January’s Important Old Master Paintings and Sculpture sales include extraordinary paintings from a wide variety of genres, including a touching Goya portrait of his grandson; the striking Susanna and the Elders by Batoni; masterpieces by Boucher, Turner, Bernini, Vernet and Greuze; and a strong group of Baroque Italian paintings from a Distinguished Private Collection, highlighted by the large-scale Aeneas on the Bank of the River Styx by Pietro Testa.
We are also honored to be offering a wide range of property from museums, including the Metropolitan Museum of Art, the Brooklyn Museum, and the High Museum of Art. Property from The Estate of Giancarlo Baroni, including paintings and works of art, will also be featured in the sale; select works from the collection will be offered in an evening sale on 29 January.
Fri, 25 Jan 13 | 10:00 AM - 5:00 PM
Sat, 26 Jan 13 | 10:00 AM - 5:00 PM
Sun, 27 Jan 13 | 1:00 PM - 5:00 PM
Mon, 28 Jan 13 | 10:00 AM - 5:00 PM
Tue, 29 Jan 13 | 10:00 AM - 5:00 PM
Wed, 30 Jan 13 | 10:00 AM - 5:00 PM
Thu, 31 Jan 13 | 10:00 AM - 5:00 PM, Sculpture Only
Fri, 1 Feb 13 | 10:00 AM - 12:00 PM, Sculpture Only
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|Lot Number||Saleroom Notice|
|17||Please note the correct artist's heading should read: Luca di Tomme (Active in Siena 1356 - after 1389). We are grateful to Andrea de Marchi for suggesting an attribution of this lot to Luca di Tomme on the basis of photographs, an attribution which has since been endorsed by Laurence Kanter upon seeing the painting firsthand. Both are in agreement that this is a youthful work by the artist.|
|27||We are grateful to Prof. Alessandro Ballarin for suggesting an attribution of this lot to Leandro Bassano on the basis of photographs.|
|43||This painting will be included in Camillo Manzitti's forthcoming catalogue raisonne on the works of Bernardo Strozzi (publication date February 2013).|
|51A||Please note this lot has been added to the sale and is not included in the printed catalogue. This additional lot is part of Property from a Distinguished Private Collection, lots 45 - 60.|
|60||This lot was almost certainly the painting belonging to the Comte de Cossé-Brissac and offered by him at auction in Paris, 9 December 1813, lot 14 ("Pietre Teste, La Descente d'Enée aux Enfers, représentée à l'instant où ce héros, accompagné de la Sibylle, se dispose à passer l'Achéron. Tableau exécuté avec la facilité qui caractérise les ouvrages de ce maître, sur toile, H. 60 p., Larg. 76 p."), for 151 frs. to Mme Brissac. We are grateful to Burton Fredericksen for providing this information.|
|63||There is a third panel from the same predella that has been identified. This third panel, depicting the Crucifixion, is the central panel and is now in the collection of the Manchester Art Gallery. For a detailed publication and reconstruction, see D. Sallay, "Matteo di Giovanni: Crocifissione di San Pietro", catalogue entry in: Siena e Roma: Raffaello, Caravaggio e i protagonisti di un legame antico. Exh. cat. (Siena, Complesso Museale di Santa Maria della Scala, Palazzo Squarcialupi, Siena, 25 November, 2005 - 5 March, 2006), Siena: Protagon Editori, 2005, cat. 0.5, pp. 72-75. We are grateful to Dora Sallay for providing this information.|
|73||It has been suggested that Susanna and the Elders was intended by Count Ernst Guido von Harrach as a pendant to a picture he commissioned from Sebastiano Conca, of the same size, depicting The Vestal Virgin Tuccia before Numa Pompilius (still in the collection of the Harrach family, Rohrau, Austria). The two paintings would have been conceived as exemplars of female virtue, with one a classical subject and the other biblical. The stories complement each other in that both concern women who were unjustly accused and proved themselves innocent.|
|76||Please note that this painting is signed at lower center: ...rrado/...uinto|
|116||We are grateful to Andrea de Marchi for suggesting an alternative attribution of this lot to Jacopo di Cione, comparing it to that artist's Mystic Marriage of Saint Catherine and Martyrdom of Saint Catherine, parchment laid down on paper, formerly in Perriolat Collection, Paris (see M. Boskovits, Pittura Fiorentina alla vigilia del Rinascimento, Florence 1975, p. 325, reproduced fig. 112) which he believes is likely cut from the same codex.|
|121||Please note Andrea de Marchi's attribution to the Master of Popiglio for this lot was given following a firsthand inspection, not on the basis of photographs as stated in the catalogue.|
|139||We are grateful to Andrea de Marchi for suggesting a possible attribution of this lot to Bernardino Butinone on the basis of photographs.|
|147||We are grateful to Anke A. Van Wagenberg-Ter Hoeven who is preparing the Catalogue raisonné on Jan Baptist Weenix and his son Jan Weenix, for supplying us with the following addtional provenance on this painting: Sale O'Neill, Foster, London, 6 May 1829, lot 107, Weenix. Boy and Monkey, a very pleasing picture; Bought in for £ 13.13; Sale O'Neill, Foster, London, 17 June 1829, lot 102, Weenix. Boy and Monkey; passed; Sale O'Neil [misspelled O'Neill], Foster, London, 30 September 1829, lot 96, Weenix. Boy and Money [misspelled Monkey]; Sold for £ 8.18 to Wass; Sale at auction house Edward Foster, London, 31 May 1833 - 1 June 1833, lot 30 (this lot: 31 May 1833), Weenix, A Garden Scene, with a Boy teaching a Monkey to perform Military Evolutions; Bought in [?] for £ 9.9; Sale Mrs. Hill, at Christie's, London, 21 March 1835, lot 96, Weenix. A boy exhibiting his favourite monkey; admirably painted and coloured; Sold for £ 14.14 to Nathan; Sale Miss Squire and others, at Christie's, London, 14 June 1902, lot 126, J.B. Weenix. A boy and a monkey in a garden.; Sale at Christie's, London, 11 July 2001, lot 38, color plate; Unsold;|
|180||The correct titles of this pair should read: Portrait of Charlotte Stuart, Duchess of Albany in profile; Portrait of Charlotte Stuart, Duchess of Albany in the guise of a vestal virgin These two depictions of Charlotte Stuart, Duchess of Albany (1753-1789) are after portraits by Hugh Douglas Hamilton (Dublin circa 1740-1808) of which there are numerous versions. Among these are versions of the profile portrait facing right in the MusÃ©e Fabre in Montpellier (pastel), in the Rosebery collection, and the Seafield collection. Versions of the portrait facing left, with differences to her costume and headdress and without the brazier, can be found in Waddesdon Manor (pastel), the Scottish National Portrait Gallery and Powis Castle. The sitter was the illegitimate daughter of Charles Stuart the Young Pretender and Clementine Walkinshaw.|
|194||This lot has been withdrawn from the sale.|
|203||Please note the additional provenance and literature for this lot. We are grateful to Jan Pacilly for providing this information: PROVENANCE: Probably Liechtenstein collection, Vienna, by 1868; LITERATURE: Probably Th.Thoré (W. Bürger) in Gazette des Beaux Arts, November 1868, p. 396: ("plusieurs [tableaux de Dirk Hals], exquis, à la galerie Liechtenstein, à Vienne"); Probably W. Bode, Frans Hals und seine Schule, Leipzig 1871, p. 38; Probably Katalog der Fürstlich Liechtensteinischen Bildergallerie im Gartenpalais der Rossau zu Wien, Vienna 1873, p. 63, Nr. 535 ("Dirk Hals...Unterhaltung. Eine Gruppe von Herren und Damen sitzt um einen mit Speisen besetzten Tisch, vor dem Kamin steht ein Herr und spielt Violine. Bez. D. HALS Ft. H[olz] 0.40 - 0.55."); Probably W. Bode, Studien zur Geschichte der Holländischen Malerei, Braunschweig 1883, p. 123 (die Gesellschaft Nro. 535).|
|207||Please note new artist name, Aelbert van der Schoor, and additional literature: P. van den Brink, "Aelbert van der Schoor, een Utrechts schilder en zijn werk", in Oud Holland 108 (1994), pp. 37-58, act. no. 13; P. van den Brink, "Aelbert van der Schoor, een Utrechts schilder en zijn werk", in Jaarboek Oud Utrecht1998, pp.139-167, cat. no. 15.|
|280||The correct estimate for this lot is: $35,000/45,000|
|294||This painting will be included in the forthcoming complete catalogue of Raeburn's work by David A.T.Mackie. The sitter was married to Sir James Nasmyth of Posso (not "Rosso" as printed in the catalogue).|
|304||This painting is oil on copper (not on panel as stated in the printed catalogue).|
|314||Blandine Lessage supports the attribution to Michallon, based on both photographs and first hand inspection.|
|342||Please note that the dimensions of this sculpture were published incorrectly in the catalogue; it is 45 1/4 inches (115 cm.) high.|
|375||Please note that the estimate for this lot was published incorrectly in the catalogue. The correct estimate is $8,000 - $12,000.|
|376||Please note that the estimate for this lot was published incorrectly in the catalogue. The correct estimate is $2,500 - $3,500.|
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