PROVENANCE:
Anonymous sale; Christies, London, 3 December 1991, lot 43 (41,100),

when acquired by the present owner.
12

(LOTS 101, 102, 109, 168 & 186)
102
CIRCLE OF THE MASTER OF THE LIFE OF THE VIRGIN

(ACTIVE COLOGNE, CIRCA 1460-80)
The Virgin and Child
on gold ground panel, circular, unframed
17 in. (44 cm.) diameter
30,000-50,000
PROVENANCE:
with Koetser, London, by 1961.

Anonymous sale; Christies, London, 10 July 1998, lot 187 (23,000), when
acquired by the present owner.
LITERATURE:
$49,000-80,000 A. Stange, Die Deutschen Tafelbilder vor Drer, I, Munich, 1967, p. 63, no.
38,000-63,000 172, as a mature work by the Master of the Life of the Virgin.
13
(recto)
PROPERTY OF AN IMPORTANT EUROPEAN COLLECTION (LOTS 9 & 103)
103
CIRCLE OF THE MASTER OF THE MORRISON TRIPTYCH

(ANTWERP, ACTIVE FIRST QUARTER OF
THE 16TH CENTURY)
The wings of a triptych: Saint John the Baptist;
and Saint John the Evangelist (recto); and Adam and Eve (verso)
oil on panel, in a later engaged frame
27 x 11 in. (70.3 x 29.3 cm.)
25,000-35,000
two (2)
$41,000-56,000
32,000-44,000
The composition of these wings relates closely to the name-giving triptych,

formerly in the Morrison Collection, now in the Museum of Fine Art,
Toledo, which is partly derived from a triptych of the same subject by
Hans Memling (Vienna, Kunsthistorisches Museum).
(verso)
104
SCHOOL OF PICARDY, CIRCA 1480

Saint Anthony Abbot
oil on panel
49 x 16 in. (126.4 x 42.2 cm.)
40,000-60,000
$65,000-97,000
51,000-76,000
This panel, the wing of a now-dispersed polyptych, is a rare

and fne example of early French painting. It owes a strong
debt to the early Netherlandish painting tradition, combining
a linearity of design, which betrays the infuence of Rogier
van der Weyden, with smooth modelling, visible in the saints
face, that is reminiscent of the work of the Amiens painter
Simon Marmions. These stylistic elements point to a Northern
French origin for this panel, more specifcally Picardy, a rich
border region north of Paris, which was in possession of the
Burgundian Netherlands until 1477 when it was became part
of the French kingdom.
The painting can be associated, on stylistic grounds, with
a crucial group of late ffteenth-century panels from a
dismantled altarpiece that decorated the high altar of the
Carthusian monastery at Thuison, outside Abbeville in
Northern France: four saints adorned the outer wings while the
interior wings depicted scenes from Christs Passion (now all in
Chicago, Art Institute save for one in St Petersburg, Hermitage;
see G. Ring, A Century of French Painting, 1400-1500,
London, 1949, p. 219, no. 169, fgs. 105-6). The outer panels
displaying saints standing in niches are especially similar: Saint
Honor for instance, has a comparable oval face, with a similar
long straight nose and thin fngers. He stands in a pose like
that of Saint Anthony in this panel, his feet appearing to the
foreground, below the heavy, angular drapery. The setting,
with the tiled foor, elegant tracery and historiated capitals,
echoes that of the niche of the Virgin and Child panel in the
Thuison Altarpiece. Although further research remains to be
done, these stylistic similarities suggest that this picture could
well be a rediscovered work by the unknown artist behind the
Thuison Altarpiece.
PROPERTY OF THE LORD ST. OSWALD,

REMOVED FROM THE PRIVATE APARTMENT AT NOSTELL PRIORY
105
ATTRIBUTED TO AMBROSIUS BENSON

(LOMBARDY C. 1495-1550 BRUGES)
The left wing of a triptych: Saint William of Maleval
with two kneeling donors
oil on panel
30 x 11 in. (76.8 x 29.2 cm.)
15,000-20,000
$25,000-32,000
19,000-25,000
Ambrosius Benson was a South Netherlandish painter of Italian birth

who, despite recent strides in scholarship, has remained rather enigmatic.
Originally known as Ambrogio Benzone, he may have been attracted
to Bruges by its commercial and artistic reputation, and he acquired
citizenship in 1518, being admitted to the guild of painters the following
year. He is known to have worked in the studio of Gerard David, and his
emerging style showed both Netherlandish and Lombard infuences, which
proved to be a highly successful formula.
The panel will originally have served as the left wing of a triptych with a
Lamentation or Madonna and Child in the centre and the female donors
on the right wing. We are grateful to Till-Holger Borchert for proposing
the attribution, on the basis of photographs, and dating the panel to the
1530s. He furthermore notes that it was probably a Spanish commission.
While the donors have yet to be identifed, it is likely that they chose to
appear with their patron saint. William of Maleval was a dissolute soldier
prior to settling as a hermit near Siena in the mid-12th century. He is
also depicted in Hans Memlings Moreel triptych (circa 1484; Bruges,
Groeninge Museum); commissioned by the important Bruges politician
Willem Moreel for the church of Saint Jamess, Bruges, it would have been
accessible to Benson who is known to have been active in the city in the
1530s and 1540s.
106
ANTWERP SCHOOL, CIRCA 1525

The Throne of Mercy, with two angels, a landscape beyond
oil on panel, shaped top
31 x 22 in. (80.6 x 58.1 cm.)
40,000-60,000
$65,000-97,000
51,000-76,000
The panel is likely to have originally formed the central part of a triptych
and relates to Colijn de Coters triptych of the same subject (Paris, Louvre),
of which many versions are known, with some alterations in the setting.
The Throne of Mercy was a popular subject in the Netherlands and
many compositions, including the present lot, are believed to ultimately
derive from Robert Campins small panel, now in the Hermitage, Saint
Petersburg.
We are grateful to Peter van den Brink for placing the panel in the
Antwerp School and dating it to circa 1525.
107 No Lot
105
106
108

(LOTS 101, 102, 109, 168 & 186)
108
109
WORKSHOP OF THE MASTER OF THE PARROT

(ACTIVE ANTWERP 1525-50)
Saint Mary Magdalene reading, at a table with fruit
and a golden tazza
VINCENT SELLAER (ACTIVE MECHELEN CIRCA 1538)

The Virgin and Child with the Infants Saint John the Baptist and
James, before a draped curtain, a landscape beyond
oil on panel
26 x 21 in. (66.2 x 53.2 cm)
30,000-50,000
oil on panel
37 x 27 in. (94 x 68.6 cm.)
in a 17th century Italian carved and gilded Cassetta frame
$49,000-80,000 40,000-60,000
38,000-63,000
$65,000-97,000
51,000-76,000
109
PROVENANCE:
Acquired in 1954 on the advice of Dr. Hubertus von Sonnenburg by a

private collector and by descent to the following,
Anonymous sale; Sothebys, London, 8 December 2005, lot 209 (32,400),
The Flemish painter Vincent Sellaer was, with Michiel Coxcie, the
principal artist active in the mid-16th century in Mechelen, a city which
had become the cultural centre of the Netherlands during the reign of
Margaret of Austria. He has been convincingly identifed with Vincent
Geldersman who, according to van Mander, was known for his depictions
of women from the Bible and mythology. It has been suggested that
he may have visited France and worked at Fontainebleau. Additionally,
a Lombard infuence in his work would seem to indicate time spent
in Northern Italy. Only one signed picture by him is known (Munich,
Alte Pinakothek), dated 1538, which has led to attributions of several
compositions, including Caritas (Madrid, Prado), the Holy Kinship
(Stockholm, Nationalmuseum) and Judith (Berne, Kunstmuseum).
19
110
CIRCLE OF QUENTIN METSYS

(LEUVEN 1466-1530 KIEL, NEAR ANTWERP)
Christ as Salvator Mundi
oil on panel
16 x 11 in. (41.3 x 29.2 cm.)
15,000-20,000
$25,000-32,000
19,000-25,000
The composition for this panel derives from an example by Quentin

Metsys (Antwerp, Koninklijk Museum). It is uncertain whether the painter
originally intended it to be paired with a Virgin in Prayer, as was often the
case in early Flemish depictions of Christ as the Saviour of the World and
is the case for the panel in the Koninklijk Museum, or whether it had been
created as an individual work.
111
ATTRIBUTED TO FRANS POURBUS I

(BRUGES 1545/6-1581 ANTWERP)
Portrait of a lady, bust-length, in a black fur-lined coat with
gold fttings, a gold necklace and a white cap
oil on panel
16 x 13 in. (41 x 33.4 cm.), including later additions of circa in. on all
sides
15,000-20,000
$25,000-32,000
19,000-25,000
PROVENANCE:
Major Sir Dennis Frederic Bankes Stucley, 5th Bt. (1907-1983), Hartland
Abbey, Hartland, Bideford, North Devon; Christies, London, 11 May 1951,
lot 16, as A.Key.
We are grateful to Prof. Koenrad Jonckheere for confrming the attribution
to Frans Pourbus the Elder, on the basis of photographs, and for placing
it early within the painters oeuvre. Pourbus is known to have trained with
his father Pieter and later in the studio of Frans Floris. The rather unusual
white band around the sitters collar, which seems to be attached to her
headdress, can also be found on an engraving by Johannes Wierix of
Volcxken Diericx, dated 1579 (Amsterdam, Rijksmuseum).
112
ATTRIBUTED TO HANS MIELICH

(MUNICH 1516-1573)
Portrait of a Martin Klostermair (b. 1502),
aged 60, half-length, in a brown coat
and black hat, holding a book
signed and dated Ao M D LXI / HM (HM linked,
upper left), inscribed SIC OCVLOS DOCTOR
MEDICo, / SIC ORA FEREBAM / VT PICTA HEC
GRAPHICA / MONSTRAT IMAGO / MANV,
/ MK D AETATIS / Ao LX. (upper right),
inscribed APHORISMI. / HIPPOCRATIS
(lower centre, on the book), and with the sitters
coat-of-arms (upper right)
oil on panel, unframed
19 x 15 in. (49.5 x 41.6 cm.)
20,000-30,000
$33,000-48,000
26,000-38,000
LITERATURE:
K. Lcher, Hans Mielich 1516-1573. Bildnismaler in

Mnchen, Munich, 2002, p. 86, no. 60, fg. 60, as
South German[?], attributed to Hans Mielich.
K. Lcher, Der Maler Hans Mielich, seine
Bedeutung fr die Malerei der Renaissance in
Bayern, in Das Kleinodienbuch der Herzogin
Anna von Bayern. Handschrift Cod. icon. 429
der Bayerischen Staatsbibliothek Mnchen.
Kommentar, Berlin, 2008, p. 89.
Born in 1502, Martin Klostermair studied
medicine at the University of Ingolstadt between
1528 and 1530, which had been founded by
Louis the Rich, Duke of Bavaria, in 1472. He
is recorded in Munich from 1547 until 1561
as one of three personal physicians during
the reigns of William IV and Albert V, Dukes
of Bavaria. Klostermair seems to have been in

close contact with the humanists of his time
and well-versed in Latin; in 1576 he published
his Chronographia partialis and Arithmologia
about the founding of Munich and other events
of Bavarian history. The inscription underlines
the faithfull representation of the sitters
physiognomy. It reads Such are the eyes of the
physician, such does the mouth appear, as here
the artist shows, by his hand, the medicus aged
60.
21
113
STUDIO OF LUCAS CRANACH I

(KRONACH 1472-1553 WEIMAR)
Lucretia
oil on panel
16 x 10 in. (41.5 x 27 cm.)
70,000-100,000
$120,000-160,000
89,000-130,000
PROVENANCE:
Comte Cavens; his sale (), Galerie J. and A. Le

Roy, Brussels, 5-6 October 1922, lot 35, as Lucas
Cranach I, where presumably acquired by the
following,
Fernand Stuyck; his sale (), Palais des Beaux-Arts,
Brussels, 7-8 December 1960, lot 25, as Lucas
Cranach II.
Anonymous sale; Christies, London, 6 July 2007,
lot 111, as Studio of Lucas Cranach I (66,000).
The founding myth of the Roman Republic,
the story of Lucretia, recounted in Livys Ab
Urbe Condita, is a tale of virtue fghting against
tyranny. Lucretia, the ill-fated wife of a Roman
nobleman, was blackmailed and raped by
the violent son of the oppressive Roman King
Tarquinus Superbus. Shamed by the loss of
honour she had suffered, she took her own life
by stabbing herself, prompting her husband
and the entire Roman aristocracy to rebel again
Tarquinus despotic regime, a struggle which led
to the successful establishment of the Roman
Republic.
22
It was a story that combined the intellectual

lustre of the ancient world, with an outstanding
example of female virtue and poignant
emotional drama. As a result, it became very
popular during the Renaissance, especially at
the court of Wittenberg, which was noted for
its emphasis on humanist learning and where
Cranach was active. Lucretia thus became an
iconic theme in Lucas Cranachs oeuvre: along
with his studio, he produced numerous versions,
varying in quality, of this subject. Demand for
this subject may also have been fuelled by the
fact that it allowed the artist to paint one of his
trademark alluring female nudes. This panel,
a fne work emanating from Cranachs studio,
presents the richly-dressed and bejewelled
Lucretia in a beautifully rendered mountainous
landscape, a setting that heightens the pictures
visual appeal.
114
114
115
SEBASTIAEN VRANCX (ANTWERP 1573-1647)

The Battle of Lekkerbeetje at Vught, 5 February 1600
FOLLOWER OF JOACHIM BEUCKELAER,

EARLY 17TH CENTURY
The Miraculous Draught of Fishes
inscribed I[?]B (lower centre)

oil on copper
9 x 14 in. (25 x 37 cm.)
15,000-25,000
$25,000-40,000
19,000-32,000 60,000-80,000
This painting depicts the well-known battle between Braut and

Lekkerbetje on 5 February 1600 at Vught. The incident occurred during
the Eighty Years War after Braut, a French nobleman in the service
of Prince Maurits of Orange, had insulted the Lord of Grobbendonck,
Governor of the pro-Spanish city of sHertogenbosch. A duel between
the two was then arranged and each arrived with twenty horsemen (the
incident is also known as The Battle of the Forty). However, it was soon
discovered that Grobbendonck had sent his lieutenant, Leckerbeetje, in his
place. Enraged, Braut immediately killed him, whereupon a violent battle
ensued, in which the Frenchman was eventually defeated and killed. The
two letters at the lower centre of the copper here may read IB or LB,
indicating perhaps L(ecker)B(eetje).
24
oil on panel, stamped on the reverse with the coat-of-arms and

the hands of the city of Antwerp
41 x 81 in. (106.6 x 206.6 cm.)
$97,000-130,000
76,000-100,000
The story of the miraculous catch was a tale of enduringly popular appeal
during the Renaissance. The composition of the present lot is based
directly on Joachim Beuckelaers interpretation of the episode, which is
now in the Getty Museum, Malibu; signed and dated 1563, it shows Saint
Peter talking to Christ in the left background, together with the other
disciples pulling in their nets, while baskets on the shore overfow with
fsh to the astonishment of the gathered crowd. Beuckelaers invention
is typically rich in narrative detail and northern realism. As with his
renowned Antwerp market scenes, he brings together a biblical episode
with representations of the everyday, see for example his canvas depicting
A Fish Market with the Miraculous Draught of Fishes, one of the set of
Four Elements from 1569 (London, National Gallery). The impressive scale
of the present lot, a shade over two metres in length, and on a branded
Antwerp panel, matches the dimensions of the Getty picture (also on
panel) to within a few inches and follows all its details with a high degree
of accuracy, down to the placement of each mussel shell in the left
foreground.
PROPERTY OF AN AMERICAN MUSEUM
116
JOACHIM WTEWAEL
(UTRECHT 1566-1638)
The Supper at Emmaus
oil on copper, oval
4 x 3 in. (11.4 x 8.9 cm.)
40,000-60,000
$65,000-97,000
51,000-76,000
PROVENANCE:
(Possibly) Izaak van den Hoogenbergh; his sale,

Amsterdam, 10 April 1743, lot 127 (10 forins).
Art Market, London, about 1960, as Flemish
school, where acquired by James O. Belden,
Washington, D.C., and by descent.
EXHIBITED:
Poughkeepsie, NY, Vassar College, Dutch

Mannerism, 15 April-7 June 1970 (catalogue by
Wolfgang Stechow), no. 99.
26
LITERATURE:
A. Lowenthal, Wtewaels Moses and Dutch

Mannerism, Studies in the History of Art, VI,
Washington D.C., 1974, p. 133, note 9.
A. Lowenthal, Joachim Wtewael and Dutch
Mannerism, Doornspijk, 1986, pp. 47, 51, 109110, no. A-34, fg. 48, and Appendix C, p. 207.
By Wtewaels day, the tradition of depicting
the Supper at Emmaus in European art was
longstanding. As noted by Anne Lowenthal,
who dates this work to around 1603-1608,
Wtewael was here inspired by earlier engravings,
namely Albrecht Drers version of the subject
from the Small Passion (see Hollstein VII, no.
130.157; Lowenthal 1986, op. cit., p. 109). For
nocturnal effects, he likely also found inspiration
in Italian precedents by Jacopo Bassano (see
Christies, London, 6 July 2010, lot 37; Stechow,
loc. cit.). Wtewael himself depicted the scene
multiple times: a composition of similar size
and shape, also on copper, is now in a Private
Collection, New York (see Lowenthal 1986,
op. cit., p. 109, no. A-33). Examining the two
works side by side, Lowenthal suggests that the
New York picture is the frst version, while the

present work is an entirely autograph replica
by Wtewael himself (verbal communication, 13
November 2013). Wtewaels fascination with
the subject was shared by his contemporaries
such as Caravaggio, who painted examples in
1601 (London, National Gallery, inv. NG172)
and 1606 (Milan, Pinacoteca di Brera). Closer
to home, Wtewaels composition may have
proved infuential for his fellow Utrecht master
Abraham Bloemaert, who depicted the subject
in 1622 (Brussels, Muse Royaux des Beaux-Arts,
inv. 695).
While in the Belden collection, the present
painting was included in Wolfgang Stechows
groundbreaking exhibition of 1970 held at
Vassar College, Dutch Mannerism: Apogee
and Epilogue, the frst exhibition on Dutch
Mannerism held in the United States.
We are grateful to Anne W. Lowenthal with her
assistance in the cataloging of this work.
PROPERTY OF THE LATE MRS. HAZEL WESTBURY

(LOTS 117, 134, 167 & 169)
117
NICOLAS BAULLERY (PARIS 1560-1630)

A wedding procession through a town
oil on canvas
41 x 59 in. (106 x 150.5 cm.)
with remains of an inventory number (lower right)
40,000-60,000
$65,000-97,000
51,000-76,000
PROVENANCE:
Anonymous sale; Sothebys, London, 6 July 1983, lot 17, as Pieter Brueghel
III.
Anonymous sale; Sothebys, London, 15 April 1999, lot 99 ( 20,700).
Anonymous sale; Christies, London, 7 July 2000, lot 152 (23,500), when
acquired by the late owner.
Only three signed works by the artist are recorded, including an Adoration
of the Shepherds in the Church of Saint Etinne, Toulouse. Sylvain
Kerspern has identifed a number of other works by this artist including a
pair of paintings offered in these Rooms, 24 May 1991, lot 14, as Circle
of Peter Brueghel III, which relate closely to the present picture both in
fgure type and composition.
27
118
STUDIO OF SIR ANTHONY VAN DYCK

(ANTWERP 1599-1641 LONDON)
The Virgin and Child
oil on canvas
50 x 38 in. (127.6 x 97.1 cm.)
30,000-50,000
$49,000-80,000
38,000-63,000
PROVENANCE:
Private collection, Italy.

This picture is a studio replica of The Virgin and Child in the Fitzwilliam
Museum, Cambridge. Dr. Susan Barnes, who has inspected the work in
the original, considers it to have been executed in his [van Dycks] studio,
under his supervision and with his contribution (private communication
with the owner, dated 25 June 2014).
28
119

Saint Paul; and Saint Thomas
oil on panel, stamped on the reverse with the coat-of-arms of the
City of Antwerp and the panel makers mark of Guilliam Aertssen
(active 1612-1626)
25 x 19 in. (64.5 x 49.5 cm.)
two (2)
40,000-60,000
$65,000-97,000
51,000-76,000
These panels showing Saint Paul and Saint Thomas relate to the
various and now dispersed series of apostles that were painted
by van Dyck and his studio assistants between 1618-20 (for a
full discussion on the various series, see Alejandro Vergara and
Friso Lammertse in the exhibition catalogue, The Young Van
Dyck, Madrid, 2013, pp. 200-211). These appear to have been
inspired by Rubens, who produced a series of large panels of
Christ and his apostles around 1610-12 (Madrid, Museo del
Prado). Although it is debatable as to whether van Dyck saw the
originals, as they were in Spain by 1618 in the collection of the
Duke of Lerma, he would have unquestionably encountered the
copies made by his masters assistants. The recorded apostles
painted by the young van Dyck are strikingly dissimilar stylistically
and, moreover, there does not appear to be a coherent style
within each series. The present pictures depicting Saint Paul and
Saint Thomas, which are themselves unlike in their execution, can
be compared with the panels of almost identical dimensions (64
x 51 cm.) that previously formed part of the Bhler series, and
are now in the Niederschsisches Landesmuseum, Hanover, and
a private collection respectively (ibid., p. 200, nos. 43 & 46). The
present panels are stamped with the makers-mark of Guilliam
Aertssen, whose brand is probably that found on the reverse of
three panels from the Dresden series; those of Peter, Paul and
Bartholmew (ibid., p. 201). The model for Saint Paul was also
employed for the central character, immediately to the right of
Christ, in van Dycks Suffer Little Children to Come unto Me
(c. 1618-20; Ottawa, National Gallery of Canada).
PROPERTY FROM A PRIVATE EUROPEAN COLLECTION (LOTS 120 & 124)
120
STUDIO OF SIR PETER PAUL RUBENS

(SIEGEN 1577-1640 ANTWERP)
Saint Paul
oil on panel
36 x 26 in. (93.4 x 66 cm.)
40,000-60,000
$65,000-97,000
51,000-76,000
30 June 1945 (MCCP no. 1667), subsequently to the Trustee Administration

for Cultural Property, by whom given to the custody of the Republic of
Austria, 14 May 1958.
Returned to Germaine Mller, widow of Egon Mller, Paris, in 1963; Fischer,
Lucerne, 25 June 1965, lot 2139, as 'Rubens' (CHF 9,000), where acquired
by the late husband of the present owner.
EXHIBITED:
PROVENANCE:
Direktor Egon Mller, Vienna, by 1930.

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

Vereinigung Bildender Knstler Wiener Secession. Drei Jahrhunderte
Vlmische Kunst 1400-1700, 11 January-23 February 1930, no. 170, as
Peter Paul Rubens, circa 1609-11.
This picture relates to Rubenss Saint Paul that forms part of the series of
panels depicting the Twelve Apostles, now in the Prado, Madrid.
121
ATTRIBUTED TO SIR ANTHONY VAN DYCK

Saint Simon - unfnished
oil on panel
25 x 20 in. (65 x 51 cm.)
30,000-50,000
$49,000-80,000
38,000-63,000
This striking unfnished panel belongs to the series of apostles painted

by van Dyck and his studio assistants between 1618-20 (for a note on
the various series, see lot 119). The picture can be compared with two
panels depicting Saint Simon, of almost identical dimensions, now in the
Kunsthistorisches Museum, Vienna, and in the J. Paul Getty Museum, Los
Angeles. The fgure on the left in van Dycks Study of Two Heads (161820; Lyon Muse des Beaux-Arts) served as the model for Simon, and is also
the source for other early works by the artist, including the man, seen on
the far left of the composition, in Suffer Little Children to Come under Me
(1618-20; Ottawa, National Gallery of Canada). The vigorous brushwork in
the treatment of Simons hair and the beautifully observed tension in the
muscles of his turning neck reveal the strong infuence of Rubens, whose
own series of Apostles, now in the Prado, were ultimately the inspiration
for the young van Dycks. We are grateful to Dr. Susan Barnes who has
endorsed the attribution to van Dyck after inspection of the original.
122

Portrait of Ambrogio Spinola (1569-1630), full-length,
in armour, wearing the Order of the Golden Fleece,
holding a baton in his right hand, his left hand resting
on the hilt of his sword
oil on canvas
87 x 49 in. (221 x 126.4 cm.)
70,000-100,000
$120,000-160,000
89,000-130,000
PROVENANCE:
by decent through the sitters family to the

following,
Prince Centurione Scotto, Genoa; Sangiorgi,
Rome, 6 May 1903, lot 44.
Dr. Adolf Hommel, Zrich; Lempertz (formerly
Heberle);
Zrich, 19-20 August 1909, lot 43.
Hippolyt Saurer, Schloss Eugensberg, Arbon; Uto,
Zrich,
14-16 October 1974, lot 542, when acquired by
the present owner.
LITERATURE:
M. Menotti, Van Dyck a Genova, Archivio

Storico dellArte, III, 1897,
pp. 442-3.
L. Cust, Anthony van Dyck: An Historical Study
of His Life and Works, London, 1900, p. 243, no.
120.
G. Glck, Van Dyck, des Meisters Gemlde,
Klassiker der Kunst, 13, Stuttgart, New York &
London, 1931, p. 551, no. 295.
H. Vey, Die Zeichnungen Anton van Dycks,
Brussels, 1962, under no. 177.
H. Vey, in S. Barnes et al., Van Dyck. A complete
catalogue of the paintings, New Haven and
London, 2004, p. 412, no. III.A25.
32
This striking full-length portrait of Ambrogio

Spinola is described by Horst Vey as a good
repetition of the lost prime version (op. cit.,
2004), a work that was painted shortly after van
Dycks return to Antwerp at the end of 1627.
Marchese Ambrogio Spinola (1569-1630)
belonged to the most ancient of the four great
families of Genoa. He followed his brother,
Federigo, into the service of the King of Spain
and was appointed Commander-in-Chief of the
forces of King Phillip III in the Low Countries,
taking Ostend after a two year siege in 1604.
For this he was awarded the Golden Fleece. In
1605 he forced Prince Maurice of Nassau to
raise the siege of Ghent, taking the provinces
of Frisia and Ober-Yssel. Peace with the Dutch
was fnally achieved in 1607. In 1620, on the
outbreak of the Thirty Years War, Spinola
conquered the Lower Palatinate and a year later
he returned to the Low Countries, taking Julier
and besieging Bergen-op-Zoom, the retreat
from which he commanded with great skill.
The climax of his military career was the siege
of Breda, which fnally surrendered on 5 June
1625: Velzquezs great commemoration of this
event in the Prado gives an extraordinary idea
of Spinolas unusual combination of authority
and courtesy. Spinola was recalled to Madrid in
1628; en route he advised King Louis XIII about
his conduct of the siege of La Rochelle. The
outbreak of the War of Mantuan Succession led
to his return to Italy where he died during the
siege of Casale.
123
STUDIO OF FRANS SNYDERS

(ANTWERP 1579-1657)
The Cock and The Pearl
oil on canvas
66 x 94 in. (169 x 240 cm.)
25,000-35,000
$41,000-56,000
32,000-44,000
PROVENANCE:
Thomas, Lord Coningsby (d. 1729),

Hampton Court, Leominster, Herefordshire,
where mentioned by William Stukeley in his
Itinerarium curiosum (London, 1724) as hanging
in 1714 in the Great Hall, and by descent at
Hampton Court until 1810, when sold with the
house to the following,
Richard Arkwright (1755-1843), and by descent
at Hampton Court until 1912, when sold with the
house to,
Mrs. Nancy Burrell, until 1924, when sold with
the house to,
34
Mary Anna, Viscountess Hereford (1843-1924),

and by descent to her grandson,
Robert Devereux, 18th Viscount Hereford
(1932-2004).
Anonymous sale [The Property of a Nobleman];
Christies, London, 13 December 1996, lot 302.
Anonymous sale; Christies, London, 2 November
2001, lot 13 (30,550), when acquired by the
present owner.
Thomas, Lord Coningsby, formed a substantial
collection of pictures, including the celebrated
series of views of Hampton Court now in the
Mellon Collection. These complemented his
Gothic remodelling of the house and remained
there until 1973.
A version by Snyders showing only the central
part of the composition is in the SuermondtLudwig-Museum, Aachen (98.5 x 95 cm.; see
H. Robels, Frans Snyders, Munich, 1989, pp.

309-10, no. 202, illustrated). The landscape in
the present picture is by another hand, close to
Jan Wildens.
The subject is taken from the Fable of Phdrus,
III, 12: A young cockerel was looking for food
in the manure when he found a pearl there.
What a thing you are to be lying in such
an unworthy place! he exclaimed. If only
someone who longed to possess something of
such value had found you, you would long since
have been restored to your original splendour.
But instead it is I who have found you, when
I would have much preferred to fnd some food:
this is not going to do you or me any good at
all. This is a story I tell for those who do not
know how to appreciate me [i.e. Precious things
are for those that can appreciate them].
PROPERTY FROM A PRIVATE EUROPEAN COLLECTION

(LOTS 120 & 124)
124
ANTWERP SCHOOL, CIRCA 1630

The Penitent Magdalen
oil on panel
25 x 20 in. (64 x 51 cm.)
20,000-30,000
$33,000-48,000
26,000-38,000
PROVENANCE:
Anonymous sale; Fischer, Lucerne, 25 June 1965, as Flemish School, 17th

century (CHF 3,325), when acquired by the late husband of the present owner.
35
125
126
JORIS VAN SON (ANTWERP 1623-1667)

Crabs and shrimp on a pewter platter, with grapes, a partlypeeled orange, peaches and two wine glasses, on a partially
draped table
ATTRIBUTED TO FRANS HALS

(ANTWERP 1582-1666 HAARLEM)
Portrait of a man, half-length, in a black cape with a white collar
signed J. VAN. SON (VA linked, lower left)

oil on panel, stamped on the reverse with the coat-of-arms of the city of
Antwerp
15 x 20 in. (38.1 x 51.2 cm.)
30,000-50,000
30,000-50,000
$49,000-80,000
38,000-63,000
$49,000-80,000 P R O V E N A N C E :
38,000-63,000 L. Nardus, Suresnes.
PROVENANCE:
Dr D.-J. de Meyer; Giroux, Brussels, 16-18 May 1927 (= 1st day), lot 39.
36
oil on panel
12 x 9 in. (31.3 x 24.3 cm.)
M.P. Widener, Philadelphia; Frederik Muller, Amsterdam, 30 June 1909,

lot 7 (3,500 DFL).
Goudstikker, Amsterdam.
Carl Mandl, Hamburg; Frederik Muller, Amsterdam, 10 July 1923, lot 117.
(15,400 DFL to W. Henschel or Krller).
Wilhelm von Ofenheim, Vienna, by 1930.
Anonymous sale [The Propterty of a Lady]; Sothebys, London,
25 November 1970, lot 107 (1,400).
Anonymous sale; Paul Brandt, Amsterdam, 11-17 May 1971, lot 6.
LITERATURE:
(Possibly) C. Hofstede de Groot, A Catalogue

Raisonn, etc., London, 1910, III, p. 91, no. 318.
W.R. Valentiner, Frans Hals, des Meisters
Gemlde, Klassiker der Kunst, Berlin, 1921,
p. 293, as circa 1655.
W.R. Valentiner, Frans Hals, des Meisters
Gemlde, Klassiker der Kunst, Berlin, 1923,
p. 273.
S. Poglayen-Neuwall, The Wilhelm Ofenheim
Collection, Apollo, XII, July 1930, p. 129.
W.R. Valentiner, Jan van de Cappelle, The Art
Quarterly, IV, 1941, p. 296, note 6, as possibly
a portrait of the painter Gerard de Lairesse.
S. Slive, Frans Hals, London, 1970, p. 149,
no. D61, fg. 182.
This spontaneous likeness of a man relates to a

series of small-scale portraits of soberly dressed men
executed by Frans Hals relatively late in his career,
in the years around 1658-1660. Painted directly
from life, probably in one or two sittings, these
portraits are characterized by their vivacity and the
dazzling fuency of Halss brushwork. Celebrated
examples include the Portrait of a Preacher in the
collection of Rose-Marie and Eijk van Otterloo and
the portraits in the Rijksmuseum, Amsterdam; and
the Mauritsthuis, The Hague.
Seymour Slive, who never saw the present
work, expressed serious reservations about the
attribution, although he concluded that fnal
judgment must be postponed until the original is
examined (Slive. loc. cit.). His reservations no doubt
had much to do with the abraded state of the

paint surface. However, in spite of its condition, the
case for attributing this work now to Frans Hals is
increasingly compelling, at a time when the artists
late output is coming under intense scrutiny by
scholars. In terms of its format and composition,
the picture certainly accords well with the lauded
examples cited above. The sitter is positioned just
off centre, in three-quarter profle, turning his head
to the viewer against a neutral background. His
pose, in which his left hand protrudes from his
cloak is similar to that adopted by the preacher in
the Van Otterloo picture. In terms of its execution,
decisive judgment is again made diffcult by virtue
of the condition, although certain passages in the
rendering of the face, the collar, and the hand,
speak convincingly of Halss authorship.
37
127
PIETER CLAESZ. (BERCHEM 1597/8-1660/1 HAARLEM)

A roemer, a herring and olives on pewter platters, a roll, a
knife, a wine glass and grapes on a partially draped table
signed in monogram and dated PC / 1643
(the 3 erroneously strengthened to a 5, centre left)
oil on panel
17 x 24 in. (44.8 x 61.3 cm.)
70,000-100,000
$120,000-160,000
89,000-130,000
PROVENANCE:
Heinrich Moll, Cologne; Heberle, Cologne,

11-12 November 1886, lot 35.
Sir Patrick Donner; Sothebys, London, 4 April
1962,
lot 85 (3,809 gns. to R. van Eyck).
with de Boer, Amsterdam, where probably
acquired by the father of the present owner in
the 1970s.
Along with his contemporary Willem Claesz.
Heda, Pieter Claesz. was one of the leading
still-life painters in 17th century Holland and
is considered to be the frst exponent of the
monochromatic still life. This ontbijtje or
breakfast piece is a fne example of Claesz.s
work from the 1640s. Having abandoned
his previously rich palette in the late 1620s,
in favour of a more restrained one of earthy
browns, warm ochres and olive greens, Claesz.
was able to focus on the arrangement of the
various objects.
In this composition the light passes through the
giant roemer, refecting the window in the glass,
onto the pewter dish containing the herring
and the mother of pearl-handled knife on the
edge of the table. In doing so Claesz. focuses
his attention on the delicate variations in the
shapes, materials, texture and refections of the
38
objects, rendering these in a range of neutral

tones against the more dynamically painted
white tablecloth and the light-brown tone of the
bread roll.
Although the foods on the table ostensibly
represent a typical Dutch seventeenth-century
meal, these objects were in fact deliberately
chosen by the artist to display his mastery of
textures. In reality ordinary Dutch families would
not have access to white bread or olives as all
luxury products had to be imported from the
Mediterranean or from the grain-rich lands of
Scandinavia. Herring, for example, was not in
plentiful supply and was caught far out at sea,
more often along the Danish coast.
From the early 1640s Claesz. was inspired by the
more baroque style that had been introduced
to the genre of still-life painting by Jan Davidsz.
de Heem around 1635. This is evident in the
energetic and lively brushwork employed in the
grapevines and tablecloth.
We are grateful to Fred Meijer of the RKD, The
Hague, for confrming the attribution on the
basis of photographs.
PROPERTY OF A GENTLEMAN (LOTS 128, 129, 130, 139 & 200)
128
CORNELIS DECKER (? 1610/20-1678 HAARLEM)

A wooded landscape with man approaching a village, carrying
two pails on a yoke
oil on panel
21 x 27 in. (54.3 x 69.5 cm.)
50,000-70,000
$81,000-110,000
64,000-89,000
PROVENANCE:
Montague Edward Parker, by 1822, as Meindert

Hobbema, and by descent to,
Edward Henry Parker, 2nd Earl of Morley
(1810-1864).
Sir Harold Farquhar (1894-1953); Sothebys,
London, 13 December 1950, lot 6,
as Meindert Hobbema (780 to the following),
with Sabin, London.
M.W.T. Leatham, Gloucestershire, by 1952.
with Duits, Doordrecht, Amsterdam and London,
by 1954.
Cornelis Decker lived all of his life in Haarlem

and the surrounding landscape provided the
artist with an endless array of motifs. This
beautifully observed landscape is a fne example
of the wooded scenes that dominated Deckers
oeuvre throughout his career. Taking his lead
from the picturesque vision of nature developed
by his fellow townsman Jacob van Ruisdael,
Decker used realistically rendered atmospheric
conditions in a similar fashion to convey
constrained drama and a poetic mood, as
superbly demonstrated in the present view.
EXHIBITED:
London, Royal Academy, Dutch Pictures 14501750, 22 November 1952-1 March 1953, no.
348, as Meindert Hobbema.
40
Datable to the early 1650s, this entrance to

a village is among Deckers fnest paintings.
Decker lavished great care on describing all the
different textures in the foliage, subtly varying
his palette of greens. A few scattered touches
of brown in the treetops and shrubs suggest the
scene takes place early in the autumn.
129
SALOMON VAN RUYSDAEL

(NAARDEN ?1600/3-1670 HAARLEM)
A wooded landscape with a herdsman on horseback driving his
cattle and shepherds with their fock, a man walking his dogs in
the dunes, a village with the ruins of Egmond Abbey beyond
signed and dated SvRVISDAEL 1663 (SvR linked, lower left)
oil on panel
13 x 24 in. (34.2 x 63.1 cm.)
40,000-60,000
$65,000-97,000
51,000-76,000
PROVENANCE:
with Duits, London.

This unrecorded work can be compared with Ruysdael's slightly earlier
panel, dated 1657, also showing Egmond Abbey, sold in these Rooms,
9 July 1999, lot 37 (120,000). We are grateful to Fred Meijer and
Ellis Dullaart of the RKD, The Hague, for confrming the attribution to
Ruysdael, on the basis of photographs.
42
130
JAN JOSEFSZ. VAN GOYEN

(LEIDEN 1596-1656 THE HAGUE)
A river landscape with fshermen laying out their nets
by a castle
signed in monogram and dated VG 1648 (lower left, on the boat)
oil on panel
15 x 23 in. (39.1 x 60.4 cm.)
50,000-70,000
$81,000-110,000
64,000-89,000
PROVENANCE:
Anonymous sale [C.A. Hill]; Christies, London, 2 March 1945, lot 70

(720 gns. to Deane).
with Leger Galleries, London, by 1945.
with Agnews, London.
LITERATURE:
H.-U. Beck, Jan van Goyen 1596-1656: ein Oeuvreverzeichnis, II,

Amsterdam, 1973, p. 308, no. 672, illustrated, as '164(5)'.
43
131
JAN JOSEFSZ. VAN GOYEN

(LEIDEN 1596-1656 THE HAGUE)
A river landscape with soldiers and peasants on a ferry,
a castle beyond
signed and dated V Goyen 1635 (lower left, on the boat)
oil on panel, oval
14 x 19 in. (36.2 x 50.2 cm.)
20,000-30,000
$33,000-48,000
26,000-38,000
PROVENANCE:
with Rozendaal, London, by 1949.

Anonymous sale; Galerie Fisher, Lucerne, 12 November 1949, lot 3292.
Anonymous sale [A Swiss Private collection]; Kende Galleries at Gimbel
Brothers, New York, 4 October 1951, lot 65.
132 No Lot
PROPERTY OF A DISTINGUISHED EUROPEAN COLLECTION

(LOTS 133, 135, 172 & 176)
133
GOVERT FLINCK (KLEEF 1615-1660 AMSTERDAM)

Portrait of a girl as a shepherdess, half-length, in a red dress
and blue wrap, with a pearl headdress
signed with initials G. f (lower left)
oil on panel, the corners made up
22 x 20 in. (57.2 x 51 cm.)
40,000-60,000
PROVENANCE:
Freiherr von Ketteler, Schloss Schwarzenraben; Sothebys, Amsterdam, 21

November 1995, lot 29, as Jan van Noordt, when acquired by the following,
with Johnny Van Haeften, London, where acquired by the present owner in
March 1997.
LITERATURE:
$65,000-97,000 D. Witt, Jan van Noordt, Painter of History and Portraits in Amsterdam,
51,000-76,000 Montreal, 2007, p. 265, no. R60, under rejected paintings as Govert Flinck.
45
PROPERTY OF THE LATE MRS. HAZEL WESTBURY

(LOTS 117, 134, 167 & 169)
134
NICOLAES MAES (DORDRECHT 1634-1693

AMSTERDAM)
Portrait of Joseph Hoeufft, Heer van Lunenburg
(1657-1700), half-length, in armour, his right arm
resting on a helmet
signed NMAES (NM linked, lower left), and with the sitters
coat-of-arms (centre left)
oil on canvas
19 x 16 in. (48.4 x 40.6 cm.)
10,000-15,000
$17,000-24,000
13,000-19,000
PROVENANCE:
By descent in the family of the sitter, Utrecht.

Mr. M. Crommelin, Utrecht, circa 1890-1905, and by descent to,
Mr. C.A. Crommelin, The Hague; Frederik Muller,
Amsterdam, 6-14 May 1958, lot 113, as a portrait of
Aernout Houefft.
with D.A. Hoogendijk, Amsterdam, where acquired by the
great-uncle of the following,
Anonymous sale [The Property of a Lady]; Sothebys, London,
9 December 2004, lot 134 (12,000), when acquired by the
late owner.
EXHIBITED:
The Hague, Pulchri Studio, Tentoonstelling van Schilderijen

van Oude Meesters, Winter 1890-1891, no. 48.
LITERATURE:
134
E.W. Moes, Iconographia Batavica, Amsterdam, 1897-1905,

p. 429, no. 35702.2.
C. Hofstede de Groot, A Catalogue Raisonn, etc., VI,
London, 1916, p. 527-8, no. 188.
L. Krempel, Studien zu den datierten Gemlden des Nicolaes
Maes (1634-1693), Bonn, 1999, p. 321, no. 190a, pl. 272, as
circa 1677.

(LOTS 133, 135, 172 & 176)
135
ELIAS VONCK (AMSTERDAM 1605-1652)

A hare, a teal, a kingfsher and songbirds
on a stone ledge
signed E. Vonck fe (lower left)
oil on panel
28 x 24 in. (71.5 x 61.5 cm.)
15,000-25,000
$25,000-40,000
19,000-32,000
PROVENANCE:
with Hoogendijk, Amsterdam,

where acquired by present owner in 1994.
135
136
SCHOOL OF REMBRANDT, CIRCA 1650

Portrait of a young man, half-length, in a white shirt, golden
mantel and red plumed cap, before a draped curtain
oil on canvas
27 x 22 in. (69.5 x 57 cm.)
15,000-25,000
$25,000-40,000
19,000-32,000
47
137
137
138
JACOB DUCK (?UTRECHT C. 1600-1667 UTRECHT)

Soldiers at rest in a guardroom
JACOB ADRIAENSZ. BACKER

(HARLINGEN 1608-1651 AMSTERDAM)
Portrait of a man, half-length, in a dark red cloak and
gold chain, wearing an earring
signed and dated Duck 1637 (centre left)

oil on panel
20 x 26 in. (51.4 x 67 cm.)
30,000-50,000
oil on panel
$49,000-80,000 28 x 21 in. (77.1 x 54.6 cm.)

38,000-63,000 40,000-60,000
PROVENANCE:
Anonymous sale; Tajan, Paris, 24 June 2004, lot 23, as Jacob Duck
(90,000), when acquired by the present owner.
Jacob Duck originally trained as a goldsmith before entering the studio of
Cornelis Droochsloot at the relatively advanced age of twenty-one. While
painting in Utrecht at this time was largely the domain of the Caravaggisti,
Duck modelled his style on the works of the Amsterdam artists Pieter
Codde and William Duyster, and their subject matter of guardroom scenes
and merry companies.
Traditionally accepted as a signed, autograph work by Jacob Duck, the
authorship of this panel has been more recently questioned by Fred Meijer
of the RKD, The Hague, who has proposed an alternative attribution to
Simon Kick (on the basis of a photograph). However, the attribution to
Duck has been independently supported by Dr. Walter Liedtke on the
basis of a photograph.
$65,000-97,000
51,000-76,000
PROVENANCE:
Leonardt collection, Cologne.

Geheimrat Dagobert Oppenheim (1809-1889), Cologne, by whom gifted to
the following,
Wallraf-Richartz Museum, Cologne, 1873, as Carel Fabritius, recorded
in their 1929 inventory, until exchanged on 1 February 1943 for a Gothic
Madonna.
with Galerie fr Alte Kunst, Munich, where acquired by the following,
Heinz Reinartz, Cologne, by whom given, for deposit, to Walter Bornheim
(Galerie fr Alte Kunst, Munich), Tegernsee (1943-1946), until recorded
at the Central Collecting Point, Munich, no. 30940, 22 May 1946-25
September 1947, and transferred via Interzonal Exchange to Sammeldepot
von Kunstwerken, Schloss Dyck, Grevenbroich, September-December 1947,
when returned to,
Heinz Reinartz, Cologne, and by descent to his grandson.
138
LITERATURE:
Katalog der Gemlde-Sammlung des Museums Wallraf-Richartz in Kln,

Cologne, 1875, no. 654, as Carel Fabritius; 1905, no. 709, as Rembrandt
School; 1910, no. 709, as Jacob Backer; 1914, no. 709, as Isaak de
Jouderville; 1941, no. 1929, as Jacob Backer.
A. von Wurzbach, Niederlndisches Knstler-Lexikon, Vienna/Leipzig,
1906-1911, I, p. 774, as Jouderville.
Bauch, Jacob Adriaensz Backer. Ein Rembrandtschler aus Friesland, Berlin,
1926, pp. 30 and 84, no. 87.
H.F. Secker, Die Galerie der Neuzeit im Museum Wallraf-Richartz, collection
catalogue, Leipzig, 1927, p. 21.
W. Sumowski, Gemlde der Rembrandt-Schler, I, Landau, 1983,
pp. 197-9 and 240, no. 37, illustrated.
C. White, Ashmolean Museum Oxford. Catalogue of the Dutch, Flemish,

and German Paintings before 1900 [excluding the Daisy Linda Ward
Collection], Oxford, 1999, p. 10.
P. van den Brink and J. van der Veen, Jacob Backer (1608/9-1651), Zwolle,
Amsterdam and Aachen, 2008, p. 223, no. A55, illustrated
(with erroneous 1952 provenance).
We are grateful to Peter van den Brink for confrming the attribution on
frst hand inspection, dating the picture to circa 1638, and for his help
on the provenance of this lot. Backer used the same model as in the
shepherd, now in a private collection, USA (Brink/Veen, no. A56).
139
JACOB VAN RUISDAEL

(HAARLEM 1628/9-1682 AMSTERDAM)
A wooded river landscape with a family at rest on a track
oil on canvas
27 x 21 in. (68.5 x 55.5 cm.)
70,000-100,000
$120,000-160,000
89,000-130,000
PROVENANCE:
Richard Plantagenet Temple-Nugent-BrydgesChandos-Grenville, 2nd Duke of Buckingham and

Chandos, K.G., G.C.H., P.C., F.S.A. (1797-1861),
Stowe House; his sale, Christies, on the premises,
15 September 1848 [=24th day], lot 425 (161
gns. to Hume on behalf of the following),
Alexander Hamilton, 10th Duke of Hamilton
(1767-1852), Hamilton Palace; his sale (),
Christies, London, 17 June 1882, lot 78 (1,160
gns. to the following),
with Colnaghi, London, from whom acquired by
the following,
Arthur Pemberton Heywood-Lonsdale (18351897), and by descent at Shavington Grange to
Lt. Col. Arthur Heywood-Lonsdale (d. 1976);
Christies, London, 24 October 1958, lot 96
(2,600 gns. to the following),
with Duits, London.
Dated to the 1670s by Seymour Slive (loc. cit.),

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

mature style that can be admired in this work is
the assured handling, combined with an acute
observation of details. The reeds, grass and
rapidly moving water of the river are painted
with quick and vigorous strokes. Ruisdaels
lively brushwork enriches the overall texture of
the painting and imbues the scene with poetic
motion.
London, Royal Academy, Winter Exhibtion, 1885,

no. 91.
LITERATURE:
C. Hofstede de Groot, A Catalogue Raisonn etc.,

IV, London, 1912, p. 121, no. 290.
J. Rosenberg, Jacob van Ruisdael, Berlin, 1928, p.
87, no. 247.
S. Slive, Jacob van Ruisdael, New Haven and London,
2001, p. 236, no. 279, illustrated, as signed.
50
140
140
BARTHOLOMEUS BREENBERGH
(DEVENTER 1598-1657 AMSTERDAM)
An Italianate landscape with fgures before a
ruined classical building
oil on copper
6 x 8 in. (17 x 22.5 cm.)
7,000-10,000
$12,000-16,000
8,900-13,000
141
DUTCH SCHOOL, CIRCA 1700

Figures by a ruined building watching a
performance of the Comedia dellArte in an
Italianate landscape
oil on canvas
23 x 19 in. (58.4 x 48.1 cm.)
7,000-10,000

141
52
$12,000-16,000
8,900-13,000
*142
JOHANNES LINGELBACH
(FRANKFURT 1622-1674 AMSTERDAM)
An Italianate harbour with an elegant couple promenading near
a statue of Neptune, and workmen unloading by the docks
oil on canvas
24 x 31 in. (62.7 x 78.8 cm.)
signed and dated J. LINGELBACH 1671 (centre right)
12,000-18,000
$20,000-29,000
16,000-23,000
PROVENANCE:
(Possibly) D. Mansfeld; his sale, Van Schley, Amsterdam, 13 August 1806,

lot 95 (Dfl. 100).
Anonymous sale; Roos, Amsterdam, 16 July 1819, lot 96 (Dfl. 79 to De Vries).
M. Wolff; his sale, Berlin, 25 May 1857, lot 277.
J. Porgs, Paris; his sale, Cassirer & Helbing, Berlin, 7 December 1926, lot 82.
Anonymous sale; Weinmller, Munich, 9-10 December 1954, lot 527.
Anonymous sale; Weinmller, Munich, 15 May 1957, lot 1112.
Anonymous sale; Leo Spik, Bad Kissingen, 10 June 1960, lot 123.
with A. Gebhart, Munich, 1960.
Anonymous sale; Christie's, Amsterdam, 1 November 2011, lot 44.
LITERATURE:
C. Burger-Wegener, Johannes Lingelbach 1622-1674, Ph.D. dissertation,

1976, pp. 272-3, no.95, as dated 1673.
53
PROPERTY OF A PRIVATE COLLECTOR
*143
MARIA VAN OOSTERWYCK

(NOOTDORP, NEAR DELFT 1630-1693 UITDAM)
Roses, a parrot tulip, carnations, ears of wheat,
hyacinths and other fowers with butterfies in a Chinese vase,
with an orange on a marble ledge
signed Maria V. O. (upper right), and with signature Maria V. Oosterwijck
(lower centre, on the ledge)
oil on canvas
22 x 19 in. (56.5 x 50.1 cm.)
100,000-150,000
$170,000-240,000
130,000-190,000
Maria van Oosterwyck nurtured her talents

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

vivid colours against a dark background, is a
fne example of Oosterwyck's still-life work.
The artist's deep religious conviction should
not be overlooked in any of her compositions,
with her careful selection of colours rich in
symbolic meaning; white denoting innocence,
red martyrdom, and the frequent depiction
of butterfies representing the resurrection of
Christ.
54
144
PROPERTY FROM A PRIVATE SWISS COLLECTION
*144
ATTRIBUTED TO JAN PAUWEL GILLEMANS I

(ANTWERP 1618-1675)
Grapes, oysters, chestnuts, a fg and cherries on a
partially draped stone ledge
with signature and date J D de Heem 1653
(centre left, on the ledge)
oil on canvas
13 x 18 in. (34.6 x 47.2 cm.)
8,000-12,000
$13,000-19,000
11,000-15,000
PROVENANCE:
Purchased in 1933 by the grandfather of the present owner;

Galerie Fischer, Lucerne, 5 September 1942, lot 1280 as Cornelis
de Heem (unsold), and by descent.
We are grateful to Fred Meijer, of the RKD, The Hague, for
proposing the attribution on the basis of photographs.
145
146
PROPERTY OF A EUROPEAN NOBLEMAN
145
146
A. REE (ACTIVE THE HAGUE, C. 1725-1750)

Roses, morning glories and other fowers in an urn and on a
draped stone ledge, with an Admiral butterfy
ELIAS VAN DEN BROECK (AMSTERDAM 1650-1708)

An oyster, grapes, a partlypeeled lemon, an orange and
fowers, on a partially draped stone ledge
signed A: Ree (lower centre)

oil on canvas
25 x 21 in. (64.8 x 53.3 cm.)
signed V. D: Broeck (lower left on the ledge)

oil on panel
8 x 11 in. (21.8 x 29 cm.)
8,000-12,000
$13,000-19,000
11,000-15,000
25,000-35,000
$41,000-56,000
32,000-44,000
PROVENANCE:
PROVENANCE:
Anonymous sale; Sothebys, London, 8 July 1987, lot 317.

with Hoogsteder, The Hague.
Greenwich Council, Boy Scouts of America; Christies, New York, 16 April

1986, lot 141 ($26,000).
LITERATURE:
E. Buijsen, The Sterrenhemel van de Gouden Eeuw, Tableau, 18 February

1996, pp. 80-3, no. 4, fg. 5.
We are grateful to Fred Meijer of the RKD, The Hague, who dates the
painting to the frst half of the 18th century, on the basis of photographs.
57
58
Pictures from the Petworth Collection

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

National Trust Images / Oliver Benn
The picture collection at Petworth

has long been celebrated. Like every
great family collection it refects the
tastes of successive generations, and
represents a balance between patronage
and connoisseurship. In any British
collection, what Oliver Millar termed
the deposit of family portraits and
pictures commissioned to record interests
of specifc members of a family have
a dominant role, and at Petworth the
portrait collection is indeed of dazzling
distinction. That Petworth boasts a
collection of altogether exceptional range
and diversity is due to the perspicacity of
three exceptional owners of the house.
Fig. 1 Thomas Phillips, R.A.,

George Wyndham,3rd Earl of Egremont, 1839
National Trust Images / Derrick E. Witty
Petworth was granted to Jocelin de

Louvain, who married Agnes, heiress
of the Percy family, by 1151. It passed
to her Percy descendants, who owned
great estates in Northumberland and
Yorkshire, as well as the honour of
Egremont, and later Syon in Middlesex,
and Northumberland House in
London. Algernon Percy, 10th Earl of
Northumberland (1602-1668), who
inherited in 1632, was not only a
discriminating patron of van Dyck, but
also made notable acquisitions from that
artists collection and that of Charles Is
early mentor, George Villiers, 1st Duke
of Buckingham. His acquisitionsnone
of which is being soldinformed the
taste of his successors. By 1671, after
the death of his son and successor,
Joceline, there were 167 pictures, divided
among his various houses. In 1682, the
heiress, Elizabeth, Baroness Percy in her
own right, married Charles Seymour, 6th
Duke of Somerset. He rebuilt Petworth,
transforming this into one of the great
mansions of the age. He also bought
pictures, including the celebrated Claude
that remains in the house. He died in
1748, and on the death of his successor
two years later the Percy inheritance was
divided, Petworth passing to the son
of the sixth Dukes daughter, Charles
Wyndham, 2nd Earl of Egremont (17101763). Egremont had a distinguished
political career and was evidently keenly
interested in pictures, patronizing
contemporary artists and buying a
The second Earl died in 1763. His son

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

Library, looking down the Enfilade from the Alcove, 1827
Tate, London 2014
PROPERTY OF LORD EGREMONT DL, REMOVED FROM PETWORTH HOUSE (LOTS 22, 23 & 147-155)
147
WILLEM VAN MIERIS (LEIDEN 1662-1747)

An interior with a man consoling a distressed lady, an invalid in
bed beyond
oil on panel
18 x 15 in. (47.4 x 38.2 cm.)
in an early 19th century carved composition frame
20,000-30,000
60
PROVENANCE:
George Wyndham, 3rd Earl of Egremont (1751-1837), at Petworth House,

Sussex, by 1837 (Inventory of Paintings, Sculpture and Books at Petworth
House, Property of The Late George, 3rd Earl of Egremont) and later at
Egremont House, 94 Piccadilly, London, and by descent.
LITERATURE:
$33,000-48,000 Catalogue of Pictures in Petworth House, Sussex, London, 1856, p. 47,

26,000-38,000 no. 445, where listed as Francis Mieris and hanging in London.
C.H. Collins Baker, Catalogue of the Petworth Collection of pictures in the

possession of Lord Leconfeld, London, 1920, p. 84, no. 445.
C. Hofstede de Groot, Beschreibendes und kritisches Verzeichnis der Werke
der hervorragendsten Hollndischen Maler des XVII. Jahrhunderts, X,
Stuttgart, 1928, p. 140, no. 144.
148
CAREL VAN SAVOY (ANTWERP 1621-1665 AMSTERDAM) L I T E R A T U R E :

Catalogue of Pictures in Petworth House, Sussex, London, 1856, p. 14,
Portrait of a boy, half-length, in a brown jacket and red mantle,
no. 119, as Murillo, Head of a Boy.
holding a plumed hat, in a landscape
oil on canvas
26 x 21 in. (66.8 x 54 cm.)
20,000-30,000
$33,000-48,000
26,000-38,000
PROVENANCE:
George Wyndham, 3rd Earl of Egremont (1751-1837), Petworth House,

Sussex, and by descent.

possession of Lord Leconfeld, London, 1920, p. 102, no. 119,
as Rembrandt School.
W. Sumowski, Gemlde Der Rembrandt-Schler, Landau, 1983, IV,
p. 2538, no. 1697a.
Sumowski (loc. cit.) dates this striking portrait of a young boy to the mid
1650s and compares it with van Savoys portrait, painted in 1655, of
Jan Jansz. de Doot, a work now in the Academisch Historisch Museum,
Leiden.
61
PROPERTY OF LORD EGREMONT DL,

REMOVED FROM PETWORTH HOUSE (LOTS 22, 23 & 147-155)
149
CIRCLE OF NICHOLAS MAES

(DORDRECHT 1632-1693 AMSTERDAM)
An old women at a vegetable stall, a girl with a milk pail and
two children, a town square beyond
oil on canvas
31 x 40 in. (79.3 X 103.8 cm.)
15,000-20,000
$25,000-32,000
19,000-25,000
PROVENANCE:
George Wyndham, 3rd Earl of Egremont (1751-1837), at Egremont House,

94 Piccadilly, London, by 1837 (Inventory of Paintings, Sculpture and Books
at Petworth House, Property of The Late George, 3rd Earl of Egremont), and
later at Petworth House, Sussex, and by descent.
62
LITERATURE:

possession of Lord Leconfeld, London, 1920, p. 102, no. 626a,
as Rembrandt School.
W. Robinson, The early works of Nicolaes Maes, 1653-1661, Phil. Diss.,
Cambridge (Mass.), 1996, no. C-25, as Nachfolger von Maes,
L. Krempel, Studien zu den datierten Gemlden des Nicolaes Maes
(1634-63), Fulda, 1999, p. 364, no. E7, fg. 410, as Maes(?).

150
MICHELE PACE DEL CAMPIDOGLIO

(?ROME ?1610-?1670)
A melon, pomegranates, grapes, quinces, apples and other
fruit on a stone ledge
oil on canvas
39 x 52 in. (99.8 x 124 cm.)
20,000-30,000
$33,000-48,000
26,000-38,000
LITERATURE:

no. 86, as M. Angelo di Campidoglio and hanging on the Oak Stairs.
PROVENANCE:
George Wyndham, 3rd Earl of Egremont (1751-1837), Egremont House,

94 Piccadilly, London, and later moved to Petworth House, Sussex, by 1837
(Inventory of Paintings, Sculpture and Books at Petworth House, Property of
The Late George, 3rd Earl of Egremont), and by descent.
63
151
HERMAN VAN SWANEVELT

(?WOERDEN, C. 1600-1655 PARIS)
A wooded landscape with fgures
on a track, the Temple of Minerva Medica
beyond
oil on canvas
17 x 44 in. (44 x 63 cm.)
in a mid-18th century frame
8,000-12,000
$13,000-19,000
11,000-15,000
PROVENANCE:
LITERATURE:
Frederick Ponsonby, 3rd Earl of Bessborough

(1758-1844); his sale Christies, London,
5 February 1801, lot 62 (37 gns. to Hogg).
George Wyndham, 3rd Earl of Egremont
(1751-1837), by 1803, and at Petworth House,
Sussex, by 1837 (Inventory of Paintings, Sculpture
and Books at Petworth House, Property of The
Late George, 3rd Earl of Egremont),
and by descent.
G. Waagen, Treasures of Art in Great Britain,

London, III, 1854, p. 36.
Catalogue of Pictures in Petworth House, Sussex,
London, 1856, p. 7, no. 51, as Swanevelt,
Landscape. Evening and hanging in the
Duke of Somersets Room.
C.H. Collins Baker, Catalogue of the Petworth
Collection of pictures in the possession of Lord
Leconfeld, London, 1920, pp. 118-9, no. 51.
152
ATTRIBUTED TO JACOB DE HEUSCH

(UTRECHT 1656-1701 AMSTERDAM)
A rocky estuary with troops on a bank
oil on canvas
46 x 84 in. (118.5 x 213.4 cm.)
10,000-15,000
$17,000-24,000
13,000-19,000
PROVENANCE:
LITERATURE:
George Wyndham, 3rd Earl of Egremont

(1751-1837), at Petworth House, Sussex, by 1837
(Inventory of Paintings, Sculpture and Books at
Petworth House, Property of The Late George,
3rd Earl of Egremont), and by descent.
Catalogue of Pictures in Petworth House, Sussex,

London, 1856, p. 40, no. 372, as Dirk Maas and
hanging in the Duke of Somersets Room.
C.H. Collins Baker, Catalogue of the Petworth
Collection of pictures in the possession of Lord
Leconfeld, London, 1920, p. 82, no. 372,
as Dirk Maes.

153
JAN FRANS VAN BLOEMEN, CALLED IL ORIZZONTE

(ANTWERP 1662-1749 ROME)
A classical landscape with the Tomb of Cecilia Metella,
fgures conversing on the bank of a river, mountains beyond;
and A classical landscape with a capriccio of the Vatican
Belvedere, fgures conversing in the foreground
oil on canvas
19 x 26 in. (49.9 x 67.6 cm.)
20,000-30,000
a pair (2)
$33,000-48,000
26,000-38,000
PROVENANCE:
George Wyndham, 3rd Earl of Egremont (1751-1837), Egremont House,

94 Piccadilly, London, and later moved to Petworth House, Sussex,
and by descent.
65

154
JOHN GLOVER (HOUGHTON-ON-THE-HILL,

LEICS 1767-1849 LAUNCESTON, TASMANIA)
A lake landscape with a shepherd, cattle and goats
in the foreground
PROVENANCE:
oil on canvas
25 x 30 in. (64.1 x 76 cm.)
LITERATURE:
10,000-15,000
Presumably acquired from the artist by George Wyndham,

3rd Earl of Egremont (1751-1837), at East Lodge, Brighton, by 1837,
and later moved to Petworth House, Sussex, and by descent.
$17,000-24,000 no. 350.

13,000-19,000 C.H. Collins Baker, Catalogue of the Petworth Collection of pictures in the
66

155
HENRY FUSELI
(ZRICH 1741-1825 PUTNEY HILL, NEAR LONDON)
Salome with the head of Saint John the Baptist
oil on canvas
50 x 40 in. (127 x 102.4 cm.)
8,000-12,000
$13,000-19,000
11,000-15,000
LITERATURE:

no. 401, as hanging in the North Gallery.
C.H. Collins Baker, Catalogue of the Petworth Collection of pictures
in the possession of Lord Leconfeld, London, 1920, p. 46, no. 401.
G. Schiff, Johan Heinrich Fssli, 1741-1825, Zrich, 1973, I, p. 487, no. 710,
II, p. 158, pl. 710.
G. Schiff and P. Viotto, LOpera Completa di Johann Heinrich Fssli,
Milan, 1977, p. 88, no. 19.
PROVENANCE:
Presumably acquired from the artist by George Wyndham,

3rd Earl of Egremont (1751-1837), Egremont House, 94 Piccadilly,
London, and later moved to Petworth House, Sussex, by 1837 (Inventory
of Paintings, Sculpture and Books at Petworth House, Property of The Late
George, 3rd Earl of Egremont).
67
156
156
157
SCHOOL OF VALENCIA, 15TH CENTURY

The Madonna and Child enthroned, with Saint John the Baptist
and other saints
JAUME CABRERA (ACTIVE BARCELONA, 1394-1432)

The Martyrdom of Saints Acisclus and Victoria
on gold ground panel, in an integral frame

20 x 12 in. (52 x 32.7 cm.)
30,000-50,000
68
on gold ground panel, in an engaged frame

43 x 45 in. (109.2 x 116.2 cm.)
50,000-80,000
$49,000-80,000
38,000-63,000
$81,000-130,000
64,000-100,000
157
PROVENANCE:
Commissioned for the Church of Saints Acisclus and Victoria, Rajadell.

Private collection, Barcelona.
LITERATURE:
J. Gudiol, Pintura Gotica Catalana, Barcelona, 1986, p. 96, no. 255, fg.
459, as Jaume Cabrera.
A. Pladevall, LArt gtic a Catalunya, Barcelona, 2005, p. 107, as Jaume
Cabrera, 1405-10.
EXHIBITED:
Madrid, Cason del Buen Retiro, Exposicin de pintura catalana, 1962, no. 40.
This refned panel is a rare surviving example of late Gothic Catalan
painting. At the turn of the ffteenth century Barcelona was, along with
Valencia, the most important city and trading harbour in Aragon, a
kingdom then still independent from Castile and ruling over vast territories
scattered across the Mediterranean, from Mallorca to Naples. In this
stimulating environment, Barcelonas talented artists, including Jaume
Cabrera, formulated a personal and accomplished interpretation of the
International Gothic style that was then spreading across the continent.
The panel was commissioned around 1405-10 for the main altar of the
parish church of Saints Acisclus and Victoria, in the small town of Rajadell,
just north-east of Barcelona. It was certainly part of a monumental
polyptych, characteristic of this region, where numerous panels, set above
each other in an elaborate architectural frame, narrated the episodes of
the Passion of Christ or the life of a saint, the central part of the altarpiece
being often occupied by a sculpted depiction of that saint (see for
instance the altarpiece of the church of Santa Maria in Sant Mart Sarroca
also by Jaume Cabrera). Saint Acisclus and his sister Victoria, to whom the
church was dedicated, were two early Christian martyrs from Cordoba,
who suffered at the hands of Dion, the local Roman governor depicted
standing in front of an elaborate wooden throne to the left. The scene,
set in front of a beautifully and imaginatively rendered city, is not that of
their martyrdom Acisclus was eventually decapitated while his sister died
by the stroke of an arrow but instead depicts the tortures they endured
without renouncing their faith. Typical of late Gothic painting, this panel
displays an elegant and sinuous design that counters the rather gruesome
subject depicted.
69
159
158
PROPERTY FROM A PRIVATE COLLECTION (LOTS 158 & 160)
158
159
LORENZO DALESSANDRO DA SAN SEVERINO

(SAN SEVERINO C.1455-1503)
The Virgin Annunciate
CIRCLE OF GIOVANNI BELLINI (?1431/6-1516 VENICE)

The Penitent Magdalen
on gold ground panel, in an engaged frame

16 x 6 in. (43 x 16.9 cm.)
8,000-12,000
oil on panel, shaped top, with later additions

19 x 16 in. (48.9 x 40.6 cm.)
in a tabernacle frame
$13,000-19,000 10,000-15,000
11,000-15,000
PROVENANCE:

We are grateful to Everett Fahy for confrming the attribution to Lorenzo
dAlessandro da San Severino, on the basis of photographs.
$17,000-24,000
13,000-19,000
PROPERTY FROM A PRIVATE COLLECTION (LOTS 158 & 160)
160
GIOVANNI DI NICCOL MANSUETI

(ACTIVE VENICE, DIED BEFORE 1527)
The Madonna and Child enthroned, with Saints Jerome
and John the Baptist, in a landscape
signed IOANNES DE MANSVETIS FACIEBAT (lower centre) and inscribed
ECCE AGNVS DEI QV (on the scroll)
oil on panel
14 x 23 in. (36.5 x 60 cm.), with later additions of c. in. on all sides
25,000-35,000
$41,000-56,000
32,000-44,000
PROVENANCE:
EXHIBITED:
Amsterdam, Stedelijk Museum, Italiaansche Kunst in Nederlandsch Bezit,

1 July-1 October 1934, no. 213.
LITERATURE:
T. Borenius, The Venetian School in the Grand Ducal Collection,

Oldenburg, The Burlington Magazine, April 1913, XXIII.35, p. 26, pl. IIb.
R. van Marle, The Development of the Italian Schools of Painting,
The Hague, 1935, XVII, p. 200.
B. Berenson, Pitture Italiane del Rinascimento: catalogo dei principali artisti e
delle Ioro opere, con un indice dei luoghi, Milan, 1936, p. 288.
Conte Carlo Castelbarco, Milan.

Peter II, Grand Duke of Oldenburg (1827-1900), Augusteum, Oldenburg,
by 1869.
H.W.C. Tietje, Amsterdam, by 1934.
Anonymous sale; Sotheby's, London, 22 February 1956, lot 84.
Anonymous sale [The Property of a Gentleman]; Christies, London, 18
March 1960, lot 50 (949 gns. to Scharf).
with Arthur Kauffmann, London, from whom acquired by the late husband
of the present owner.
71
161
PIERO DI COSIMO
(?FLORENCE 1461/2-?1521 FLORENCE)
The Rest on the Flight into Egypt
oil on panel
15 x 11 in. (38.4 x 29 cm.)
20,000-30,000
$33,000-48,000
26,000-38,000
The present composition closely relates to the tondo sold

in these Rooms on 24 April 2009, lot 95 (37,250). We are
grateful to Everett Fahy for confrming the attribution,
on the basis of photographs.
161
162
CIRCLE OF ANDREA SABATINI,

CALLED ANDREA DA SALERNO
(SALERNO C. 1480-1530/1 GAETA)
The Stoning of Saint Stephen
oil on panel, unframed
21 x 21 in. (53.2 x 54.3 cm.)
20,000-30,000
162
$33,000-48,000
26,000-38,000
163
ATTRIBUTED TO BERNARDINO DE CONTI

(CASTELSEPRIO C.1470-AFTER 1523)
The Madonna and Child
oil on panel
17 x 13 in. (44.4 x 35.3 cm.)
20,000-30,000
$33,000-48,000
26,000-38,000
Bernardino de Conti was one of the wave of artists working in Milan at

the turn of the 16th century, heavily influenced by Leonardo, producing
portraits and sacred works. Painted on a walnut panel, the composition
of the present lot incorporates elements drawn directly from Leonardo
himself, and relates closely to the latters drawings for the Madonna del
gatto. A version of this same composition was sold at the Dorotheum,
15 October 2013, lot 534.
73
164
GIROLAMO ROMANINO (BRESCIA 1484/7-1560)

oil on canvas, unlined
26 x 26 in. (66 x 66 cm.)
50,000-70,000
$81,000-110,000
64,000-89,000
PROVENANCE:
Anonymous sale; Sothebys, London, 2 July 1986,

lot 110 (29,700).
An idiosyncratic talent, little is known of
Romaninos early years, but he became an artist
of signifcant stature in northern Italy during
the High Renaissance. His oeuvre testifes to the
twin infuences of Lombardy and Venice, as he
rose to become the leading painter in Brescia,
alongside Alessandro Bonvicino, known as
Moretto da Brescia, in the early 16th century,
receiving key commissions in Cremona, Trent
and Asola. Romanino distinguished himself
from his contemporaries by his greater tendency
towards naturalism, evident in the present work,
which suggests he took an interest in artists
from north of the Alps too.
Though a chronology of Romaninos work has
not been established with absolute certainty,
this Madonna and Child would seem to date
to the 1540s: the tonality is reminiscent of the
Madonna and Child with Saint Paul in Brescia,
Banca San Paolo, painted circa 1547-8, while
the features of the Madonna can be instructively
74
compared to the picture in the Pinacoteca

Nazionale in Siena, dating to circa 1539-40. The
key compositional elements of the work the
inclined head of the Madonna seen in threequarter view, the Child on her lap engaging the
viewer, the curtain behind and the landscape
beyond also feature in the picture by Moretto
in the Pinacoteca di Brera, Milan, which dates to
the 1540s. These elements appear to draw on
works by Titian, such as the Madonna and Child
in the Accademia Carrara, Bergamo, circa 1507
and that in the Metropolitan Museum of Art,
New York, circa 1508, indicating his undoubted
formative infuence on Romanino. This present
composition must have been well-known to
Romaninos followers: as much is clear by the
copy that was exhibited during the XXII Mostra
Mercato Antiquari Milanesi in November 1984.
We are grateful to Dr Marco Tanzi for
confrming the attribution, on the basis of
photographs.
165
SANTI DI TITO
(BORGO SANSEPOLCRO 1536-1602 FLORENCE)
The Holy Family
signed and dated Santi di Tito 1561 (lower right)
oil on panel
33 x 27 in. (85.7 x 70 cm.)
in a carved and gilded Florentine frame
30,000-50,000
166 No Lot
$49,000-80,000
38,000-63,000
Schooled under Bronzino and Baccio Bandinelli, Santi di Tito was one of
the most accomplished painters and architects in Florence during the latter
half of the 16th century. This panel, signed and dated 1561, belongs to
his Roman period, where he stayed from 1558 until his return to Florence
in 1564. During this spell in Rome, where he notably completed frescoes
for rooms in the Vatican, he was deeply influenced by Raphael, whose
impact is clear in the graceful classicism of the present lot.
PROPERTY OF THE LATE MRS. HAZEL WESTBURY (LOTS 117, 134, 167 & 169)
167
BOLOGNESE SCHOOL, 16TH CENTURY

Portrait of a lady, three-quarter-length, in a red, gold and green
dress, her right hand resting on a basket
Lucien Baszanger, Geneva, by 1953.
oil on canvas
49 x 38 in. (125.5 x 98.5 cm.)
40,000-60,000
PROVENANCE:
EXHIBITED:
$65,000-97,000
51,000-76,000
Delft, Museum Het Prinsenhof, Vijftig werken uit de collectie

Baszanger te Geneve, 1953, as Veronese.
77

(LOTS 101, 102, 109, 168 & 186)
168
ALONSO SNCHEZ COELLO

(VALENCIA 1531/2-1588 MADRID)
Portrait of Archduke Wenceslaus of Austria (1561-1578),
as a boy, bust-length, in a white doublet and lace collar
oil on canvas
17 x 13 in. (44.2 x 34.2 cm.)
60,000-80,000
$97,000-130,000
76,000-100,000
PROVENANCE:
F. Mont, New York, by 1950.

with Newhouse Galleries, New York, by February
1954, as Philip III.
Anonymous sale [Property from a Spanish Private
Collection]; Sothebys, London, 8 December
2005, lot 290 (90,000), when acquired by the
present owner.
LITERATURE:
M. Kusche, Retratos y Retratadores, Alonso

Snchez Coello, Madrid 2003, p. 322, fg. 281
(with erroneous provenance).
The eleventh child of Maximilian II, Holy
Roman Emperor and Maria of Spain, Archduke
Wenceslaus of Austria spent his youth in the
Spanish court of Philip II, who had married his
sister, Ana of Austria. He moved to Madrid
with his siblings in 1570, and must have sat to
Snchez Coello for this portrait shortly thereafter;
it was presumably commissioned by Ana herself.
78
Maria Kusche (op. cit.) dates the work to

1571-2, preceding therefore the signed and
dated full-length portrait of 1574, showing
Wenceslaus aged thirteen, which hangs together
with its pendant, a portrait of his elder brother,
Archduke Albert (1559-1621), in the Castle of
Ambras, Innsbruck.
Snchez Coello was one of the most renowned
portraitists of his time. He served as a court
painter to Philip II for over thirty years, from
1555 until 1588, continuing the tradition
of Titian and Anthonis Mor (with whom he
trained) in producing representations of the
Habsburgs. Whilst relatively little is known of
his studio practices, and a signifcant amount of
his work was lost in the devastating fres at the
Royal Palace of El Pardo in 1604 and the Royal
Alczar in 1734, his reputation as a highly skilled
portraitist endures.
PROPERTY OF THE LATE MRS. HAZEL WESTBURY (LOTS 117, 134, 167 & 169)
169
CIRCLE OF DIEGO VELZQUEZ (SEVILLE 1599-1660 MADRID)

Portrait of the Infante Baltasar Carlos (1629-1646), son of King Philip IV of
Spain and his wife Isabella of Bourbon, full-length, in armour with a red sash
oil on canvas
67 x 48 in. (172.1 x 123.3 cm.)
60,000-80,000
$97,000-130,000
76,000-100,000
PROVENANCE:
by descent to Maria Ronchi, Bologna, by whom

presented to the Cavalieri dOro family, circa
1930; Christies, London, 2 November 2001, lot
69 (80,750), when acquired by the late owner.
LITERATURE:
A.L. Mayer, Velasquez: A catalogue raisonn of

the pictures and drawings, London, 1936, p. 68,
no. 286, pl. 109.
J. Lopez-Rey, Velasquez: A catalogue raisonn
of his oeuvre, London, 1963, p. 230, no. 31,
illustrated, as Workshop of Velasquez, on the
basis of photographs.
P.M. Barbi, LOpera complete di Velasquez,
Milan, 1969, p. 100, no 83D, illustrated.
80
Prince Baltasar Carlos was the only son of Philip

IV of Spain by his frst marriage, to Elisabeth of
France (Isabel de Borbn). Though he only lived
until he was 16, when he died of smallpox, he
was painted on numerous occasions, sitting to
both Velzquez (see for example the notable
portraits in the Prado, Madrid, showing him
on horseback and in hunting attire) and Juan
Bautista Martinez del Mazo. August Mayer was
the frst to propose that the present picture
was possibly connected with a lost original by
Velzquez, although he does not exclude that it
could also be related to a lost Mazo (loc. cit.).
170
170
GIOVANNI BATTISTA SALVI, IL SASSOFERRATO

(SASSOFERRATO 1609-1685 ROME)
The Madonna adoring the sleeping Christ Child
oil on canvas, oval
15 x 17 in. (38.1 x 44.4 cm.)
30,000-50,000
$49,000-80,000
38,000-63,000
ANTIVEDUTO GRAMATICA (SIENA 1571-1627 ROME)

oil on canvas
39 x 29 in. (99 x 75.9 cm.)
82
Anonymous sale [Miss A.C. Rennie]; Christies, London, 24 February 1933,

lot 119, as Carracci (10 gns. to Druits).
Anonymous sale; Sothebys, London, 12 October 1983, lot 101, as
Attributed to Sisto Badalocchio.
Anonymous sale; Sothebys, London, 30 November 1983, lot 15, as
Antiveduto Gramatica.
LITERATURE:
G. Papi, Antiveduto Gramatica, Soncino, 1995, p. 104, no. 36, fg. 22.
R. Contini and G. Papi (eds.), Giovanni Serodine (1594/1600-1630) e i
precedenti romani, exhibition catalogue, Lugano, 1993, p. 144.
171
50,000-70,000
PROVENANCE:
$81,000-110,000
64,000-89,000
This work was frst given to Gramatica by Erich Schleier in 1983, after
it had passed through sale at Sothebys with an attribution to Sisto
Badalocchio. Gianni Papi, in his 1995 catalogue (op. cit.), dates the picture
to circa 1620, and suggests it was executed later than the other known
autograph version of the composition, held at the Residenz Museum,
Munich. The present lot is distinguished by the softer modelling of the
Madonnas features and the twisted ribbon around her hair.
171

(LOTS 133, 135, 172 & 176)
172
ADAM DE COSTER (MECHELEN 1586-1643 ANTWERP)

The Denial of Saint Peter
oil on canvas
42 x 60 in. (107.3 x 153.3 cm.)
100,000-150,000
$170,000-240,000
130,000-190,000
PROVENANCE:
with Whitfeld Fine Art, London, where acquired

by the present owner in 2004.
By the early 1630s, as Benedict Nicolson notes,
Adam de Coster had established himself in
Antwerp as a renowned painter of nocturnal
scenes, a pictor noctium (B. Nicolson, Notes on
Adam de Coster, Burlington Magazine, CIII, May
1961, p. 186). He is labelled as such in a portrait
etching by Sir Anthony van Dyck from 1626,
later published in The Iconography. Though no
signed or dated pictures have survived, a body
of work has been ascribed to de Coster on the
basis on the engraving by Lucas Vosterman of a
candlelit game of backgammon, a picture that
shows his clear debt to Gerrit van Honthorst.
De Coster frequently used the trope of the halfmasked fame in his compositions, as seen here,
84
a variation on the single candlelight that was

pioneered by Honthorst and found such success
amongst northern followers of Caravaggio.
Another staging by de Coster of the same
subject, in the Koelliker Collection, featuring the
same device of the hand masking the fame, was
exhibited in the show Caravaggio & His World
(Art Gallery of New South Wales and National
Gallery Victoria, 2003-4). Where the latter
showed Saint Peter stage left, as the soldiers
eavesdrop on his conversation with a maid, as
he denies knowing Christ for the frst time, here
we see him in full view, making his third and
fnal, dramatic denial.
~173
LUCA GIORDANO, CALLED FA PRESTO

(NAPLES 1634-1705)
The Entombment
oil on glass
16 x 21 in. (42.5 x 54 cm.)
in a South Italian 17th century ebonised frame with tortoiseshell and verre
eglomis panels
30,000-50,000
$49,000-80,000
38,000-63,000
PROVENANCE:
Anonymous sale [European Private Collection]; Dorotheum, 13 April 2011,

lot 416 (30,800).
Professor Nicola Spinosa and Professor Riccardo Lattuada independently
confrmed the attribution to Luca Giordano, after inspection of the
original, at the time of the 2011 sale.
86
174
STUDIO OF JUSEPE DE RIBERA, LO SPAGNOLETTO

(JTIVA, VALENCIA 1591-1652 NAPLES)
The Adoration of the Shepherds
with signature, inscription and date Jusepe de Ribera espanol valenciano /
F 1633 (partially strengthened, centre right, on the saddle)
83 x 113 in. (211.5 x 287 cm.)
30,000-50,000
$49,000-80,000
38,000-63,000
Thought initially to derive from an invention by Ribera, there are at least

three other known versions of this composition, the most-discussed of
which, of marginally smaller dimensions than the present lot, is held at the
Real Academia de Bellas Artes de San Fernando in Madrid. That picture
is now attributed to Juan (or Giovanni) D, an artist working in Naples in
the second quarter of the seventeenth century, and frequently claimed
to be the hand behind the body of work currently given to the Master of
the Annunciation to the Shepherds. It was once thought to be by Ribera

himself, given its close similarities to the two compositions of the same
subject in the Escorial, before being downgraded to a studio copy of a
lost original: until the name of Juan D was put forward, it was suggested
that it might in fact be by Luca Giordano (see A.E. Prez Snchez, Lopera
completa del Ribera, Milan, 1978, p. 141, no. 419), and that hypothesis
has in fact more recently been reasserted. Indeed, Giordanos possible
authorship of the present work, when he was a young apprentice in
Naples, has been proposed by Professor Riccardo Lattuada, acknowledging
the proximity of the late production of Ribera and the early works of
Giordano. Though it is not certain that Giordano trained under Ribera, the
task of distinguishing their hands in some works has proved problematic, as
Giordano sought to emulate the latters style in the mid-seventeenth century.
87
*175
BARTOLOMMEO MANCINI
(FLORENCE, C.1670-C.1715)
Ecce Homo
oil on copper, oval
10 x 7 in. (27 x 20 cm.)
10,000-15,000
$17,000-24,000
13,000-19,000
PROVENANCE:
John Campell, 2nd Marquess of Breadalbane (1796-1862),

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

(LOTS 133, 135, 172 & 176)
176
JUSTUS VAN HAMME

(BRUSSELS 1629/30-AFTER 1657 ROME)
Saints Paul the Hermit and Anthony Abbot
oil on canvas
47 x 38 in. (120.3 x 97.8 cm.)
20,000-30,000
$33,000-48,000
26,000-38,000
PROVENANCE:
Private collection, Sweden.

with Whitfeld Fine Art, London, where acquired by the present
owner in 2003.
EXHIBITED:
Bath, The Holburne Museum of Art, A Pelican in the Wilderness:

Hermit and Solitude in Art, 2001.
177
GIOVANNI ANDREA DE FERRARI (GENOA 1598-1669)

The Sacrifce of Isaac
oil on canvas
53 x 67 in. (134.6 x 172 cm.)
25,000-35,000
$41,000-56,000
32,000-44,000
PROVENANCE:
89
178
GIOVANNI ANDREA DE FERRARI (GENOA 1598-1669)

Rebecca and Eliezer at the Well
oil on canvas
48 x 78 in. (124 x 198 cm.)
30,000-50,000
$49,000-80,000
38,000-63,000
PROVENANCE:

LITERATURE:
R.D., Un dipinto genovese del 600, Arte Figurativa Antica e Moderna, IV,
1956, p. 41.
G.V. Castelnovi, Giovanni Andrea de Ferrari, C. Bozzo Dufor, et al., La
pittura a Genova e in Liguria dal 600 al primo 900, II edition, Genoa, 1987,
p. 136.
90
179
PIETRO LIBERI (PADUA 1605-1687 VENICE)

Christ and the Woman taken in Adultery
oil on canvas
75 x 55 in. (192.4 x 141.7 cm.)
20,000-30,000
$33,000-48,000
26,000-38,000
The attribution to Liberi has been confrmed by Ugo Ruggeri in a private

communication to the vendor.
91
180
BERNARDO POLO (SPANISH, ?-C. 1700 ?)

Foxgloves, a red fritillaria and branches of apples in a vase, with
a plate of fsh and apples on a stone ledge; and Irises, snowballs
and branches of apples in a glass vase, with an artichoke,
asparagus and birds in a woven basket on a stone ledge
34 x 48 in. (87.6 x 123.2 cm.)
70,000-100,000
92
a pair (2)
$120,000-160,000
89,000-130,000
Though he is recorded in his lifetime as a highly skilled still-life painter,

renowned in both Zaragoza and Madrid, the discovery of Bernardo Polos
oeuvre is relatively recent. His hand was only fully recognised in 2009,
when a signed picture was discovered in a private collection. It proved that
he was, in fact, the same hand previously identifed as the Pseudo-Hiepes
(in reference to the still-life painter Toms Hiepes), a name given to him
by Drs William Jordan and Peter Cherry (see W. Jordan, El Pseudo-Hiepes
es Bernardo Polo, Archivo Espaol de Arte, LXXXII, no. 328, OctoberDecember 2009, pp. 395-403). Though he varied his compositional types,
they are characterised by a strong sense of symmetry and carefully stylised
arrangements, evident here in both pictures, less given to naturalism and
more to ornamentation.
93
PROPERTY OF THE WILL TRUST OF THE LATE

LADY MURIEL BARCLAY-HARVEY (LOTS 181-184)
181
PROVENANCE:
GEORGE ROMNEY (DALTON-IN-FURNESS,

By descent through the sitters grandson,
LANCS 1734-1802 KENDAL, CUMBRIA)
Montague Peregrine Albemarle, 12th Earl of Lindsey (1861-1938),
Portrait of General Albemarle Bertie, 9th Earl of Lindsay
to his daughter, the late Lady Muriel Barclay-Harvey (1893-1980).
(1744-1818), half-length, in the uniform of the Grenadier guards
inscribed ALBEMARLE EARL of LINDSAY and with the sitters coat of arms
and motto VERTUS ARIETE FORTIOR (upper left)
35 x 28 in. (91 x 71 cm.)
in a George III Maratta frame
30,000-50,000
94
$49,000-80,000
38,000-63,000
LITERATURE:
H. Ward and W. Roberts, Romney: A Biographical and Critical Essay with a

Catalogue Raisonn of his Works, London, 1904, II, p. 11.
The artists account book, held in the Huntington Library, records Colonel
Bertie receiving his Kitcat portrait on 18 August 1784. For a note on
the sitter, see lot 184. We are grateful to Alex Kidson for confrming the
attribution on the basis of a photograph.

182
FRANCIS HAYMAN
(?EXETER ?1708-1776 LONDON)
Portrait of Peregrine Bertie, 13th Lord
Willoughby de Eresby (1555-1601),
full-length, in a black doublet and
pantaloons, wearing damascened armour,
in a wooded river landscape by a waterfall,
with a bridge and a castle beyond
signed[?], inscribed and dated THE RT. HON.
PEREGRINE BERTIE LD. WILLOUGHBY / OF ERESBY
BORN IN THE CHURCH PORCH OF / ST. WILLEBRODE
AT WESEL IN GERMANY OCTR. 12th. 1555 / TAKEN
FROM THE ORIGINAL IN THE COLLECTION / OF HIS
GRACE THE DUKE OF ANCASTER DECR 1739 / BY
FRANCIS HAYMAN, and with identifying inscription
THE RT. HON. PEREGRINE LORD WILLOUGHBY OF
ERESBY / FATHER OF ROBERT EARL OF LINDSEY
(both lower left), with the sitters coat-of-arms and
motto LOYALTY ME OBLIGE. (twice, lower left) and
inscribed AMARE DE LAS DOLCES. (centre left) and
CONTRA AVENDTIOR (upper right), and VBIQVE
PEREGRINVS / HIC DOMI. (upper right)
oil on canvas
81 x 51 in. (207 x 131.4 cm.)
in a carved, gilded and pounced frame
15,000-25,000
$25,000-40,000
19,000-32,000
PROVENANCE:
Probably commissioned by Peregrine Bertie (1709-1777),

son of Charles Bertie (d. 1730), of Uffngton House,
Lincolnshire, and by descent through his son,
Albemarle, 9th Earl of Lindsey (1744-1818), to his grandson,
Montague Peregrine Albemarle, 12th Earl of Lindsey
(1861-1938), and by descent to his daughter,
the late Lady Muriel Barclay-Harvey (1893-1980).
LITERATURE:
B. Allen, Francis Hayman, New Haven and London,

1987, p. 175, no. 76.
Painted in 1739, this portrait of Peregrine Bertie,
13th Lord Willoughby de Eresby, after the picture in
the Ancaster Collection, Grimsthorpe Castle, is one
of only two known copies made by Francis Hayman.
The sitter was the son of Richard Bertie (1517-1582)
and his wife, Katherine, Duchess of Suffolk, daughter
of William Willoughby, 11th Baron Willoughby de
Eresby, whom she succeeded as 12th Baron in her
own right. He was born in Wesel, Cleves, while his
parents were in exile during the reign of Mary I,
returning to England on Elizabeth I's accession. He
married Mary, daughter of John de Vere, 16th Earl
of Oxford. Willoughbys illustrious military career and
exceptional powers of leadership on the battle feld
were celebrated in contemporary verse, including the
ballad of Brave Lord Willoughby.
95

183
ANGLO-FLEMISH SCHOOL, CIRCA 1630

Portrait of Martha, Countess of Lindsey (1605-1641), full-length, in
a brocaded silk petticoat and matching bodice with a black gown,
two bands of scalloped fine linen and sleeve ruffles of bobbin lace,
wearing feathers in her hair, holding an ostrich feather fan, beside
a chair under a red canopy, a landscape beyond
with identifying inscription THE RT. HONLE, THE COVNTESS / OF LINDSEY OF
IST. WIFE OF MOVN= / TAGVE EARL OF LINDSEY LORD / GREAT CHAMBERLAIN
OF / ENGLAND. (centre right)
oil on canvas
79 x 50 in. (201.3 x 128 cm.)
in a giltwood and gilt composition frame
40,000-60,000
$65,000-97,000
51,000-76,000
PROVENANCE:
By descent through the sitters ffth son,

Charles Bertie (c.1640-1711) of Uffngton
House, Lincolnshire, through his great grandson,
Albemarle, 9th Earl of Lindsey (1744-1818), to his
grandson,
Montague Peregrine Albemarle, 12th Earl of
Lindsey (1861-1938), and by descent to his daughter,
Martha, Countess of Lindsey, was the second
daughter of William Cockayne (1561-1626), a
prominent London merchant, and his wife, Mary
Morris. The sitters father, who served as Lord
Mayor of London from 1619-20, accumulated
a vast fortune by exporting cloth to the Baltic
states on a considerable scale. Cockayne became
an infuential adviser to King James I, to whom
he lent money, and who frequently consulted
with him both in council and privately. He was
buried on 12 December 1626 at St. Pauls
Cathedral and the funeral sermon was delivered
by the poet John Donne, Dean of St. Pauls.
Martha, along with her fve sisters, received
10,000 on her fathers death.
96
In 1624 Martha married John Ramsay, 1st Earl of

Holderness (c.1580-1626), the frst favourite of
James I after his accession to the throne in 1603.
The marriage was childless and Holderness died
on 28 February 1626. On 18 April 1627 she
married, secondly, Bertie Montague, 2nd Earl
of Lindsey (1607/8-1666), with whom she had
fve sons and three daughters. A Royalist army
offcer, Lindsey attended Charles I during his
trial and was one of four peers to accompany
the Kings body to its grave at Windsor after
his execution. Martha died in July 1641, aged
thirty-six.
This portrait would appear to have been painted
soon after her second marriage in 1627. The
sitters beautifully observed dress can be dated
to 1628-1631. The paned, double-puff sleeve
can be compared with that worn by Katherine,
Duchess of Buckingham in Honthorsts group
portrait, painted in 1628, of The Duke of
Buckingham and his Family (Royal Collection).
The elaborate sleeve can also be seen in

Cornelius Johnsons portrait, painted in 1631,
of Lady Margaret Hungerford (Iveagh Bequest,
Kenwood House). The dress in the Kenwood
picture can be further compared with that in
the present portrait in the blue and gold ribbon
bows and girdle.
The seemingly pointed inclusion of a single dead
tree in the superbly rendered landscape behind
the sitter may be a reference to the deaths of
her father and frst husband in 1626.

184
SIR THOMAS LAWRENCE, P.R.A.

(BRISTOL 1769-1830 LONDON) AND STUDIO
Portrait of General Albemarle Bertie, 9th Earl of Lindsey
(1744-1818) and his second wife, Charlotte Susanna Elizabeth
(1780-1858), daughter of the Rev. Charles Peter Layard, Dean of
Bristol, full-length, he in military uniform, she in a white dress
inscribed WATERLOO (centre right, on the book)
oil on canvas
94 x 55 in. (238.8 x 140.6 cm.)
50,000-80,000
$81,000-130,000
64,000-100,000
PROVENANCE:
By descent through the sitters grandson,

Montague Peregrine Albemarle, 12th Earl of
Lindsey (1861-1938), to his daughter,
LITERATURE:
D.E. Williams, Life and Correspondence of Sir

Thomas Lawrence, Kt., London, 1831, II, p. 384.
W. Armstrong, Lawrence, London, 1913, p. 149.
K. Garlick, Catalogue of the Paintings, Drawings
and Pastels of Sir Thomas Lawrence, Walpole
Society, XXXIX, 1964, p. 126.
K. Garlick, Sir Thomas Lawrence, Oxford, 1989, p.
225, no. 495.
The execution of this full-length portrait of

General Albemarle Bertie, 9th Earl of Lindsay,
and his second wife Charlotte Susanna Elizabeth
Layard, is recorded in a letter, dated 25
September 1815, sent by Lawrence from Lord
Stewarts residence in Paris to his studio assistant
in London. The letter provides a fascinating
insight into the artists studio practice whilst he
was at work on the frst portraits of the allied
leaders who had defeated Napoleon earlier
that year, the pictures that would form the
nucleus of his celebrated series for the Waterloo
Chamber at Windsor. Lawrence implores his
coadjutor in his Atelier to complete, exactly
Fig. 1 Uffngton House, Lincolnshire

England's Lost Country Houses - www.lostheritage.org.uk
98
according to its present plan, the picture of Lord

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

(LOTS 101, 102, 109, 168 & 186)
185
186
SIR PETER LELY (SOEST, WESTPHALIA 1618-1680 LONDON)

Portrait of Anne de Laune, ne Sandys (b. 1634), half-length,
in a blue dress; and Portrait of Abraham de Laune (1629-1709),
half-length, in black
TOBIAS STRANOVER (SIBU 1684-AFTER 1731 LONDON)

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

21 x 16 in. (55.6 x 42.8 cm.)
15,000-20,000
a pair (2)
signed T. Stranover f, (lower left)
$25,000-32,000 oil on canvas

19,000-25,000 54 x 46 in. (149.6 x 117.7 cm.)
PROVENANCE:
By descent in the sitters family to Alvred Faunce de Laune ();

Christies, London, 20 November 1964, lot 35 (90 gns.)
in an English 18th century carved giltwood frame
50,000-70,000
$81,000-110,000
64,000-89,000
PROVENANCE:
Abraham de Laune was the son of Gideon Delaune (1564/5-1659),

the eminent Huguenot physician and theologian, and his wife Judith
Chamberlain. The sitters father was appointed apothecary for Anne of
Denmark, James Is queen, some time between 1606 and 1610. Gideon
was also one of the foremost members of the Huguenot immigrant
community in the capital, which gathered together in the autonomous
French church in Threadneedle Street, London. Abraham married Anne
Sandys, the daughter of Edwin Sandys of Northbourne Court, Kent. They
lived at Sharstead Court, Newnham, Kent.
100
with Simon Dickinson, London.

Stranover was born in Sibiu, the wine-growing capital of central Romania,
situated in the northern foothills of the Transylvanian Alps. He travelled to
Hamburg and Dresden and fnally settled in England, where he married
Elizabeth Bogdani, the daughter of the painter Jakob Bogdani. Bogdani,
who had arrived in England in 1684, studied many exotic species of bird
in Admiral George Churchills aviary at Windsor, as well as from stuffed
models in his own studio. Repeated use of the same fruits and bird species
in the two artists pictures suggests close collaboration on a number
of occasions, or perhaps even a shared studio. Bogdani left all his bird
models, with his house and contents at Finchley, to Stranover and his wife
in his will dated 18 September 1723.
186
PROPERTY OF A LADY (187, 201 & 202)
187
PETER TILLEMANS (ANTWERP 1684-1734 NORTON)

A view of Greenwich, with riders and other fgures in the
foreground, the Observatory to the left on One Tree Hill,
the Thames and London in the distance
oil on canvas
40 x 48 in. (102.9 x 123.7 cm.)
in an English 18th century carved giltwood frame
50,000-80,000
$81,000-130,000
64,000-100,000
PROVENANCE:
Jacob Pleydell-Bouverie, 2nd Earl of Radnor

(1750-1828).
Major W.F. Batt; Sothebys, London,
19 July 1972, lot 75 (6,500 to the following),
with Leggatt, London.
LITERATURE:
R. Raines, Peter Tillemans, Life and Work, with

a list of representative paintings, in Walpole
Society, XLVII, 1978-1980, p. 53, no. 52.
This view of Greenwich, taken from the East,

is dominated by Greenwich Hospital and The
Queens House which are at the centre of
the composition. On the far left is the Royal
Observatory, perched on One Tree Hill, built
by Sir Christopher Wren for John Flamsteed,
the frst Astronomer Royal, between 1675 and
1676. In the distance, on the opposite side of
the Thames, lies the City of London with the
elegant spires of its post Great Fire churches,
dominated by St. Pauls Cathedral.
ENGRAVED:
J. Wood.
102
Greenwich Palace and park had become Crown

property at the Reformation and became the
favourite residence of the Tudor Monarchs. In
1605 King James I settled the park and Palace
on his wife, Anne of Denmark, for whom Inigo
Jones built the Queens House which was
completed in 1635. Unlike most Crown lands,
Greenwich was not sold after the Civil War,

but was retained to become the residence of
the Protector, and following the Restoration
King Charles II planned the construction of an
impressive New Palace on the site as well as
improvements to the Park; only one wing of the
New Palace was completed before funds ran out
in 1669. After the Glorious Revolution Queen
Mary decided that the project on which King
Charles II had embarked should be completed
to provide the Royal Naval Hospital for disabled
seamen. The buildings were designed by Wren,
with Hawksmoor as his assistant, and completed
by Vanburgh. In this picture King Williams Block
of the Hospital, built between 1698 and 1723,
appears to be near completion, but there is no
sign of the dome over the Chapel which was
completed sometime after 1716.
188
JEAN-BAPTISTE VAN LOO (AIX-EN-PROVENCE 1684-1745)

Portrait of a lady, traditionally identifed as Margaret Peg
Woffngton (1720-1760), half-length, in a blue dress with lace
wrap, cuffs and bonnet, behind a stone ledge with a birds cage
oil on canvas
36 x 27 in. (91.2 x 70.8 cm.)
in a contemporary carved giltwood frame
15,000-20,000
LITERATURE:
W.J. Lawrence, The Real Peg Woffngton, The Connoisseur, VIII,

January-April 1904, p. 42, illustrated.
Major-General Sir John Hanbury-Williams, Peg Woffngton and her
portraits, The Connoisseur, CVI, December 1940, p. 227, illustrated.
J. Kerslake, National Portrait Gallery: Early Georgian Portraits, London,
1977, pp. 313-4, as identifed as Peg on insuffcient evidence.
$25,000-32,000
19,000-25,000 The sitter has traditionally been identifed as the celebrated actress
PROVENANCE:
F. Hanbury Williams (); Christies, London, 17 March 1888,

lot 44 (45 gns. to the following),
with Colnaghi, London.
Major-General Sir John Hanbury-Williams, by 1940,
and by descent to the present owner.
EXHIBITED:
Belfast, Ulster Museum, An Exhibition of Portraits of Great Irishmen and

Women, 24 June-24 July 1965, no. 239.
Margaret (Peg) Woffngton. Born in Dublin, Peg attracted attention on

account of her beauty when still a child, and at the age of ten she was
already acting with the Dublin Lilliputian company in the role of Polly
Peachum in a production of The Beggar's Opera. Her frst important role
was as Ophelia in a production at the Smock Alley Theatre in Dublin in
1737 which was followed by one of her greatest roles as Sir Harry Windair
in Farquhar's Constant Couple which in 1740 led to her engagement
by John Rich for Covent Garden. At Drury Lane and Covent Garden she
played several Shakesperian roles and performed opposite Garrick in
King Lear and Richard III, with whom she had a well publicised affair.
Ill-health however forced her to quit the stage in 1757.
PROPERTY OF A LADY
189
THOMAS HUDSON (DEVON 1701-1779 TWICKENHAM)

Portrait of Thomas Braddyll (d. 1776), three-quarter-length,
The sitter was the son of Dodding Braddyll, M.P., of Conishead Priory,
in Van Dyck costume, his right hand resting on a plumed hat on Cumbria. Thomas was appointed High Sheriff of Lancashire in 1762, but
a table
died, unmarried, four years later, leaving Conishead to Wilson Gale
oil on canvas
50 x 40 in. (127.6 x 102 cm.)
in a contemporary carved giltwood frame
20,000-30,000
$33,000-48,000
26,000-38,000
(1756-1818), his frst cousin once removed. Wilson, who changed his
name to Gale-Braddyll, was a signifcant patron of Hudsons pupil,
Sir Joshua Reynolds. Reynoldss group portrait of The Braddyll Family,
painted in 1789, is now in the Fitzwilliam Museum, Cambridge, and that
of Wilsons wife, Jane, executed the previous year, can be found in the
Wallace Collection, London.
PROVENANCE:
by descent through the family of the sitter to the present owner.
105
190
190
*191
GEORGE SMITH OF CHICHESTER

(CHICHESTER C. 1714 - 1776)
A wooded river landscape with an angler on a bridge and
fgures resting on the bank, ruins on the hills beyond
THOMAS HUDSON (DEVON 1701-1779 TWICKENHAM)

Portrait of Joseph van Aken (1709-1749), half-length,
in a blue jacket and a fur hat, holding a palette, his right arm
resting on a canvas
signed and dated Geo: Smith / 1769. (lower right)

oil on canvas
40 x 50 in. (101.7 x 127 cm.)
oil on canvas
32 x 27 in. (82.5 x 70.5 cm.)
20,000-30,000
15,000-25,000
$33,000-48,000
26,000-38,000
$25,000-40,000
19,000-32,000
PROVENANCE:
(Possibly) The artists sale, Messrs. Langford, London, 3 March 1779, lot 18.
John Lane (1854-1925), The Bodley Head, Vigo Street, London ();
Sothebys, London, 1 July 1925, lot 117.
Sir George Sutton, Bt.
LITERATURE:
C.H. Collins-Baker, Notes on some Portraits in Mr John Lanes Collection,

The Cononoisseur, XLVIII, July 1917, p. 130.
E. G. Miles, in the exhibition catalogue Thomas Hudson 1701-1779, Portrait
painter and collector. A bicentenary exhibition, London, 1979, under no. 37.
ENGRAVED:
John Faber, mezzotint.
106
191
This highly engaging portrait of Joseph

van Aken, the artist who acted as Thomas
Hudson's drapery painter during the 1640s
when he was establishing his reputation as
the leading portraitist in London, has not been
seen in public since the Lane sale in 1925 and
constitutes an exciting rediscovery.
Collins Baker, who saw the picture when it
was still in the collection of the publisher,
John Lane, observed that it is 'an unusually
vivacious and un-Hudson-like instance of his
portraiture', and praised the work for being
'alive with character and individuality'
(loc. cit.). There is a palpable sense of
Hudson untethering himself from the normal
restraints of commissions and the expectations
of his sitters. The portrait, which is a rare
example of Hudson experimenting with his
technique whilst revealing the artist's interest
in Rembrandt, is not the usual half or threequarter-length pose and the contrasts of tone
are greater than is usually encountered in his

work. Van Aken is shown holding his brushes
and palette with his arm resting on a primed
canvas in a gesture that recalls Rembrandt's
self-portrait aged thirty-four (London, National
Gallery), a work in which the Dutch master
shows his sumptuously Titian-like sleeve
resting on a stone parapet.
After his arrival in England in circa 1720 van
Aken spent the next decade painting genre
works in the Flemish tradition, conversation
pieces, and contemporary London scenes,
achieving some success with the latter.
In the following decade he abandoned
independent work and took employment as
a drapery painter for other artists, including
Joseph Highmore, Allan Ramsay and Hudson.
Such was the level of success he attained
in this capacity that it lead Horace Walpole
to famously declare 'As in England almost
everybody's picture is painted, so almost every
painter's works were painted by Vanaken'

(H. Walpole, Anecdotes of Painting in England,
London, 1786, reprinted 1871, p. 354).
This portrait, which appears to have been
painted towards the end of van Aken's life
was seen by George Vertue when still in
Hudson's possession. Vertue recalls the picture
as being 'painted mighty well and very like
him' and describes the sitter as 'a man of
good compleaxion [sic.] a good round fatt
[sic.] face and shortish stature, a small cast
with one eye' ('Vertue Note Books, Volume III',
Walpole Society, XII, Oxford, 1934, p. 150).
Hudson was a joint executor of the sitter's will
along with Allan Ramsay. His younger brother
Alexander van Aken (d. 1736) was employed
by Hudson as a drapery painter after Joseph's
death. Portraits of Alexander by Hudson are in
the National Portrait Gallery, London, and The
Yale Center for British Art.
107
192
THOMAS JONES
(TREVONEN, POWYS 1742-1803 PENCERRIG, POWYS)
A wooded river landscape at dusk with Alpheus and Arethusa
in the foreground
oil on canvas
54 x 77 in. (137.3 x 195.6 cm.)
40,000-60,000
$65,000-97,000
51,000-76,000
PROVENANCE:
Richard Grosvenor, 1st Earl Grosvenor

(1731-1802); Christies, London, 24 June 1772,
lot 81, as Joners [sic.] Mortimer
(4 gns. to the following),
Sir Charles Watson, 1st Bt. (1751-1844).
Anonymous sale; Christies, London, 6 February
1802, lot 61, as Alpheus and Arethusa, in a
landscape, which Picture gained the Premium at
the Arts and Sciences .
George Kinnaird, 7th Lord Kinnaird (1754-1805);
() Christies, London, 7 May 1806 (= 3rd day),
lot 59, (8 gns. to Wade).
Anonymous sale [The Property of a Gentleman,
Removed from his Seat in the Country];
Christies, London, 18 November 1809, lot 80,
as A capital landscape with Alpheus and Arethusa.
EXHIBITED:
London, Society of Artists, 1769, no. 73, as

A sunset, with the story of Alpheus and
Arethusa, with its pendant A land-storm,
with the story of of Dido and Aeneas.
LITERATURE:
A.P. Opp (ed.), Memoirs of Thomas Jones,

Walpole Society, XXXII, 1946-48, pp. 12 and 19.
108
Last seen in public at the time of the 1809

sale at Christies, and unavailable to recent
scholars of Thomas Jones work, this impressive
landscape constitutes an important rediscovery
and is a fne example of the artists early work.
Painted in 1767, the picture won frst premium
for landscape painting at the Society of Artists
that year and was later bought by Richard, 1st
Earl of Grosvenor, along with its pendant,
A Land Storm, with the Story of Dido and
Aeneas (1769; St. Petersburg, Hermitage
Museum), a work that was one of the artists
most celebrated during his lifetime.
Described by the artist as a most faring Sun
Set (A.P. Opp, op. cit., p. 14), Jones records
the story of his winning the premium and
the ensuing commission to paint a pendant
landscape in his Memoirs: The large picture
which won the frst premium in 1767, still
remained unsold the size of it, 6 feet 4
Inches by four feet 6 Inches being much too
inconvenient for the generality of Purchasers
So I was glad to accept of the proposal of a
Picturedealer, to paint a Companion of the
same size and take 50 Guineas for the pair
accordingly in March last I began the Picture

(a Storm) which was now fnished, and in which
my friend Mortimer had introduced the Story
of Dido and neas retiring to the Cave from
Virgil This was one of the best pictures I ever
painted, and attracted much attention
(ibid., p.19).
An engraving entitled The Travellers Repose
by James Peake (published in 1784) shows
the landscape in the present work depicted in
reverse. However, rather than including the
fgure of Alpheus in pursuit of Arethusa, Peake
has abandoned the Ovidian story in favour of a
more bucolic scene.
We are grateful to Dr. Greg Smith for
confrming the attribution to Thomas Jones on
the basis of photographs and for his assistance
with this catalogue entry.
193
DAVID MORIER
(BERNE C. 1705-1770 LONDON) AND STUDIO
Equestrian portrait of King George II (1683-1770),
in a red velvet coat with gold embroidery, in a landscape with a
military camp and infantry beyond
oil on canvas
50 x 40 in. (127 x 101.6 cm.)
20,000-30,000
$33,000-48,000
26,000-38,000
PROVENANCE:
Anonymous sale; Christies, London, 16 June 2005,

lot 219 (38,400), when acquired by the present owner.
This portrait relates to Moriers equestrian portrait of King George II in
the Royal Collection. The original version was painted circa 1745 and was
probably presented by King George II to Charles Watson-Wentworth,
2nd Marquess of Rockingham.
110
194
STUDIO OF ALLAN RAMSAY

(EDINBURGH 1713-1784 DOVER)
Portrait of King George III (1738-1820), full-length, in robes
of state, his crown on a cushion on a table beside him; and
Portrait of Queen Charlotte (1744-1818), full-length, in robes
of state, in front of a richly carved and gilded chair decorated
with the crown, sceptres, cipher and royal supporters,
her left hand resting on her crown
oil on canvas
97 x 63 in. (246.5 x 161.3 cm.)
30,000-50,000
a pair (2)
$49,000-80,000
38,000-63,000
LITERATURE:
A. Smart, Allan Ramsay, A Complete Catalogue of his Paintings, J. Ingamells,

ed., New Haven and London, 1999, p. 120, nos. 192ew and 192ex, under
Undated versions.
The present portraits are versions of Ramsays celebrated portrait types
of King George III and Queen Charlotte, of which the prime originals are
respectively in the Royal Collection (see O. Millar, Later Georgian Pictures
in the Collection of Her Majesty the Queen, London, 1969, I, p. 95,
no. 996); and in the Schloss Wilhelmshhe, Kassel.
PROVENANCE:
Anonymous sale [G. Oliver & Sons]; Christies, London, 15 February 1957,
Anonymous sale [V.L. Sanderson]; Christies, London, 5 April 1957, lot 117
(100 gns. to Wiggins).
111
195
PROPERTY OF A PRIVATE COLLECTOR
195
NICHOLAS THOMAS DALL

(ACTIVE 1748-1776 LONDON)
A view of Eshott Hall, North Yorkshire, with anglers
on the River Aire
indistinctly signed and dated N.T. Dall 177[?] (lower left)
oil on canvas
45 x 65 in. (114 x 167.5 cm.)
10,000-15,000
$17,000-24,000
13,000-19,000
PROVENANCE:
Acquired in the late 1980s by the current owner.
196
ENGLISH SCHOOL, CIRCA 1820

Head studies
inscribed with the artists palette notes (upper right)
oil on canvas
24 x 20 in. (61 x 50.7 cm.)
10,000-15,000

196
112
$17,000-24,000
13,000-19,000
197
MASON CHAMBERLAIN (17271787 LONDON)

Portrait of George Lindsay-Crawford, 21st Earl of Crawford
(1728-1781), full-length, seated on a bank, holding a gun,
with his sons
signed and dated Chamberlain pinxt / 1775 (lower left)
oil on canvas
60 x 72 in. (153 x 182.8 cm.)
30,000-50,000
EXHIBITED:
London, Royal Academy, 1775, no. 59, Portraits of a nobleman and his
$49,000-80,000 sons; whole lengths.

38,000-63,000 London, Colnaghi, The British Face, A View of Portraiture 1625-1850, 19
February-29 March 1986, no. 29.
PROVENANCE:
By descent through the sitters family to,

The Rt. Hon. The Earl of Crawford and Balcarres, removed from Haigh Hall,
Wigan; Christies, London, 11 October 1946, lot 47 (unsold);
Christies, London, 28 March 1947, lot 66 (31 gns. to Ellis & Smith?).
Messrs. Hutchinson & Co. (Publishers) Ltd.; Christies, London, 20 July 1951,
lot 83.
This portrait of the Earl of Crawford with his sons in a landscape displays
the vogue for informal portraiture during the 1770s, a genre which
arguably began with works such as Gainsborough's depiction of John
Plampin (c.1752; London, National Gallery) and reached its zenith at
the beginning of the following decade with Joseph Wright of Derby's
celebrated portrait of Sir Brooke Boothby (1781; London, Tate Gallery).
113
198
SIR WILLIAM BEECHEY, R.A.

(BURFORD, OXFORDSHIRE
1753-1839 LONDON)
Portrait of Miss Hadfeld, full-length,
in a white dress with a blue ribbon and
hat, with a spaniel in a park landscape
oil on canvas
94 x 58 in. (239.5 x 148 cm.)
20,000-30,000
$33,000-48,000
26,000-38,000
PROVENANCE:
LITERATURE:
Acquired from F.B. Henson for 1,200, by the

following,
Michael Arthur Bass, 1st Lord Burton (1837-1909),
by 1896, by whom hung in the Morning Room
at Rangemore Hall, Burton-on-Trent, and by
descent to,
The Right Hon. Baroness Burton, Needwood
House, Burton-on-Trent; Christies, London, 4
May 1951, lot 44 (170 gns. to Valero).
Anonymous sale; Sothebys, New York, 23
January 2003, lot 255 ($33,600), when acquired
by the present owner.
Catalogue of the pictures forming the collection

of The Right Hon. Lord Burton, at Rangemore
Hall, Burton-on-Trent, London, 1904, p. 3.
W. Roberts, Sir William Beechey, R.A., London,
1907, p. 48.
EXHIBITED:
London, Royal Academy, 28th exhibition, 1796,

no. 158.
114
Roberts notes that the sitter in this portrait is

'probably Amelia Caroline, daughter of General
White, and wife of Joseph Hadfeld, Esq., of
Broad Street, London a merchant to whom she
was married at Low Layton, Essex, on June 16,
1795' (loc. cit.).
199
JACOB MORE (EDINBURGH 1740-1793 ROME)

A view of Lake Albano, near Rome, with fgures resting in the
foreground, Castel Gandolfo beyond
signed and dated JACOB MORE pinxit / ROME. 1778 and inscribed VIEW
of the LAKE of ALBANO (lower centre)
oil on canvas
57 x 80 in. (149.5 x 203.7 cm.)
50,000-80,000
$81,000-130,000
64,000-100,000
PROVENANCE:
Poynder family, Hilmarton, and by descent to the late husband of the

following,
Anonymous sale; Sothebys London, 5 June 2008, lot 46, when acquired by
the present owner.
EXHIBITED:
London, Society of Artists, 1777, no. 81.
In this captivating landscape, depicting the diminishing evening light

across Lake Albano, Jacob More displays the exceptional talent that
earned him the accolade amongst contemporaries as without doubt the
fnest landscape-painter in the world (D. Irwin, Jacob More, Neo-Classical
Landscape Painter, The Burlington Magazine, 114, no. 836, November
1972, p. 775). The golden hue presiding over the landscape with Mores
peaceful fgures settling in the fore endow this scene with calmness and
serenity.
Scottish-born More, who passed most of his adult life in Italy, earning
himself the sobriquet More of Rome, was patronised by such
distinguished fgures as Prince Rezzonico, and Prince Marcantonio
Borghese. His work was known to fetch higher prices than those of
Claude, and he could number Goethe and Sir Joshua Reynolds among his
admirers.
115
PROPERTY OF A GENTLEMAN
(LOTS 128, 129, 130, 139 & 200)
200
BEN MARSHALL
(SEAGRAVE, LEICESTERSHIRE
1768-1835 LONDON)
A white setter in a landscape
by a gateway
signed and dated B Marshall / 1802
(centre right)
oil on canvas
17 x 20 in. (43.2 x 52.4 cm.)
15,000-25,000
$25,000-40,000
19,000-32,000
PROVENANCE:
Mrs. R. Montgomerie Charrington;

Christies, London, 2 April 1965,
201
JOHN FERNELEY
(THRUSSINGTON 1782-1860
MELTON MOWBRAY)
A saddled hunter in a stable yard,
a wooded landscape beyond
signed, inscribed and dated J. Ferneley / Melton
Mowbray / 1829 (lower right)
oil on canvas
34 x 42 in. (87 x 107.3 cm.)
201
15,000-25,000
$25,000-40,000
19,000-32,000
PROVENANCE:
Sir Walter Gilbey, 1st Bt. (1831-1914).

with Leger, London, 1954.
EXHIBITED:
Kingston-upon-Hull, Ferens Art Gallery, Sporting

Pictures, June 1949, no. 60.
116
202
JOHN FERNELEY
(THRUSSINGTON 1782-1860 MELTON MOWBRAY)
Portrait of Mr. White, on a hunter with hounds, a groom
holding another mount to the left
signed and dated J. Ferneley / Melton Mowbray / 1816 (lower left)
oil on canvas
34 x 46 in. (87.6 x 118 cm.)
30,000-50,000
$49,000-80,000
38,000-63,000
PROVENANCE:
with Ehrich-Newhouse Galleries, New York, 1935.

Anonymous sale [William de Krafft, Heronden Hall, Tenterden, Kent];
Christies, London, 6 November 1959, lot 121 (900 gns. to Ackermann).
LITERATURE:
Major Guy Paget, The Melton Mowbray of John Ferneley (1782-1860),

Leicester, 1931, p. 128, no. 51, as Mr White, 1816, Portrait of Himself and
Two Horses.
Although this picture has traditionally been thought to show Captain John
White, Master of the Cheshire Hunt from 1841-1855, the date of 1816
would suggest the sitter is more likely to be Melton White, a patron of
Ferneley during his frst years at Melton (Paget, op. cit., p. 28). This may
well be the J. White Esq., for whom Ferneley painted a horse portrait the
following year (ibid., p. 129, no. 78) and two further portraits in 1828
(ibid., p. 135, no. 254).
117
203
VIVIANO CODAZZI (BERGAMO C. 1604-1670 ROME)

An architectural capriccio with Helen leaving for Troy;
and An architectural capriccio with Achilles amongst the
daughters of King Lycomedes
37 x 52 in. (96 x 132.5 cm.)
60,000-80,000
a pair (2)
$97,000-130,000
76,000-100,000
fought in the war, disguised him as a young woman and entrusted him
to the care of King Lycomedes, with whose daughters he lived. Odysseus,
who had been sent by the Greeks to fnd the young hero, placed a sword,
spear and shield amongst gifts ostensibly for the Kings daughters. Whilst
the girls chose more feminine objects for themselves, Achilles instinctively
picked up the arms, thereby revealing his true identity.
PROVENANCE:
Anonymous sale; Christies, Paris, 22 June 2006, lot 27 (72,000),

Viviano Codazzi stages here two key episodes from the Iliad, the frst
showing the departure of Helen, wife of Menelaus, for the city of Troy,
the moment that triggered the Trojan war. The second shows the incident
when Thetis, the mother of Achilles, knowing that he would be killed if he
118
Professor David Marshall confrmed the attribution of the works on the

basis of photographs, at the time of the Paris sale (written communication
2006), dating the pair to the 1660s. The double arch of the frst picture,
he noted, is inspired by architectural designs by Giacomo Lauro, published
in Antiquae Urbis Splendor, while the architecture in the background of
the second is an adaptation of the Porta del Popolo, Rome, which was
frequently depicted by Codazzi.
119
204
GIOVANNI ANTONIO FUMIANI (VENICE C. 1645-1710)

Rebecca at the well
oil on canvas, unframed
67 x 113 in. (170.2 x 287 cm.)
50,000-80,000
$81,000-130,000
64,000-100,000
PROVENANCE:

Born in Venice, Giovanni Antonio Fumiani
received his artistic training in Bologna, in the
studio of the quadraturista Domenico degli
Ambrogi (1600-1678), before returning to his
native city in 1668. His work was informed by
the strong classicising strain of the Bolognese
school, ultimately deriving from the Carracci,
together with an interest in the lively colouring
and decorative spirit that were essential to
the Veronesian revival towards the end of
the seventeenth century, infuences that can
120
be detected in the present lot. His greatest

achievement was the remarkable decoration of
the ceiling in San Pantalon, Venice, a tour de
force of sotto in s illusionistic painting: such
was its vast scale, the project took some twenty
years to complete, beginning in 1684 and
fnishing in 1704.
We are grateful to Professor Ugo Ruggeri for
confrming the attribution, on the basis of
photographs.
205
GIOVANNI GIROLAMO BONESI (BOLOGNA 1653-1725)

A sibyl with a putto holding a scroll; The Samian Sibyl; The
Persian Sibyl; and A sibyl with a putto holding a book
the second inscribed SIB: / SAMIA (lower right); the third inscribed SIB:
PERSICA (lower left) and [VIR]GINE MATRE SATVS... (centre, on the scroll)
104 x 67 in. (265.2 x 170 cm.)
a set of four (4)
80,000-120,000
PROVENANCE:
Palazzo Aldrovandi Montanari, Bologna.
122
$130,000-190,000
110,000-150,000
We are grateful to Professor Daniele Benati for proposing the attribution

to Giovanni Girolamo Bonesi on the basis of photographs. To date there
is little published work on Bonesi, who was a pupil of Giovanni Maria
Viani (1636-1700), though pictures by him can be seen in the Ritiro
San Pellegrino, Bologna and in the church of the Ges in Cingoli, in the
Marches, where he was commissioned to paint the altarpiece with Saint
Teresa of vila. This monumental set of sibyls, which once formed part of
the decoration of Palazzo Aldrovandi Montanari in Bologna, hanging either
side of the scala monumentale, show the influence of Lorenzo Pasinelli in
the drawing of their faces, and in their grandeur they echo the previous
generation of Bolognese masters, notably Domenichino and Guercino.
123
206
MICHELE ROCCA
(PARMA ?1666-IN OR AFTER 1751 ?VENICE)
Bacchus and Ariadne; and Daphnis and Chloe
oil on canvas
11 x 28 in. (29.2 x 72 cm.)
10,000-15,000
a pair (2)
$17,000-24,000
13,000-19,000
PROVENANCE:
F. Hanbury Williams, Coldbrook Park, Monmouthshire (); Christies,

17 March 1888, lot 15, as 'Amiconi' [sic.] (7 gns. to the following),
with Agnews, London, where probably acquired by the family of the
present owner.
EXHIBITED:
London, Heim Gallery, Baroque Art for The Collector, 7 November-23

December 1969, nos. 25 and 26, as Jean Baptiste van Loo.
124
207
STUDIO OF LUCA GIORDANO, CALLED FA PRESTO

(NAPLES 1634-1705)
Rinaldo and Armida
88 x 116 in. (223.5 x 294.6 cm.)
20,000-30,000
$33,000-48,000
26,000-38,000
PROVENANCE:
Anonymous sale [The Property of a Lady]; Sothebys, London, 1 November

2001, lot 38 (29,250), when acquired by the present owner.
125
208
FRANOIS DE TROY (TOULOUSE 1645-1730 PARIS) AND

JEAN-FRANOIS DE TROY (PARIS 1679-1752)
Allegory of Peace and Abundance
oil on canvas
78 x 76 in. (200.3 x 195.7 cm.)
100,000-150,000
$170,000-240,000
130,000-190,000
PROVENANCE:
Probably painted for the Htel de Ville, Paris,

in 1716.
Anonymous sale; Htel Drouot, Paris, 16
December 1981, lot 22, as J-F de Troy.
with Didier Aaron, New York and Paris.
Private collection, USA, from 2000.
EXHIBITED:
New York, French Consulate, on loan, 1992.

LITERATURE:
A.J. Le Roux de Lincy, Htel de Ville de Paris, Paris,

1844, part II, p. 22, no. 80.
J. Guiffrey, Commande de tableaux pour la
dcoration de lHtel de Ville de Paris aux peintres
Largillierre, Dieu, Dumesnil, et Louis de Boullogne
1702-1716, Nouvelles Archives de lArt Franais,
1886, II, pp. 93 and 96-7.
A. de Champeaux, Lart dcoratif dans le vieux
Paris, Paris, 1898, p. 207.
L. Lambeau, LHtel de Ville depuis les origines
jusquen 1871, Paris, 1920, p. 46.
G. Brire, M. Dumolin and P. Jarry, Les tableaux de
lHtel-de-Ville de Paris, Paris, 1937, p. 35.
Paul Detroy, Une famille de peintres au XVIIme et
au XVIIIme sicles - Les Detroys, Algiers University,
unpublished Ph.D. dissertation, 1955, p. 4.
D. Brme, Franois de Troy (1645-1730): dessins
et peintures, exhibition catalogue, 1997, Muse
Paul-Dupuy, pp. 69-71.
K. Serre, Ces Messieurs de Ville: tude des
portraits offciels des chevins parisiens de 16061716, unpublished MA thesis, Universit de Paris
IV-Sorbonne, I, pp. 187-189, and II, pp. XXXV
and CIX.
C. Leribault, Jean-Franois de Troy (1679-1752),
Paris, 2002, p. 234, no. P.57.
From soon after its reappearance at auction
in 1981, Allegory of Peace and Abundance
has been associated with a very large
allegorical painting commissioned from
Franois de Troy by the City of Paris in 1716 to
commemorate the Peace of Utrecht, in which
a series of international treaties negotiated
by representatives of Louis XIV had brought
126
to an end the devastating War of the Spanish

Succession three years earlier. The City Council
ordered the painting as a decoration for the
Htel de Ville, to honour Louis XIV (who had
died only a few months earlier) and its own
members; it was to depict magistrates of
the City of Paris complimenting the King on
the Peace of Utrecht with the appropriate
Ornaments and Allegories (for the Salledite
des Colonels) and de Troy was to be paid
6000 livres for the undertaking, which was
to measure 6 pieds, 2 pouces by 17 pieds,
5 pouces (approximately 188 x 530 cm.). A
sketch was prepared (now lost), but nothing
further is known of the project, and no more
detailed description of the composition survives.
Indeed, Karen Serres (op.cit.) has noted that the
painting went unmentioned in the numerous
contemporary guides to Paris, and it would
not be certain that it had ever been completed
were it not for a single remark by Dezallier
dArgenville in his Life of Franois de Troy
(published in 1762) which refers to the artists
Promulgation of the Peace of Utrecht made for
the Htel deVille, a work that he said dated
from 1719 and had, by the time of his writing,
already been removed from the building.
It is probable that the Allegory of Peace and
Abundance is an enormous fragment from de
Troys painting, the only surviving piece from
the Htel de Ville composition. Although
it is less than half the width that it would
have been originally, its height is exactly as
commissioned, indicating that it has not been
reduced vertically. On the banks of the Seine,
a single life-sized fgure of a beautiful young
woman combines the attributes of Peace and
Abundance: dressed in white, with a crown of
entwined olive branches in her hair, she lowers
her faming torch to set fre to a military drum
and pieces of armour, indicating that an era of
peace has begun; under her left arm she holds
a cornucopia overfowing with the fruits of
Abundance, which shower themselves upon the
River God below. Above them, a fying fgure
of Fame announces the arrival in Paris of Peace

and Abundance; across the river is visible the Ile
de la Cit, Notre-Dame Cathedral, the palace
of the Archbishop and the Pont du Double (the
latter two monuments gone since the late 18th
century). As the fgures of Peace, Abundance
and Fame, look resolutely to the left, we can
presume that what remains of the original
composition is the right-hand side; the missing
left section would almost certainly have depicted
the Provost and twelve city aldermen standing
in front of the Htel de Ville, with Peace and
Fame paying them homage. An oval area of
repaint on the lower part of the stone column
behind Peace might cover what had once been
a representation of a sculpted bas-relief of the
recently deceased king, as Christophe Leribault
ingeniously hypothesized (op.cit.).
Although the commission was given to Franois
de Troy, who almost certainly planned its design,
it is obvious from looking at the surviving
painting that the actual execution was handed
over almost entirely to Franoiss immensely
talented son, Jean-Franois de Troy. Few of the
great History painters of eighteenth-century
France have a painting style as distinctive as that
of the younger de Troy and, as Leribault has
observed, the fgures in the present painting are
almost identical in conception and handling as
those found in mythologies securely attributed
to the young artist, such as the Apollo and
Daphne in The Hermitage, St. Petersburg
(Leribault P.80) and Pan and Syrinx in the J.
Paul Getty Museum, Los Angeles (Leribault
P.81). As Leribault notes, confusions have
arisen over authorship of the various parts of
the fnal commission given by the Ville de Paris
to Franois de Troy in 1725, in which father
and son were to once again collaborate. In any
event, it is quite possible that Franoiss hand
would have been more evident in the now lost,
left-side of the present 1716 composition, which
would have consisted largely of portraiture, his
principal speciality.
209
FRANOIS LEMOYNE (PARIS 1688-1737)

La fcondit, in a sculpted oval
oil on canvas
23 x 28 in. (60.3 x 72.4 cm.)
25,000-35,000
$41,000-56,000
32,000-44,000
PROVENANCE:
with Chaplin, 88 New Bond Street, London.

Lady Juliet Duff, ne Lowther (1881-1965), by
1948.
Sir Robert Bland Bird, 2nd Bt. (1876-1960), by
inheritance to,
Pamela Stephanie Helen Bird, Viscountess de
Mauduit.
The Property of the late Sir Robert Bird; Sothebys,
London, 6 July 1966, lot 29.
with Arthur de Heuvel, Brussels.
EXHIBITED:
Colnaghi, Exhibition of Paintings by Old Masters,

July 1948, no. 13.
Geneva, Muse dart et dhistoire, on loan, 1963.
LITERATURE
J-L. Bordeaux, Franois Le Moyne and his

Generation. 1688-1737, Paris, 1984, p. 115,
under no. 77.
This composition repeats a fgural group from
the important canvas by Lemoyne, Louis XV
Giving Peace to Europe, painted in 1729 for
the Salon de la Paix in Versailles. There are
numerous studio versions and copies of the
current picture, most of similar dimensions,
but ours must be the one sold at Sothebys in
July 1966, as part of the property of the late
128
Sir Robert Bland Bird, 2nd Bt. Labels on other

pictures from the same group offered in that
sale match those on the reverse of the present
lot: one is a loan label of the Muse dart et
dhistoire in Geneva from 1963, which indicates
it belonged to the Collection de Mauduit; this
refers to Sir Roberts only daughter, Pamela Bird,
who had married Alain de Mauduit, Vicomte de
Kervern. In his 1984 volume, Jean-Luc Bordeaux
listed the present picture amongst the several
versions then known, noting it had been part of
the collection of Juliet Duff, daughter of the 4th
Earl of Lonsdale. In the catalogue, and on the
Witt library card, the picture is incorrectly listed
as being on panel.
The pictures early provenance, however, is as
yet unresolved. Differentiating the many copies their authorship and history is problematic. But
our picture is distinguished by its sculpted oval
surround: there is only one other known version
with this feature, a work of slightly larger
dimensions, previously with the Galerie HeimGairac, Paris and at the Chteau de Sauvage,
Yvelines. This added invention suggests both
pictures may have been designed as overdoors.
A further possible clue to the early provenance
of the present lot, or the Heim-Gairac picture,
comes from a catalogue, published in 1807,
which features engravings of works forming

part of the Stroganoff collection (Collection
destampes daprs quelques tableaux de la
Galerie de Son Exc. Mr Le Comte A. Stroganoff,
St. Petersburg, 1807). It includes an engraving
of the composition in question with the same
oval surround: like the present lot, the oval is
trimmed on all sides, and the measurements of
the Stroganoff picture - deux pieds et demi de
haut, sur trois pieds un pouce deux lignes de
large (ibid.) match closely. The one obvious
difference is the laurel wreath she wears in her
hair in the engraving, absent at frst glance from
the our picture. On close inspection, however,
the outline of the laurel can in fact be made out:
it must have either been removed or possibly
overpainted at a later date. This would tend to
suggest that either the present lot or the HeimGairac picture may once have been part of the
Straganoff collection. We are grateful to JeanLuc Bordeaux for his assistance in cataloguing
the present lot, which he believes, on the basis
of photographs, includes some studio assistance.
n210
RUSSIAN SCHOOL, CIRCA 1840

Portrait of Jean-Laurent Mosnier (1743/4-1808), full-length,
seated, with his daughters, in his studio, a portrait said to be of
Tsar Peter the Great in uniform beyond
47 x 36 in. (120 x 91.8 cm.)
15,000-25,000
$25,000-40,000
19,000-32,000
PROVENANCE:
The Saint Petersburg Drawing School, no. 139 (according to a label

on the reverse), before 1917.
Private collection, Germany, until acquired by the present owner in 2013.
EXHIBITED:
The Saint Petersburg Drawing School, Saint Petersburg, circa 1840-1917.

This unlined canvas is an exciting rediscovery from amongst the dispersed
collections of the Saint Petersburg Drawing School, one of the Imperial
Russian capitals most distinguished artistic institutions during the creative
heyday of the nineteenth century. It would appear to be the work of an as
yet unidentifed Russian artist, whose name may however emerge through
further archival research. The Drawing School was founded in 1839 to
nourish high artistic standards in Russia, a role it continued to provide
130
until the end of the Russian Empire in 1917. Students were encouraged
to copy works from the Imperial Hermitage and the Academy of Fine Arts,
and one such student must have created the present work on the basis
of Jean-Laurent Mosniers magisterial, large-scale self-portrait (230 x 175
cm.), which was then in the collections of the Academy, having been
presented by Tsar Nicholas I in 1832. In 1922 it was allocated to the State
Hermitage Museum, where it is still prized as a treasure of the French
School, inv. no. GE3699.
The French painter Jean-Laurent Mosnier was appointed Peintre de la
Reine to Marie-Antoinette in 1776 and a full member of the Acadmie
Royale in 1788. He fed Paris for London in 1790 after the outbreak
of the French Revolution, living in England and Germany for a decade
before before settling, in 1801, in Saint Petersburg, where he became
Court Painter to the Tsarina. Accepted into the Academy in 1802, he was
professor from 1806. The autograph version of this composition is dated
1786, and an energetically painted preparatory study (The Minneapolis
Institute of Arts, Bruce B. Dayton Fund) must be of the same date. It has
been suggested that the portrait in the background of both the present
work and the prototype is one of Tsar Peter the Great, which may indicate
that Mosnier was already courting Russian Imperial patronage as early as
fve years before his arrival in Russia.
PROPERTY FROM A DISTINGUISHED CORPORATE COLLECTION
211
AGUSTN ESTEVE Y MARQUES

(VALENCIA 1753-1820 MADRID)
Portrait of King Charles IV (1788-1808), half-length, in a red
coat and waistcoat with silver embroidery and a blue sash,
wearing the Order of the Golden Fleece; and Portrait of Maria
Luisa of Parma, Queen consort of Spain (1751-1819),
half-length, in a blue embroidered dress with lace cuffs
and a plumed lace bonnet, holding a fan
oil on canvas
41 x 33 in. (105.4 x 84.2 cm.)
30,000-50,000
a pair (2)
$49,000-80,000
38,000-63,000
131
212
PROPERTY FROM THE DESCENDANTS OF

THE BARONS NATHANIEL AND ALBERT VON ROTHSCHILD
212
213
ALEXANDER ROSLIN (MALM 1718-1793 PARIS)

Portrait of Adrien Jacques Puissant (1699-1782), half-length,
in a red velvet coat with gold buttons and a lace cravat
JEAN-BAPTISTE GREUZE (TOURMUS 1725-1805 PARIS)

Portrait of an offcer of Dragoon Regiment No. 12 of the French
army, half-length, in uniform, wearing the Order of Saint Louis
signed and dated Pt. par le Chev: Roslin / 1780. (lower right)
oil on canvas
31 x 25 in. (80.5 x 64.8 cm.)
oil on canvas, oval

24 x 19 in. (62.8 x 50.2 cm.)
20,000-30,000
40,000-60,000
$33,000-48,000
26,000-38,000
PROVENANCE:
Anonymous sale; Sothebys, Monaco, 26 June 1983, lot 506 (FF50,000).

Anonymous sale; Bruun Rasmussen Auctioneers, Copenhagen,
23 February 1999, lot 270 (DKK 170,000).
EXHIBITED:
Paris, Salon, 1781, no. 5.

LITERATURE:
O. Levertin, Niklas Lafrensen, Stockholm, 1899, p. 153.

G.W. Lundberg, Roslin: Liv och Verk, Malm, 1957, I, pp. 212 & 310, III,
p. 95, no. 528.
$65,000-97,000
51,000-76,000
We are grateful to Edgar Munhall for confrming the attribution to JeanBaptiste Greuze on the basis of photographs. He dates the work to an
early phase of the artists career, between 1757 and 1765, given the close
similarities to other portraits of that period, particularly in the rendering
of the lace. On this, Greuze advised the young portraitist Joseph Ducreux:
nempasts jamais vos dentelles ni vos gazes (E. de Goncourt, Lart du
dix-huitime sicle, I, Paris, 1880, p. 298, n.1). The present picture can be
compared to other half-lengths by Greuze, such as the portraits of Louis
Gougenot, abb de Chezal-Benot (Dijon, Muse des Beaux-Arts), Johann
Georg Wille (Paris, Institut de France, Muse Jacquemart-Andr), which
is signed and dated 1763, and George Gougenot de Croissy (Brussels,
Muse des Beaux-Arts).
We are also grateful to Andrew Cormack for identifying the regiment and
dating the uniform to circa 1760-70.
132
214
HENDRICK FRANS VAN LINT, LO STUDIO

(ANTWERP 1684-1763 ROME)
The Colosseum, Rome, with the Arch of Constantine and
fgures in the foreground; and The ruins of the Basilica of
Maxentius, Rome, with elegant fgures in the foreground
the former signed FH van Lint ft (FH linked, lower left); the latter signed
FH van Lint f (FH linked, lower right)
oil on canvas
13 x 18 in. (30.5 x 46 cm.)
a pair (2)
40,000-60,000
$65,000-97,000 These serene views capture an atmosphere of bucolic ease, with cattle
51,000-76,000 grazing and elegant company conversing, in the shadow of Romes iconic
PROVENANCE:
Acquired by Francis Mills in the 1860s, and by descent to,

John Mills, Bisterne, and by descent.
134
Born in Antwerp, Hendrik Frans van Lint worked under Pieter van Bredael
before settling in Rome in 1710, where he established himself as a
leading painter of vedute, acquiring the nickname Lo Studio. He played a
prominent role in artistic life in Rome, where he lived on the via Babuino,
collaborating with eminent artists of the time and becoming a member of
the schildersbent, a group of northern painters in the city. He also joined
the Congregazione Artistica dei Virtuosi al Pantheon from 1744, before
being elected Rector in 1755.
ancient monuments: the Colosseum, in early evening sunlight, is seen

from the south, from a point near the Celio, with the Arch of Constantine
to the left, while the Basilica of Maxentius is seen from a standpoint
slightly further northwest, inside the Forum itself.
135
215
CARLO BONAVIA (ACTIVE NAPLES 1751-1788)

An Italianate landscape, with fshermen on the shore and
other fgures resting by a natural arch, at sunset; and A rocky
Italianate landscape, with fgures unloading a ship and others
resting on the shore by a villa, at sunrise
oil on canvas
17 x 29 in. (45 x 74.6 cm.)
40,000-60,000
a pair (2)
$65,000-97,000
51,000-76,000
PROVENANCE:
with Conaghi, London, by 1953.

Anonymous sale; Christies, Rome, 1 June 1999, lot 739 (125,600,000 ITL).
Anonymous sale; Christies, Milan, 25 November 2011, lot 43 (76,400),
LITERATURE:
Art Quarterly, Spring 1959, nos. 19 and 21, fg. 14.
136
137
216
PROPERTY FROM AN IMPORTANT EUROPEAN COLLECTION

(LOTS 217 & 219)
*216
217
NICOLA GRASSI
(FORMEASO DI ZUGLIO, UDINE 1682-1748 VENICE)
Study of a bearded man, wearing a skull-cap
oil on canvas
20 x 16 in. (52.4 x 41 cm.)
12,000-18,000
ATTRIBUTED TO THE MASTER OF THE LANGMATT

FOUNDATION VIEWS, APOLLONIO DOMENICHINI?
(ACTIVE VENICE C. 1740-1770)
The Piazzetta, Venice, with the Libreria, the entrance to the
Grand Canal with the Dogana and Santa Maria della Salute;
and The Piazzetta, Venice, with the Libreria, elegant company
$20,000-29,000
conversing by the columns of San Marco and San Teodoro,
16,000-23,000
looking south towards San Giorgio Maggiore
oil on canvas
21 x 31 in. (54.1 x 80 cm.)
40,000-60,000
a pair (2)
$65,000-97,000
51,000-76,000
PROVENANCE:
Anonymous sale; Christies, London, 28 July 1924, lot 177, as Canaletto.

Anonymous sale; Sothebys, London, 26 April 2001, lot 118,
as Venetian School, circa 1750 (42,000).
138
217
218
THE MASTER OF THE LANGMATT FOUNDATION VIEWS,

APOLLONIO DOMENICHINI?
(ACTIVE VENICE C. 1740-1770)
The Grand Canal, Venice, looking towards Santa Maria della
Salute and the Punto della Dogana; and The Grand Canal,
Venice, looking east with the Scuola della Carit
oil on canvas
17 x 28 in. (44.5 x 72.8 cm.)
30,000-40,000

140
a pair (2)
$49,000-64,000
38,000-51,000
PROPERTY FROM AN IMPORTANT EUROPEAN COLLECTION

(LOTS 217 & 219)
219
FRANCESCO TIRONI (C. 1745-1797 VENICE)

The Bucintoro at the Molo, Venice, on Ascension Day
oil on canvas
21 x 31 in. (54.7 x 80 cm.)
30,000-50,000
$49,000-80,000
38,000-63,000
PROVENANCE:
Anonymous sale; Sothebys, London, 8 December 2005, lot 366 (36,000),

END OF SALE
141
142
Important Notices and Explanation of

Cataloguing Practice
IMPORTANT NOTICES
CHRISTIES INTEREST IN PROPERTY
CONSIGNED FOR AUCTION
From time to time, Christies may offer a lot which it
owns in whole or in part. Such property is identified in the
catalogue with the symbol next to its lot number.
On occasion, Christies has a direct financial interest in
lots consigned for sale, which may include guaranteeing
a minimum price or making an advance to the consignor
that is secured solely by consigned property. Where
Christies holds such financial interest on its own we
identify such lots with the symbol next to the lot number.
Where Christies has financed all or part of such interest
through a third party the lots are identified in the catalogue
with the symbol u. When a third party agrees to finance
all or part of Christies interest in a lot, it takes on all
or part of the risk of the lot not being sold, and will be
remunerated in exchange for accepting this risk based on
a fixed fee if the third party is the successful bidder or on
the final hammer price in the event that the third party
is not the successful bidder. The third party may also bid
for the lot. Where it does so, and is the successful bidder,
the remuneration may be netted against the final purchase
price. If the lot is not sold, the third party may incur a
loss. Please see http://www.christies.com/financialinterest/ for a more detailed explanation of minimum price
guarantees and third party financing arrangements.
Where Christies has an ownership or financial interest in
every lot in the catalogue, Christies will not designate each
lot with a symbol, but will state its interest in the front of
the catalogue.
ALL DIMENSIONS ARE APPROXIMATE

CONDITION
Christies catalogues include references to condition
only in descriptions of multiple works (such as
prints, books and wine). For all other property,
only alterations or replacement components are
listed. Please contact the Specialist Department for a
condition report on a particular lot. The nature of
the lots sold in our auctions is such that they will
rarely be in perfect condition, and are likely, due to
their nature and age, to show signs of wear and tear,
damage, other imperfections, restoration or repair.
Any reference to condition in a catalogue entry
will not amount to a full description of condition.
Condition reports are usually available on request,
and will supplement the catalogue description. In
describing lots, our staff assess the condition in a
manner appropriate to the estimated value of the
item and the nature of the auction in which it is
included. Any statement as to the physical nature or
condition of a lot, in a catalogue, condition report
or otherwise, is given honestly and with appropriate
care. However, Christies staff are not professional
restorers or trained conservators and accordingly
any such statement will not be exhaustive. We
therefore recommend that you always view property
personally, and, particularly in the case of any items
of significant value, that you instruct your own
restorer or other professional adviser to report to you
in advance of bidding.
PROPERTY INCORPORATING MATERIALS
FROM ENDANGERED AND OTHER
PROTECTED SPECIES
Property made of or incorporating (irrespective
of percentage) endangered and other protected
species of wildlife are marked with the symbol ~
in the catalogue. Such material includes, among
other things, ivory, tortoiseshell, crocodile skin,
rhinoceros horn, whale bone and certain species of

coral, together with Brazilian rosewood. Prospective
purchasers are advised that several countries prohibit
altogether the importation of property containing
such materials, and that other countries require a
permit (e.g., a CITES permit) from the relevant
regulatory agencies in the countries of exportation
as well as importation. Accordingly, clients should
familiarise themselves with the relevant customs laws
and regulations prior to bidding on any property
with wildlife material if they intend to import the
property into another country. Please note that it is
the clients responsibility to determine and satisfy the
requirements of any applicable laws or regulations
applying to the export or import of property
containing endangered and other protected wildlife
material. The inability of a client to export or import
property containing endangered and other protected
wildlife material is not a basis for cancellation or
rescission of the sale. Please note also that lots
containing potentially regulated wildlife material are
marked as a convenience to our clients, but Christies
does not accept liability for errors or for failing to
mark lots containing protected or regulated species.
RECENT CHANGES TO IMPORTS OF
ELEPHANT IVORY AND OTHER WILDLIFE
MATERIAL INTO THE USA
The USA has recently changed its policy on the
import of property made of or containing elephant
ivory. Only Asian Elephant ivory may be imported
into the USA, and imports must be accompanied by
DNA analysis and confirmation the object is more
than 100 years old. We have not obtained a DNA
analysis on any lot prior to sale and cannot indicate
whether the elephant ivory in a particular lot is
African or Asian elephant. Buyers purchase these
lots at their own risk and will be responsible for the
costs of obtaining any DNA analysis or other report
required in connection with their proposed import of
such property into the USA.
The USA is also currently requiring all imports of
property made of or containing wildlife material
to be accompanied by a scientific confirmation of
species and in some cases an additional confirmation
of age. We have not obtained such confirmations
prior to sale (unless specifically indicated) and
buyers will be responsible for the costs of any such
additional confirmations or opinions required for
their proposed import into the USA.
A buyers inability to export or import any lot
containing elephant ivory or other wildlife material
is not a basis for cancelling the purchase.
POST 1950 FURNITURE
All items of post-1950 furniture included in this
sale are items either not originally supplied for use
in a private home or now offered solely as works
of art. These items may not comply with the
provisions of the Furniture and Furnishings (Fire)
(Safety) Regulations 1988 (as amended in 1989 and
1993, the Regulations). Accordingly, these items
should not be used as furniture in your home in
their current condition. If you do intend to use such
items for this purpose, you must first ensure that
they are reupholstered, restuffed and/or recovered
(as appropriate) in order that they comply with the
provisions of the Regulations.
EXPLANATION OF
CATALOGUING PRACTICE
The following expressions with their accompanying
explanations are used by Christies as standard
cataloguing practice. Our use of these expressions does
not take account of the condition of the lot or of the
extent of any restoration.
FOR PAINTINGS, PRINTS AND
WORKS OF ART
A work catalogued with the name(s) or recognised
designation of an artist or maker, without any
qualification, is, in our opinion, a work by the artist
or maker. In other cases, the following words or
expressions, with the following meanings are used:
Buyers are recommended to inspect the property
themselves. Written condition reports are usually
available on request.
Attributed to
In our opinion probably a work by the artist or maker
in whole or in part.
Circle of
In our opinion a work of the period of the artist or
maker and showing his influence.
Manner of
In our opinion a work executed in the style of the artist
or maker but of a later date.
After
In our opinion a copy of any date of a work of the
artist or maker.
Signed /Sealed /
Has a signature/seal which in our opinion is that of
the artist
With signature / With seal /
Has a signature/seal which in our opinion is not that
of the artist
Dated
Is so dated and in our opinion was executed at about
that date.
With date /
Is so dated but was not in our opinion executed at
that date.
FOR PORCELAIN AND CERAMICS
(a) A piece catalogued with the name of a period,
reign or dynasty without further qualification
was, in our opinion, made during or shortly after
that period, reign or dynasty (e.g. a Ming vase)
(b) A piece catalogued in the style of a period,
reign or dynasty is in our opinion, quite possibly
a copy or imitation of pieces made during the
named period, reign or dynasty (e.g. a vase in
Ming style)
(c) A reference to a mark and of the period means
that, in our opinion, the piece is of the period of
the mark (e.g. Kangxi six-character mark and of
the period).
(d) A reference to a mark without reference to
and of the period means that, in our opinion,
although bearing the mark, the pieces were
possibly not made in the period of the mark (e.g.
Kangxi six-character mark).
(e) Where no date, period, reign or mark is
mentioned, the lot is, in our opinion, of uncertain
date or 19th or 20th century manufacture.
30/09/14
143
Buying at Christies
CONDITIONS OF SALE
Christies Conditions of Sale and Limited Warranty are set out
later in this catalogue. Bidders are strongly encouraged to read
these as they set out the terms on which property is bought
at auction.
ESTIMATES
Estimates are based upon prices recently paid at auction for
comparable property, condition, rarity, quality and provenance.
Estimates are subject to revision. Buyers should not rely upon
estimates as a representation or prediction of actual selling
prices. Estimates do not include the buyers premium or VAT.
Where Estimate on Request appears, please contact the
Specialist Department for further information.
RESERVES
The reserve is the confidential minimum price the consignor
will accept and will not exceed the low pre-sale estimate. Lots
that are not subject to a reserve are identified by the symbol %
next to the lot number.
BUYERS PREMIUM
Christies charges a premium to the buyer on the final bid
price of each lot sold at the following rates: 25% of the final
bid price of each lot up to and including V50,000, 20% of
the excess of the hammer price above V50,000 and up to and
including V1,000,000 and 12% of the excess of the hammer
price above V1,000,000. Exceptions: Wine and Cigars: 17.5%
of the final bid price of each lot. VAT is payable on the
premium at the applicable rate.
PRE-AUCTION VIEWING
Pre-auction viewings are open to the public free of charge.
Christies specialists are available to give advice and condition
reports at viewings or by appointment.
BIDDER REGISTRATION
Prospective buyers who have not previously bid or consigned
with Christies should bring:
% Individuals: government-issued photo identification (such as
a photo driving licence, national identity card, or passport) and,
if not shown on the ID document, proof of current address, for
example a utility bill or bank statement.
% Corporate clients: a certificate of incorporation.
% For other business structures such as trusts, offshore
companies or partnerships, please contact Christies Credit
Department at + 44 (0)20 7839 2825 for advice on the
information you should supply.
% A financial reference in the form of a recent bank statement
or a reference from your bank in line with your expected
purchase level. Christies can supply a form of wording for the
bank reference if necessary.
% Persons registering to bid on behalf of someone who has
not previously bid or consigned with Christies should bring
identification documents not only for themselves but also for
the party on whose behalf they are bidding, together with a
signed letter of authorisation from that party.
To allow sufficient time to process the information, new clients
are encouraged to register at least 48 hours in advance of a sale.
Prospective buyers should register for a numbered bidding
paddle at least 30 minutes before the auction. Clients who have
not made a purchase from any Christies office within the last
one year, and those wishing to spend more than on previous
occasions, will be asked to supply a new bank reference. For
assistance with references, please contact Christies Credit
Department at +44 (0)20 7389 2862 (London, King Street)
or at +44 (0)20 7752 3137 (London, South Kensington). We
may at our option ask you for a financial reference or a
deposit as a condition of allowing you to bid.
REGISTERING TO BID ON SOMEONE ELSES BEHALF
Persons bidding on behalf of an existing client should bring
a signed letter from the client authorising the bidder to act
on the clients behalf. Please note that Christies does not
accept payments from third parties. Christies can only accept
payment from the client, and not from the person bidding
on their behalf.
BIDDING
The auctioneer accepts bids from those present in the saleroom, from telephone bidders, or by absentee written bids left
with Christies in advance of the auction. The auctioneer may
also execute bids on behalf of the seller up to the amount of
the reserve. The auctioneer will not specifically identify bids
placed on behalf of the seller. Under no circumstances will the
auctioneer place any bid on behalf of the seller at or above the
reserve. Bid steps are shown on the Absentee Bid Form at the
back of this catalogue.
ABSENTEE BIDS
Absentee bids are written instructions from prospective buyers
directing Christies to bid on their behalf up to a maximum
amount specified for each lot. Christies staff will attempt to
execute an absentee bid at the lowest possible price taking into
account the reserve price. Absentee bids submitted on no
reserve lots will, in the absence of a higher bid, be executed
at approximately 50% of the low pre sale estimate or at the
amount of the bid if it is less than 50% of the low pre-sale
estimate.The auctioneer may execute absentee bids directly
from the rostrum, clearly identifying these as absentee bids,
book bids, order bids or commission bids. Absentee
Bids Forms are available in this catalogue, at any Christies
location, or online at christies.com.
TELEPHONE BIDS
Telephone bids cannot be accepted for lots estimated below
V2,000. Arrangements must be confirmed with the Bid
Department at least 24 hours prior to the auction at +44 (0)20
7389 2658 (London, King Street) or +44 (0)20 7752 3111
(London, South Kensington). Arrangements to bid in languages
other than English must be made well in advance of the sale
date. Telephone bids may be recorded. By bidding on the
telephone, prospective purchasers consent to the recording of
their conversation.
SUCCESSFUL BIDS
While Invoices are sent out by mail after the auction we do not
accept responsibility for notifying you of the result of your bid.
Buyers are requested to contact us by telephone or in person as
soon as possible after the sale to obtain details of the outcome
of their bids to avoid incurring unnecessary storage charges.
Successful bidders will pay the price of the final bid plus
premium plus any applicable VAT.
PAYMENT
Buyers are expected to make payment for purchases
immediately after the auction. To avoid delivery delays,
prospective buyers are encouraged to supply bank or other
suitable references before the auction. Please note that Christies
will not accept payments for purchased Lots from any party
other than the registered buyer.
Lots purchased in London may be paid for in the following
ways: wire transfer, credit card: Visa and MasterCard & American
Express only (up to V25,000), and cash (up to V5,000 (subject
to conditions)), bankers draft (subject to conditions) or cheque
(must be drawn in GBP on a UK bank; clearance will take 5 to
10 business days).
Wire Transfers: Lloyds TSB Bank Plc City Office PO Box
217 72 Lombard Street, London
EC3P 3BT A/C: 00172710 Sort Code: 30-00-02 for
international transfers, SWIFT LOYDGB2LCTY. For banks
asking for an IBAN: GB81 LOYD 3000 0200 1727 10.
Credit Card: Visa and MasterCard & American Express only A
limit of V25,000 for credit card payments will apply. This limit
is inclusive of the buyers premium and any applicable taxes.
Credit card payments at London sale sites will only be accepted
for London sales. Christies will not accept credit card payments
for purchases made in any other sale site. The fax number to
send completed CNP (Card Member not Present) authorisation
forms to is +44 (0) 20 7389 2821. The number to call to make
a CNP payment over the phone is +44 (0) 20 7752 3388.
Alternatively, clients can mail the authorisation form to the
address below.
Cash is limited to V5,000 (subject to conditions).
Bankers Draft should be made payable to Christies (subject
to conditions).
Cheques should be made payable to Christies (must be
drawn in GBP on a UK bank, clearance will take 5 to 10
business days).
In order to process your payment efficiently, please quote sale
number, invoice number and client number with all transactions.
All mailed payments should be sent to:
Christies, Cashiers Department, 8 King Street, St Jamess,
London, SW1Y 6QT
Please direct all inquiries to King Street
Tel: +44 (0) 20 7389 2996 Fax: +44 (0) 20 7389 2863 or
South Kensington
Tel: +44 (0) 20 7752 3138 Fax: +44 (0) 20 7752 3143
VAT
VAT payable at 20% on hammer price and buyers premium

*
These lots have been imported from outside the EU for sale
using a Temporary Import regime. Import VAT is payable (at
5%) on the Hammer price. VAT is also payable (at 20%) on
the buyers Premium on a VAT inclusive basis. This VAT is
not shown separately on the invoice. When a buyer of such a
lot has registered an EU address but wishes to export the lot or
complete the import into another EU country, he must advise
Christies immediately after the auction.
These lots have been imported from outside the EU for sale
using a Temporary Import regime. Import VAT is payable
(at 20%) on the Hammer price. VAT is also payable (at 20%)
on the buyers Premium on a VAT inclusive basis. This VAT
is not shown separately on the invoice. Where applicable
Customs duty will be charged (per rate specified by HMRC
guidance) on the Hammer price and VAT will be payable at
20% on duty. When a buyer of such a lot has registered an EU
address but wishes to export the lot or complete the import
into another EU country, he must advise Christies immediately
after the auction.
BuyersfromwithintheEU:
VAT payable at 20% on just the buyers premium (NOT the
hammer price).
BuyersfromoutsidetheEU:
VAT payable at 20% on hammer price and buyers premium.
If a buyer, having registered under a non-EU address, decides
that the item is not to be exported from the EU, then he
should advise Christies to this effect immediately
q Z
ero rated
No VAT charged.
(no symbol) Auctioneers Margin Scheme
In all other circumstances no VAT will be charged on the
hammer price, but VAT payable at 20% will be added to the
buyers premium which is invoiced on a VAT inclusive basis.
WineAuctions
This wine is in bond. You can choose to take the wine

in bond or duty paid. See the additional conditions of sale
relating to wine for further details.
VATRefunds
Refunds cannot be made where lots have been purchased with
an inside EU address. Christies can only refund Import VAT
(Lots with * or symbol) if lots are exported within 30 days
of collection. Valid export documents must be returned within
the stipulated time frame. No refund will be paid out where
the total amount is less than V100. UK & EU private buyers
cannot reclaim VAT. Christies will charge V35 for each
refund processed. For detailed information please see the leaflets
available, or email info@Christies.com
Where non-EU buyers have failed to export their lots outside
of the EU within the required time, HM Revenue & Customs
will not allow a VAT refund to be made. This is a requirement
of UK legislation and Christies do not have discretion to make
exceptions to the rule. UK and EU private buyers cannot
reclaim any VAT charged.
ARTISTS RESALE RIGHT (DROIT DE SUITE)
If a lot is affected by this right it will be identified with the
symbol next to the lot number. The buyer agrees to pay to
Christies an amount equal to the resale royalty. Resale royalty
applies where the Hammer Price is 1,000 Euro or more and
the amount cannot be more than 12,500 Euro per lot. The
amount is calculated as follows:
Royalty For the portion of the Hammer Price (in Euro)
4.00% up to 50,000
3.00% between 50,000.01 and 200,000
1.00% between 200,000.01 and 350,000
0.50% between 350,000.01 and 500,000
0.25% in excess of 500,000
Invoices will, as usual, be issued in Pounds Sterling. For the
purposes of calculating the resale royalty the Pounds Sterling/
Euro rate of exchange will be the European Central Bank
reference rate on the day of the sale.
SHIPPING
It is the buyers responsibility to pick up purchases or make
all shipping arrangements. After payment has been made in
full, Christies can arrange property packing and shipping at
the buyers request and expense. Buyers should request an
estimate for any large items or property of high value that
require professional packing. A shipping form is enclosed
with each invoice, alternatively buyers can visit www.christies.
com/shipping to request a shipping estimate.
For more information please contact the Shipping
Department at +44 (0)20 7389 2712 or via
ArtTransport_London@christies.com for both London,
King Street and London, South Kensington sales.
EXPORT OF GOODS FROM THE EU
If you are proposing to take purchased items outside the EU the
following applies:
ChristiesArtTransport:
If you use Christies Art Transport you will not be required to
pay the VAT at the time of settlement.
ChristiesVATauthorisedShipper:
If you use a Christies VAT authorised shipper you will not be
required to pay the VAT at the time of settlement.
OwnShipper:
VAT will be charged on the invoice, refundable by the VAT
Department upon receipt of the appropriate official documents
sent to us by your shipper.
Hand-Carried:
VAT will be charged on the invoice.This will be refunded
by the VAT Department upon receipt of the appropriate
official document.
*, or
Starred, Omega or Daggered lots A C88 can be obtained
from Christies Shipping Department .This document must be
stamped by UK Customs on leaving the UK.
(no symbol)
Margin Scheme lots Please obtain GB Tax Free form from
the Cashiers. This document must be stamped by UK Customs
on leaving the UK.
Starred or Omega lots must be exported within 30 days of the
date of collection. All other lots not subject to import VAT
must be exported within three months of collection, and proof
of export provided in the appropriate form
EXPORT/IMPORT PERMITS
Buyers should always check whether an export licence is required
before exporting. It is the buyers sole responsibility to obtain any
relevant export or import licence. The denial of any licence or
any delay in obtaining licences shall neither justify the rescission of
any sale nor any delay in making full payment for the lot.
Christies can advise buyers on the detailed provisions of the
export licensing regulations and will submit any necessary
export licence applications on request. However, Christies
cannot ensure that a licence will be obtained. Local laws may
prohibit the import of some property and/or may prohibit
the resale of some property in the country of importation.
For more information, please contact Christies Shipping
Department at +44 (0)20 7389 2828 or the the Museums,
Libraries and Archives Council: Acquisitions, Export and Loans
Unit at +44 (0)20 7273 8269/8267.
20/11/13
144
Storage and Collection

STORAGE AND COLLECTION
EXTENDED LIABILITY CHARGE
POST-WAR & CONTEMPORARY ART
All furniture and carpet lots (sold and unsold)

not collected from Christies by 9.00 am
on the day following the auction will be
removed by Cadogan Tate Ltd to their
warehouse at:
241 Acton Lane, Park Royal,
London NW10 7NP
Telephone: +44 (0)800 988 6100
Email: collections@cadogantate.com.
While at King Street lots are available for
collection on any working day, 9.00 am to
4.30 pm. Once transferred to Cadogan Tate
lots will be available for collection from the
first working day following the day of their
removal from King Street,
9.00 am to 5.00 pm Monday to Friday.
To avoid waiting times on collection at
Cadogan Tate, we advise that you contact
Cadogan Tate directly, 24 hours in advance,
prior to collection on +44 (0)800 988 6100.
From the day of transfer of sold items

to Cadogan Tate Ltd, all such lots are
automatically insured by Cadogan Tate Ltd
at the sum of the hammer price plus buyers
premium. The Extended Liability Charge
in this respect by Cadogan Tate Ltd is 0.6%
of the sum of the hammer price plus buyers
premium or 100% of the handling and storage
charges, whichever is smaller.
To avoid waiting times on collection, we

kindly advise you to contact our
Post-War & Contemporary Art dept 24 hours
in advance on +44 (0)20 7389 2958
PAYMENT
TRANSFER, STORAGE & RELATED CHARGES
Cadogan Tate Ltds storage charges may be

paid in advance or at the time of collection.
Lots may only be released from Cadogan
Tate Ltds warehouse on production of
the Collection Order from Christies,
8 King Street, London SW1Y 6QT.
The removal and/or storage by Cadogan Tate
of any lots will be subject to their standard
Conditions of Business, copies of which
are available from Christies, 8 King Street,
London SW1Y 6QT.
Lots will not be released until all outstanding
charges due to Christies and Cadogan Tate
Ltd are settled.
CHARGES PER LOT
FURNITURE / LARGE OBJECTS
PICTURES / SMALL OBJECTS
1-28 days after the auction
Free of Charge
Free of Charge
29th day onwards:

Transfer
Storage per day
V70.00
V5.25
V35.00
V2.65
BOOKS
Please note that all lots from book department

sales will be stored at Christies King Street for
collection and not transferred to Cadogan Tate.
Christies Fine Art Storage Services

(CFASS) also offers storage solutions for fine
art, antiques and collectibles in New York
and Singapore FreePort. CFASS is a separate
subsidiary of Christies and clients enjoy
complete confidentiality. Visit www.cfass.com
for charges and other details.
Transfer and storage will be free of charge for all lots collected before 5.00 pm on the 28th day following the
auction. Thereafter the charges set out above will be payable.
These charges do not include:
a) the Extended Liability Charge of 0.6% of the hammer price, capped at the total of all other charges
b) VAT which will be applied at the current rate
CADOGAN TATE LTDS WAREHOUSE

241 Acton Lane,
Park Royal,
London NW10 7NP
Telephone: +44 (0)800 988 6100
Email: collections@cadogantate.com
28/10/14
145
Conditions of Sale
These Conditions of Sale and the Important Notices
and Explanation of Cataloguing Practice set out the
terms governing the legal relationship of Christies
and the seller with the buyer. You should read them
carefully before bidding.
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.
CATALOGUE DESCRIPTIONS AND

CONDITION
Lots are sold as described and otherwise in the
condition they are in at the time of the sale, on the
following basis.
(a) Condition
The nature of the lots sold in our auctions is such
that they will rarely be in perfect condition, and are
likely, due to their nature and age, to show signs
of wear and tear, damage, other imperfections,
restoration or repair. Any reference to condition in a
catalogue entry will not amount to a full description
of condition. Condition reports are usually available
on request, and will supplement the catalogue
description. In describing lots, our staff assess the
condition in a manner appropriate to the estimated
value of the item and the nature of the auction
in which it is included. Any statement as to the
physical nature or condition of a lot, in a catalogue,
condition report or otherwise, is given honestly and
with appropriate care. However, Christies staff are
not professional restorers or trained conservators
and accordingly any such statement will not be
exhaustive. We therefore recommend that you
always view property personally, and, particularly
in the case of any items of significant value, that
you instruct your own restorer or other professional
adviser to report to you in advance of bidding.
(b) Cataloguing Practice
Our cataloguing practice is explained in the
Important Notices and Explanation of Cataloguing
Practice, which appear after the catalogue entries.
(c) Attribution etc
Any statements made by Christies about any
lot, whether orally or in writing, concerning
attribution to, for example, an artist, school, or
country of origin, or history or provenance, or any
date or period, are expressions of our opinion or
belief. Our opinions and beliefs have been formed
honestly and in accordance with the standard of
care reasonably to be expected of an auction house
of Christies standing, due regard having been had
to the estimated value of the item and the nature
of the auction in which it is included. It must be
clearly understood, however, that, due to the nature
of the auction process, we are unable to carry out
exhaustive research of the kind undertaken by
professional historians and scholars, and also that,
as research develops and scholarship and expertise
evolve, opinions on these matters may change. We
therefore recommend that, particularly in the case
of any item of significant value, you seek advice on
such matters from your own professional advisers.
(d) Estimates
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.
(e) Fitness for Purpose

Lots sold are enormously varied in terms of age,
category and condition, and may be purchased for
a variety of purposes. Unless otherwise specifically
agreed, no promise is made that a lot is fit for any
particular purpose.
(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. We do not accept liability for
such errors where they arise for reasons beyond our
reasonable control.
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.
(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.
(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. Prospective buyers must
complete and sign a registration form with his
or her name and permanent address, and provide
identification before bidding. We may require the
production of bank details from which payment will
be made or other financial references.
(c) Bidding as 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
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 provided that we have
exercised reasonable care in the handling of written
bids, the volume of goods is such that we cannot
accept liability in any individual instance for failing
to execute a written bid or for errors and omissions
in connection with it arising from circumstances
beyond our reasonable control.
(e) Telephone bids
If a prospective buyer makes arrangements with us
prior to the commencement of the sale we will use
reasonable efforts to contact them to enable them to
participate in the bidding by telephone but we do not
accept liability for failure to do so or for errors and
omissions in connection with telephone bidding arising
from circumstances beyond our reasonable control.
(f) Currency converter
At some auctions a currency converter may be operated.
Errors may occur in the operation of the currency
converter. Where these arise from circumstances
beyond our reasonable control we do not accept liability
to bidders who follow the currency converter rather
than the actual bidding in the saleroom.
(i) Auctioneers discretion

The auctioneer has the right to exercise reasonable
discretion in refusing any bid, advancing the bidding
in such a manner as he may decide, withdrawing or
dividing any lot, combining any two or more lots
and, in the case of error or dispute, and whether
during or after the sale, determining the successful
bidder, continuing the bidding, cancelling the sale
or reoffering and reselling the item in dispute. If
any dispute arises after the sale, then, in the absence
of any evidence to the contrary the sale record
maintained by the auctioneer will be conclusive.
(j) Successful bid and passing of risk
Subject to the auctioneers reasonable discretion, the
highest bidder accepted by the auctioneer will be
the buyer and the striking of his hammer marks the
acceptance of the highest bid and the conclusion of
a contract for sale between the seller and the buyer.
Risk and responsibility for the lot (including frames
or glass where relevant) passes to the buyer at the
expiration of seven calendar days from the date of
the sale or on collection by the buyer if earlier.
4. AFTER THE SALE
(a) 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. The buyers
premium is 25% of the final bid price of each lot
up to and including V50,000, 20% of the excess of
the hammer price above V50,000 and up to and
including V1,000,000 and 12% of the excess of the
hammer price above V1,000,000. Exceptions: Wine
and Cigars: 17.5% of the final bid price of each lot,
VAT is payable at the applicable rate.
(b) Artists Resale Right (Droit de Suite)
If the Artists Resale Right Regulations 2006 apply to
the lot the buyer also agrees to pay to us an amount
equal to the resale royalty provided for in those
Regulations. Lots affected are identified with the
symbol next to the lot number.
(c) Payment and ownership
The buyer must pay the full amount due (comprising
the hammer price, buyers premium and any applicable
taxes or resale royalty) immediately after the sale. This
applies even if the buyer wishes to export the lot and
an export licence is, or may be, required. The buyer
will not acquire title to the lot until all amounts due
to us from the buyer have been received by us in good
cleared funds even in circumstances where we have
released the lot to the buyer.
09/08/13
146
(d) 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 performed
any other outstanding obligations as we, in our
sole discretion, shall require, including, for the
avoidance of doubt, completing any anti-money
laundering or anti-terrorism financing checks we
may require to our satisfaction. In the event a buyer
fails to complete any anti-money laundering or
anti-terrorism financing checks to our satisfaction,
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 two calendar days from
the date of the sale unless otherwise agreed between
us and the buyer.
(e) Packing, handling and shipping
Although we shall use reasonable efforts to take care
when handling, packing and shipping a purchased
lot and in selecting third parties for these purposes,
we are not responsible for the acts or omissions of
any such third parties. Similarly, where we suggest
other handlers, packers or carriers if so requested,
our suggestions are made on the basis of our general
experience of such parties in the past and we are not
responsible to any person to whom we have made
a recommendation for the acts or omissions of the
third party concerned.
(f) Export licence
Unless otherwise agreed by us in writing, the fact
that the buyer wishes to apply for an export licence
does not affect his or her obligation to make payment
immediately after the sale nor our right to charge
interest or storage charges on late payment. If the
buyer requests us to apply for an export licence on his
or her behalf, we shall be entitled to make a charge for
this service. We shall not be obliged to rescind a sale
nor to refund any interest or other expenses incurred
by the buyer where payment is made by the buyer in
circumstances where an export licence is required.
(g) Remedies for non payment
If the buyer fails to make payment in full in good
cleared funds within 7 days after the sale, we shall
have the right to exercise a number of legal rights
and remedies. These include, but are not limited to,
the following:
(i) to charge interest at an annual rate equal to 5%
above the base rate of Lloyds TSB Bank Plc;
(ii) to hold the defaulting buyer liable for the
total amount due and to commence legal
proceedings for its recovery together with
interest, legal fees and costs to the fullest extent
permitted under applicable law;
(iii) to cancel the sale;
(iv) to resell the property publicly or privately on
such terms as we shall think fit;
(v) to pay the seller an amount up to the net
proceeds payable in respect of the amount bid
by the defaulting buyer;
(vi) to set off against any amounts which we,
or 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 reasonable costs, expenses, damages, legal
fees and commissions and premiums of whatever
kind associated with both sales or otherwise arising
from the default. If we pay any amount to the seller
under paragraph (v) above, the buyer acknowledges
that Christies shall have all of the rights of the seller,
however arising, to pursue the buyer for such amount.
(h) Failure to collect purchases
Where purchases are not collected within two calendar
days from the date of the sale, whether or not payment
has been made, we shall be permitted to remove the
property to a third party warehouse at the buyers
expense, and only release the items after payment in full
has been made of removal, storage, handling, and any
other costs reasonably incurred, together with payment
of all other amounts due to us.
(i) Selling Property at Christies
In addition to expenses such as transport, all
consignors pay a commission according to a fixed
scale of charges based upon the value of the property
sold by the consignor at Christies in a calendar year.
Commissions are charged on a sale by sale basis.
5. LIMITED WARRANTY
In addition to Christies liability to buyers set out in
clause 2 of these Conditions, but 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 recognised 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.
6. 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.
7. 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.
8. 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 England. By bidding at auction,
whether present in person or by agent, by written
bid, telephone or other means, the buyer shall
be deemed to have submitted, for the benefit of
Christies, to the exclusive jurisdiction of the courts
of the United Kingdom.
05/01/10
147
Worldwide Salerooms and European Offices

AUSTRIA
VIENNA
INDIA
MUMBAI
RUSSIA
MOSCOW
UNITED KINGDOM
LONDON
LONDON,
SOUTH KENSINGTON
+43 (0)1 533 8812

Angela Baillou
+91 (22) 2280 7905

Sonal Singh
BELGIUM
BRUSSELS
DELHI
+7 495 937 6364

+44 20 7389 2318
Katya Vinokurova
+91 (98) 1032 2399

Sanjay Sharma
SPAIN
BARCELONA
NORTH
ISRAEL
TEL AVIV
+34 (0)93 487 8259

Carmen Schjaer
+44 (0)20 7752 3004

Thomas Scott
+972 (0)3 695 0695

Roni Gilat-Baharaff
MADRID
SOUTH
+34 (0)91 532 6626

Juan Varez
Dalia Padilla
+44 (0)1730 814 300

Mark Wrey
EAST
SWEDEN
STOCKHOLM
+44 (0)20 7752 3004

Thomas Scott
+46 (0)70 5368 166

Marie Boettiger
Kleman (Consultant)
+46 (0)70 9369 201
Louise DyhlBn
(Consultant)
NORTHWEST AND
WALES
+32 (0)2 512 88 30

Roland de Lathuy
DENMARK
COPENHAGEN
+45 3962 2377

Birgitta Hillingso
(Consultant)
+ 45 2612 0092
Rikke Juel Brandt
(Consultant)
FINLAND AND THE
BALTIC STATES
HELSINKI
+358 (0)9 608 212

Barbro Schauman
(Consultant)
FRANCE
PARIS
ITALY
MILAN
+39 02 303 2831

ROME
+39 06 686 3333

Marina Cicogna
Business Development
Director
MONACO
+377 97 97 11 00
Nancy Dotta
THE NETHERLANDS
AMSTERDAM
+33 (0)1 40 76 85 85
+31 (0)20 57 55 255
GERMANY
DSSELDORF
PEOPLES REPUBLIC
OF CHINA
BEIJING
+49 (0)21 14 91 59 30
Arno Verkade
+86 (0)10 8572 7900
FRANKFURT
HONG KONG
+49 (0)61 74 20 94 85
Anja Schaller
SHANGHAI
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
DENOTES SALEROOM
+852 2760 1766

+86 86 (0)21 6355 1766
Jinqing Cai
PORTUGAL
LISBON
SWITZERLAND
GENEVA
+41 (0)22 319 1766

Eveline de Proyart
ZURICH
+44 (0)20 7839 9060
+44 (0)20 7930 6074
+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
+41 (0)44 268 1010

Dr. Bertold Mueller
CHANNEL ISLANDS
TURKEY
ISTANBUL
+44 (0)1534 485 988

Melissa Bonn
+90 (532) 558 7514

Eda Kehale Argn
(Consultant)
+353 (0)59 86 24996

Christine Ryall
UNITED ARAB EMIRATES

DUBAI
+971 (0)4 425 5647
IRELAND
UNITED STATES
NEW YORK
+1 212 636 2000
+351 919 317 233

Mafalda Pereira
Coutinho
(Independent
Consultant)
E NQ UI RI ES Call the Saleroom or Office

For a complete salerooms & offices listing go to christies.com
E MA I L info@christies.com
04/09/14
148
Christies Specialist Departments and Services

DEPARTMENTS
AMERICAN FURNITURE
NY: +1 212 636 2230

AMERICAN INDIAN ART
NY: +1 212 606 0536

AMERICAN PICTURES
NY: +1 212 636 2140

ANGLO-INDIAN ART
KS: +44 (0)20 7389 2570

ANTIQUITIES
INDIAN
CONTEMPORARY ART
KS: +44 (0)20 7389 2700

NY: +1 212 636 2189
INTERIORS
SK: +44 (0)20 7389 2236

NY: +1 212 636 2032
ISLAMIC WORKS OF ART
POSTERS
PRINTS
KS: +44 (0)20 7389 2328

SK: +44 (0)20 7752 3109
PRIVATE COLLECTIONS
AND
COUNTRY HOUSE SALES
KS: +44 (0)20 7389 2700

SK: +44 (0)20 7752 3239
KS: +44 (0)20 7389 2343
JAPANESE
WORKS OF ART
KS: +44 (0)20 7389 2057
RUSSIAN WORKS OF ART

TRAVEL, SCIENCE AND
NATURAL HISTORY
ARMS AND ARMOUR
KS: +44 (0)20 7389 2591

SK: +44 (0)20 7752 3239
SK: +44 (0)20 7752 3119
JEWELLERY
ASIAN 20TH CENTURY

AND CONTEMPORARY ART
KS: +44 (0)20 7389 2383

SK: +44 (0)20 7752 3265
NY: +1 212 468 7133
LATIN AMERICAN ART
AUSTRALIAN PICTURES
NY: +1 212 636 2150
KS: +44 (0)20 7389 2040
MARITIME PICTURES
BOOKS AND
MANUSCRIPTS
SK: +44 (0)20 7752 3284

NY: +1 212 707 5949
SWISS ART
KS: +44 (0)20 7389 2674

SK: +44 (0)20 7752 3203
MINIATURES
KS: +44 (0)20 7389 2650
TOPOGRAPHICAL
PICTURES
BRITISH & IRISH ART
MODERN DESIGN
KS: +44 (0)20 7389 2682

NY: +1 212 636 2084
SK: +44 (0)20 7752 3257
SK: +44 (0)20 7389 2142
KS: +44 (0)20 7389 2040

SK: +44 (0)20 7752 3291
SK: +44 (0)20 7752 3219
BRITISH ART ON PAPER
KS: +44 (0)20 7389 2278

SK: +44 (0)20 7752 3293
NY: +1 212 636 2085
BRITISH PICTURES
1500-1850
KS: +44 (0)20 7389 2945

CARPETS
KS: +44 (0)20 7389 2370

SK: +44 (0)20 7389 2776
CHINESE WORKS OF ART
KS: +44 (0)20 7389 2577

SK: +44 (0)20 7752 3239
CLOCKS
KS: +44 (0)20 7389 2357
KS: +44 (0)20 7389 2699

NINETEENTH CENTURY
EUROPEAN PICTURES
KS: +44 (0)20 7389 2443

SK: +44 (0)20 7752 3309
OBJECTS OF VERTU
KS: +44 (0)20 7389 2347

SK: +44 (0)20 7752 3001
OLD MASTER DRAWINGS
KS: +44 (0)20 7389 2251

OLD MASTER PICTURES
ORIENTAL CERAMICS
AND WORKS OF ART
SK: +44 (0)20 7752 3026

FURNITURE
KS: +44 (0)20 7389 2482

SK: +44 (0)20 7389 2791
IMPRESSIONIST PICTURES
KS: +44 (0)20 7389 2638

SK: +44 (0)20 7752 3218
SILVER
KS: +44 (0)20 7389 2666

SK: +44 (0)20 7752 3262
ZUR: +41 (0) 44 268 1012
TWENTIETH CENTURY
BRITISH ART
KS: +44 (0)20 7389 2446

SK: +44 (0)20 7389 2502
EUROPEAN CERAMICS
AND GLASS
KS: +44 (0)20 7389 2331

SK: +44 (0)20 7389 2794
NINETEENTH CENTURY
FURNITURE AND
SCULPTURE
CONTEMPORARY ART
SK: +44 (0)20 7752 3215
SCULPTURE
TRIBAL AND
PRE-COLUMBIAN ART
KS: +44 (0)20 7389 2531

SK: +44 (0)20 7752 3250
COSTUME, TEXTILES
AND FANS
SK: +44 (0)20 7752 3291
SK: +44 (0)20 7752 3365
MUSICAL INSTRUMENTS
PAR: +33 (0)140 768 386
KS: +44 (0)20 7389 2684

SK: +44 (0)20 7752 3311
TWENTIETH CENTURY
DECORATIVE ART
& DESIGN
KS: +44 (0)20 7389 2140

SK: +44 (0)20 7752 3236
TWENTIETH CENTURY
PICTURES
SK: +44 (0)20 7752 3218

VICTORIAN PICTURES
KS: +44 (0)20 7389 2468

SK: +44 (0)20 7752 3257
WATERCOLOURS AND
DRAWINGS
SK: +44 (0)20 7752 3235
KS: +44 (0)20 7389 2257

SK: +44 (0)20 7752 3293
PHOTOGRAPHS
WINE
KS: +44 (0)20 7389 2292

POPULAR CULTURE
AND ENTERTAINMENT
SK: +44 (0)20 7752 3275

POST-WAR ART
KS: +44 (0)20 7389 2446

SK: +44 (0)20 7389 2502
AUCTION SERVICES
OTHER SERVICES
SK: +44 (0)20 7752 3208
KS: +44 (0)20 7752 3366
CORPORATE
COLLECTIONS
Tel: +44 (0)20 7389 2548

Email: norchard@
christies.com
FINANCIAL SERVICES
Tel: +44 (0)20 7389 2624

Fax: +44 (0)20 7389 2204
HERITAGE AND
TAXATION
Tel: +44 (0)20 7389 2101

Fax: +44 (0)20 7389 2300
EmIL:rcornett@christies.
com
PRIVATE COLLECTIONS
AND
COUNTRY HOUSE SALES
Tel: +44 (0)20 7389 2343

Fax: +44 (0)20 7389 2225
Email: awaters@christies.
com
MUSEUM SERVICES, UK
Tel: +44 (0)20 7389 2570

Email: llindsay@christies.
com
PRIVATE SALES
US: +1 212 636 2034

Fax: +1 212 636 2035
VALUATIONS
Tel: +44 (0)20 7389 2464

Fax: +44 (0)20 7389 2038
Email: mwrey@christies.
com
CHRISTIES EDUCATION
London
Tel: +44 (0)20 7665 4350
Fax: +44 (0)20 7665 4351
Email: education@
christies.com
New York
Tel: +1 212 355 1501
Fax: +1 212 355 7370
Email: christieseducation@
christies.edu
Hong Kong
Tel: +852 2978 6747
Fax: +852 2525 3856
Email: hkcourse@
christies.com
CHRISTIES FINE ART
STORAGE SERVICES
London
+44 (0)20 7622 0609
london@cfass.com
New York
+1 212 974 4570
newyork@cfass.com
Singapore
Tel: +65 6543 5252
Email: singapore@cfass.
com
CHRISTIES
INTERNATIONAL
REAL ESTATE
New York
Tel +1 212 468 7182
Fax +1 212 468 7141
info@christiesrealestate.com
London
Tel +44 20 7389 2551
Fax +44 20 7389 2168
Hong Kong
Tel +852 2978 6788
Fax +852 2845 2646
KEY TO ABBREVIATIONS
KS:
London, King Street
NY:
New York, Rockefeller Plaza
PAR:
Paris
SK:
London, South Kensington
27/05/14
149
The ArT
of The
horse
Private Selling Exhibition
GEORGE STUBBS, A.R.A.

(British, 1724 1806)
A grey horse in a landscape
signed and dated Geo: Stubbs
pinxit/1800 (lower right)
oil on canvas
24 x 30 in. (63.5 x 76.2 cm.)
Hong Kong 2125 November 2014

Hong Kong 2125 November 2014
Contact
150
John Stainton
jstainton@christies.com
Contact
+44
20 7839 9060
John(0)
Stainton
jstainton@christies.com
+44 (0) 20 7839 9060
Clare McKeon
cmckeon@christies.com
+1
212McKeon
636 2000
Clare
cmckeon@christies.com
+1 212 636 2000
christies.com/theartofthehorse
christies.com/theartofthehorse
RECENTLY ACQUIRED PRIVATELY BY

THE KIMBELL ART MUSEUM, TEXAS
JACOB ISAACSZ. VAN RUISDAEL

( Haarlem 1629/301681)
Christies Private Sales offers a

personalised alternative to auction.
Please contact us for more details.
Contact
Richard Knight
rknight@christies.com
+44 (0) 20 7389 2159
James Bruce-Gardyne
jbruce-gardyne@christies.com
+44 (0) 20 7389 2505
151
A Townhouse off Grosvenor Square

The Collection of Dr. Peter D. Sommer
London, King Street 4 December 2014
152
Including Important English and

European Furniture and Decorative
Objects, Old Master Paintings,
Impressionist Works of Art, Carpets,
Ceramics, Silver, Objects of Vertu,
Hrmes Luggage and Jewellery
Viewing at the House
Highlights at Christies
Auction
Contact
22 26 November
28 November 3 December
Upper Grosvenor Street, London
8 King Street
London SW1Y 6QT
4 December
8 King Street
London SW1Y 6QT
Amelia Walker
awalker@christies.com
+44 (0) 20 7389 2085
Admission by catalogue only
NICOLAES MAES (DORDRECHT 1634-1693 AMSTERDAM)

Portrait of a gentleman, half-length, in a `japonsche rock, a black
stallion tethered to a post in an open landscape beyond
signed and dated `N.MAES. / .1669. (lower right, on the ledge) oil on canvas (115.5 x 94 cm.)
70,000100,000
Old Masters & 19th Century Art

including Dutch Impressionism
Amsterdam 25-26 November 2014

Viewing
Contact
2124 November 2014

Cornelis Schuytstraat 57
1071 JG Amsterdam
Sarah de Clercq
sdeclercq@christies.com
+31 (0)20 575 52 81
christies.com
153
PROPERTY FROM A PRIVATE COLLECTION

JEAN-BAPTISTE-CAMILLE COROT (FRENCH, 1796-1875)
View of the environs of Paris, possibly from the Quai dIvry
signed `COROT (lower left) oil on paper laid down on canvas 8 x 13 in. (21 x 35 cm.) Painted circa 1835
80,000120,000
19th Century European & Orientalist Art

London, King Street 9 December 2014
154
Viewing
Contact
59 December
8 King Street
London SW1Y 6QT
Alexandra McMorrow
amcmorrow@christies.com
+44 (0)20 7389 2538
christies.com
JAN JOSEF HOREMANS I (Antwerp 16821759)

A young boy drawing in a studio with subsidiary studies of a leaning man and a hand
red chalk 12 1/4 x 7 3/4 in. (31.2 x 19.5 cm.)
1,0001,500
Amsterdam 10 December 2014

Part II
Dutch and Flemish drawings
from 1500 to 1900
Highlights Viewing
Viewing
Contact
8 King Street
London SW1Y 6QT
69 December
Cornelis Schuytsraat 57
1071 JG Amsterdam
Benjamin Peronnnet
bperonnet@christies.com
+44 (0) 20 7389 2272
156
Absentee Bids Form

Christies London
Old Master & British Paintings
Day Sale
WEDNESDAY 3 DECEMBER 2014 AT 10.30 AM
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Tel: +44 (0)20 7389 2658 Fax: +44 (0)20 7930 8870 on-line www.christies.com
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CODE NAME: SANDRA
SALE NUMBER: 1576
(Dealers billing name and address must agree with tax

exemption certificate. Invoices cannot be changed after
they have been printed.)
BID ONLINE FOR THIS SALE AT CHRISTIES.COM
1576
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38,000)
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above UK200,000
at auctioneers discretion
The auctioneer may vary the increments during the

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Please also refer to the information contained in

Buying at Christies.
I request Christies to bid on the following lots up to the
maximum price I have indicated for each lot. I understand that
if my bid is successful, the purchase price will be the sum of my
final bid plus a buyers premium of 25% of the final bid price
of each lot up to and including V50,000, 20% of the excess
of the hammer price above V50,000 and up to and including
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I understand that Christies provides the service of executing
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PLEASE PRINT CLEARLY

Lot number
(in numerical order)
Maximum Bid UK
(excluding buyers premium)
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If you are registered within the European Community for VAT/IVA/TVA/BTW/MWST/MOMS

Please quote number below:
09/08/13
157
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
King Street
King Street
King Street
King Street
New York
New York
Paris
South Kensington
South Kensington
South Kensington
South Kensington
South Kensington
Worldwide
WWW.ChRISTIES.COm/ShOP
Photographs, Posters and Prints Impressionist and Modern Art
Jewellery, Watches and Wine Antiquities and Tribal Art
Asian and Islamic Art Russian Art
Furniture, Decorative Arts and Collectables American Art and Furniture
Books, Travel and Science Design, Costume and Memorabilia
Post-War and Contemporary Art
Old Master Paintings and 19th Century Paintings
158
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
Christies
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Mark Bowis, Clare Bramwell, John Caudle,
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Sophie Churcher, Marion Clermont,
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Charlotte Delaney, Cristiano De Lorenzo,
Freddie De Rougemont, Grant Deudney,
Claudia Dilley,
Eva-Maria Dimitriadis, Howard Dixon,
Virginie Dulucq, Joe Dunning, Antonia Essex,
Kate Flitcroft, Nina Foote, Eva French,
Pat Galligan, Keith Gill, Andrew Grainger,
Leonie Grainger, Julia Grant, Pippa Green,
Angus Granlund, Ciaran Grealish,
Christine Haines, Coral Hall, Charlotte Hart,
Evelyn Heathcoat Amory, Anke Held,
Valerie Hess, Carolyn Holmes, Amy Huitson,
Adrian Hume-Sayer, James Hyslop,
Helena Ingham, Pippa Jacomb, Mark Jordan,
Guady Kelly, Clementine Kerr, Hala Khayat,
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Tom Legh, Timothy Lloyd, Scott Macdonald,
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Toby Monk, Sarah OBrien, William Paton,
Samuel Pedder-Smith, Suzanne Pennings,
Louise Phelps, Sarah Rancans, Lisa Redpath,
David Rees, Alexandra Reid, Simon Reynolds,
Sumiko Roberts, Sangeeta Sachidanantham,
Pat Savage, Catherine Scantlebury, Julie Schutz,
Hannah Schweiger, Mark Silver, James Smith,
Graham Smithson, David Stead, Mark Stephen,
Annelies Stevens, Charlotte Stewart,
Dean Stimpson, Gemma Sudlow,
Dominique Suiveng, Cornelia Svedman,
Nicola Swain, Iain Tarling, Sarah Tennant,
Timothy Triptree, Flora Turnbull, Lisa Varsani,
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Tony Walshe, Chris White, Rosanna Widen,
Ben Wiggins, Annette Wilson, Julian Wilson,
Elissa Wood, Neal Young
16/10/14
159
Index
A
Anglo-Flemish School, 183

Antwerp School, 106, 107, 124
Austrian School, 101
Cabrera, 157
Campidoglio, 150
Chamberlain, 197
Claesz., 127
Codazzi, 203
Coello, 168
Conti, 163
de Coster, 172
Cranach, 113
English School, 196

Esteve y Marques, 211
Hals, 126
van Hamme, 176
Hayman, 182
de Heusch, 152
Hudson, 189, 191
B
Backer, 138
Baullery, 117
Beechey, 198
Bellini, 159
Benson, 105
Beuckelaer, 115
van Bloemen, 153
Bolognese School, 167
Bonavia, 215
Bonesi, 205
Breenbergh, 140
van den Broeck, 146
160
D
Dall, 195
Decker, 128
Domenichini, 217, 218
Duck, 137
Dutch School, 141
van Dyck, 118, 119, 121, 122
F
Ferneley, 201, 202
de Ferrari, 177, 178
Flinck, 133
Fumiani, 204
Fuseli, 155
G
Gillemans, 144
Giordano, 173, 207
Glover, 154
van Goyen, 130, 131
Gramatica, 171
Grassi, 216
Greuze, 213
J
Jones, 192
L
Lawrence, 184
Lely, 185
Lemoyne, 209
Liberi, 179
Lingelbach, 142
van Lint, 214
van Loo, 188
Lorenzo dAlessandro da
San Severino, 158
Maes, 134, 149

Mancini, 175
Mansueti, 160
Marshall, 200
Master of the Langmatt
Foundation Views, 217, 218
Master of the Life of the
Virgin, 102
Master of the Morrison
Triptych, 103
Master of the Parrot, 108
Metsys, 110
Mielich, 112
van Mieris, 147
More, 199
Morier, 193
School of Picardy, 104

Piero di Cosimo, 161
Polo, 180
Pourbus, 111
Sabatini, 162
da Salerno, 162
Sassoferrato, 170
Sellaer, 109
Smith of Chichester, 190
Snyders, 123
Stranover, 186
van Swanevelt, 151
School of Valencia, 156

Velzquez, 169
Vonck, 135
Vrancx, 114
R
Ramsay, 194
Ree, 145
School of Rembrandt, 136
Ribera, 174
Rocca, 206
Romanino, 164
Romney, 181
Roslin, 212
Rubens, 120
van Ruisdael, 139
Russian School, 210
van Ruysdael, 129
T
Tillemans, 187
Tironi, 219
Tito, 165
de Troy, 208
W
Wtewael, 116
8 King Street St. Jamess London SW1Y 6QT
+44 (0)20 7839 9060 telephone +44 (0)20 7389 2869 facsimile

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OLD MASTER

& BRITISH PAINTINGS

LONDON, WEDNESDAY 3 DECEMBER 2014

OLD MASTER &

Lord Egremont Dl, removed from

Wednesday 3 December 2014

The Will Trust of The Late

8 King Street, St. Jamess

The Lord St. Oswald, removed from

The Descendants of The Barons

The Late Mrs. Hazel Westbury

AUCTION CODE AND NUMBER

In sending absentee bids or

This auction is subject to

UK: +44 (0)20 7839 9060

These auctions feature

Bid live in Christies salerooms worldwide

Specialists and Services for this Auction

International Old Master Paintings Department

Property for Sale

Important Notices and Explanation of Cataloguing Practice

Storage and Collection

Conditions of Sale and Limited Warranty

Salerooms and Offices Worldwide

Christies Specialist Departments and Services

Absentee Bids Form

Lot 209 (detail)

Lot 115 (detail)

Lot 128 (detail)

Lot 183 (detail)

Lot 204 (detail)

Lot 113 (detail)

Lot 143 (detail)

Lot 205 (detail)

Lot 214 (detail)

Lot 191 (detail)

SPECIALISTS FOR THIS AUCTION

Assunta von Moy

Anke Charlotte Held

International Director, Paris

Head of Department, Paris

SERVICES FOR THIS AUCTION

ABSENTEE AND TELEPHONE BIDS

Tel: +44 (0)20 7389 2658

First initial followed by last name@christies.

UK: +44 (0)20 7839 9060

Tel: +44 (0)20 7839 9060

Tel: +44 (0)20 7389 2712

Tel: +44 (0)20 7839 9060

INTERNATIONAL OLD MASTER AUCTIONS

OLD MASTER AND BRITISH PAINTINGS DEPARTMENT

Gregory Martin (UK)

INTERNATIONAL MANAGING DIRECTOR

LONDON KING STREET

LONDON SOUTH KENSINGTON

James Bruce-Gardyne (Private Sales)

Email. First initial followed by last name@christies.com

LONDON KING STREET

PROPERTY FROM A PRIVATE EUROPEAN COLLECTOR

AUSTRIAN SCHOOL, CIRCA 1430

Anonymous sale; Christies, London, 3 December 1991, lot 43 (41,100),

PROPERTY FROM A PRIVATE EUROPEAN COLLECTOR

CIRCLE OF THE MASTER OF THE LIFE OF THE VIRGIN

with Koetser, London, by 1961.

Old Master & British Paintings Day Sale

Old Master & British Paintings Day Sale