We are grateful to Pieter van den Brink, who believes that this work is by the Master of the von Groote Adoration (Active in Antwerp, circa 1510-20), based on first hand inspection. Professor van den Brink compares this work to another by the Master of the von Groote Adoration, now in the Städel Museum, Frankfurt.
The correct reference from Ertz should include an 'E' prior to the cat. no. 1102. The full citation should read:
K. Ertz, Pieter Brueghel der Jüngere: Die Gemälde, mit Kritschem Oeuvrekatalog, vol. II,Lingen 1998/2000, p. 822, cat. no. E 1102 and p. 818, reproduced p. 818, fig. 662.
Further information about the provenance of this painting has come to light and we have now established that the work was purchased by the mother of the present owner in the 1949 auction of restituted property by the Schloss family.
Extra literature on the present lot:
K. van der Stighelen, Portretkunst in Vlaanderen van 1420 tot nu : Hoofd en Bijzaak, Zwolle 2008, pp. 180-182, reproduced.
Please note, this work is oil on canvas. It is not laid on panel, as the catalogue entry indicates.
The bold type artist's heading for this lot should read: Attributed to Johann Liss (Oldenburg circa 1595/1600 - 1631 Verona) The correct estimate is: $60,000-80,000
On the basis of first-hand inspection, Professor Ruediger Klessmann feels he cannot recognise Liss' hand in this work, although he by no means excludes his authorship. He notes that compositionally it precedes the Uffizi drawing, which itself precedes the Nuremberg painting, and would thus be an oil sketch. The absence of other known oil sketches in Liss' oeuvre make it harder to find points of comparison.
The correct measurments are: 21 5/8 by 17 1/8 in.; 55 by 43.5 cm.
The signature, lower left, reads: W. Kalf.
The correct provenance for this lot is as follows: Provenance: Acquired in Spain in the 1920s by a New York collector; Thence by family descent until sold, New York, Christie's, 29 January 1998, lot 120, where acquired by the present owner.
For further information, please contact the Old Master Paintings Department.
Although the reverse of this painting is affixed with a Simon Dickinson Ltd. label, it was never sold by them to a private collector, as the catalogue indicates.
Please note that the provenance for this painting should be corrected:
The present owners did not acquire this picture from Richard Green, but rather from Partridge Fine Arts.
The false signature which was once present on this picture was removed after the catalogue was published. The signature is still visible in the printed catalogue. The online catalogue displays the painting in its current state.
The artist's correct dates are: Active Late 15th Century
Andrea De Marchi has identified this painting to be a work by the Maestro della Madonna del Parto, an artist in the circle of Nicolo di Pietrò and active in Venice at the end of the 16th Century. He has reconstructed this master's body of work in the following article: "Per un riesame della pittura tardogotica a Venezia: Nicolo di Pietrò e il suo contesto adriatico," in Bollettino d'arte, LXXII, 1987, pp. 25-66. In particular, he compares the present work to these others by the Maestro della Madonna del Parto: St. Francis and St. Ludovic in the Musée d Petit Palais, Avignon; St. Egidius and St. Claire, formerly in the Ciardiello collection; and the Madonna of Humility and the Pietà in the Pushkin Museum, Moscow.
We are grateful to Florian Härb for bringing to light the fact the present work derives from two compositions by Giorgio Vasari, Wedding at Cana, made for the refectory of S. Pietro at Perugia in 1564-66, and the altarpiece in the Cappella del Monte in S. Pietro in Montorio of 1550-52. Lavinia's father, Prospero Fontana, collaborated with Vasari and it is entirely possible that the present composition is an invention of Prospero. While this may in fact be the case, Dr. Härb believes that the handling here is entirely representative of Lavina. Maria Teresa Cantaro, to whom we are also grateful, suggests however that both the composition and the execution of the painting itself are to be credited to Prospero.
The following is additional Literature for this lot:
P. Humfrey, in The Age of Titian, Venetian Renaissance Art from Scottish Collections, exhibition catalogue, Edinburgh 2004, p. 18, reproduced fig. 18.
The frame for this lot contains tortoise shell and a CITES permit will be required for international export. For further information, please contact the Old Master Paintings Department.
This painting will be sold framed.
We are grateful to Pieter van den Brink, who believes that the present work is painted by the Master of the Solomon Triptych. Professor van den Brink plans to publish the work in his forthcoming publication on the artist.
In Provenance, the cat. no. listed for when the picture was in the Cook Collection should read '225', as it does in the Literature section.
The Provenance listed in the printed catalogue for this lot is incorrect.
Extra provenance and literature has been provided for the present painting. The full provenance and literature should read as follows:
Provenance : Collection J. Gans, The Hague, before1940, (as Anthony Van Dyck); With Art Gallery Han Jüngeling, The Hague, 1964-1965; S. Mantell, Wassenaar (1965-); Anonymous Sale, New York, Sotheby's, May 26, 2005, lot 106; Whereby acquired by the present collector."
Literature: P.B.R. van den Brink, "Oeuvrecatalogus van de schilderijen van Jacob Backer", in P. van den Brink et. al., Jacob Backer (1608/9-1651). Museum Het Rembrandthuis, Amsterdam & Suermondt-Ludwig-Museum, Aachen, Waanders, Zwolle 2008, pp. 205, 206, no. A4, reproduced; P.B.R. van den Brink, "Uitmuntend schilder in het groot. De schilder en tekenaar Jacob Adriaensz. Backer", in P. van den Brink et. al., Jacob Backer (1608/9-1651). Museum Het Rembrandthuis, Amsterdam & Suermondt-Ludwig-Museum, Aachen, Waanders, Zwolle 2008, pp. 44, 63-64, figs. 32, 64, 65 (detail)".
This painting is unframed.
This painting is oil on paper laid down on canvas (not on panel as stated in the printed catalogue).
There is additional provenance for this work, the full provenance is as follows:
Private Collection, Basel; Wertheimer Collection, Paris; Anonymous sale, London, Christie's, July 6, 1984, lot 26 (as Attributed to Jan Lievens), to Dreesman; Dr. Anton C. R. Dreesman, Amsterdam; His posthumous sale, London, Christie's, April 11, 2002, lot 535; With Warren Walker; From whom acquired by the present owner.
Please note additional literature not listed in the printed catalogue:
E. Schmidt, Mitteilungen des Kunsthistorischen Institutes in Florenz, 40, 1996, note 132
This painting is unframed.
This Lot has been withdrawn from the sale.
There is additional provenance and exhibition history for this lot.
The first line of provenance should read: Gaetano Miani, Sao Paulo, Brazil;
Exhibition history is as follows: Exhibited: XXII Biennale, Mostra Mercato Internazionale dell'Antiquariato, September 28-October 7, 2003; Dublin, National Gallery of Ireland, April 2004-July 2006; Milwaukee, Wisconsin, Milwaukee Art Museum, September 2006-October 2008; Roanoke, Virginia, Taubman Museum of Art, August 2008-November 2009.
This painting will be included in the forthcoming monograph on the works of Zoffany by Mary Lightbown.
Provenance and exhibition information on this lot is as follows: Provenance: Sale, Langford's, February 23, 1763, lot 45, for £4.14.6; John Birch, by 1814. Exhibited: London, British Institution, 1814, no. 131 (lent by John Birch).
Information on the sitter can be found in the catalogue of Ingres's drawings by Hans Naeff. Madame Louis-Nicolas-Marie Destouches, mother of Nency was born Armande-Edmée Charton. Nency was the wife of Hector Lefuel the architect of the Louvre for the XIX century.