Master Paintings: Part I brought a total of $57,142,500 with 72% sold by lot and 97% of sold lots bringing prices at or above their estimates. Twelve lots sold for more than $1 million, including Salisbury Cathedral from the Meadows, a preparatory work for one of John Constable’s most celebrated masterpieces, now in the Tate, which soared to $5.2 million after an extended battle, well in excess of expectations (est. $2/3 million). The top selling lot was Willem van de Velde the Elder, one of the greatest examples of a penschilderij (pen and ink painting) remaining in private hands, which brought $5.4 million, above the high estimate and a new record for the artist at auction. Auction records were also set for Giovanni Paolo Panini, Vittore Carpaccio and Antoine Coypel. Works from the collection of J.E. Safra were among the top selling lots, including Frozen River at Sunset by Dutch artist Aert van der Neer, which achieved $4.7 million, and Giovanni Paolo Panini’s Rome, The Pantheon, a view of the interior towards the Piazza della Rotonda, which sold for $5.3 million.
A remarkable group of European paintings from the late 13th century to the early 19th century will be offered in this January’s Master Paintings: Part I auction. The earliest work in the sale, from circa 1285, is a small gold ground of the Crucifixion with Saint Francis painted by the Master of the Latin Bible 18, possibly identifiable as Jacopino da Reggio. A stunning painting on copper of Noah’s Ark by Jan Brueghel the Elder leads our Flemish paintings. The masters of the Dutch Golden Age are well represented in the auction, with a group of 17th century Dutch pictures coming from the Estate of Bernard Palitz, including still lifes by Jan Davidsz. de Heem and Clara Peeters, in addition to masterpieces by Aert van der Neer, Pieter Claesz., Salomon Ruysdael, and Willem van de Velde the Elder from the collection of J.E. Safra. Highlights from the 18th century include Giovanni Paolo Panini’s interior view of the Pantheon, and an Allegory of Music by Antoine Coypel which includes a portrait of Mme. De Maintenon with the children of Louis XIV.
Click here to view the catalogue of the Property from the Collection of J.E. Safra.
Please note that Prof. dr. Maximiliaan P.J. Martens is the sole author of the forthcoming catalogue raisonné of the works of Quinten Massys in which the present work will be included.
Please note additional literature for this lot:
D. Bodart, The Zanchi Collection, Rome 1985, p. 320, cat. no. 438 (as Lorenzo Costa).
This lot is sold unframed.
The correct medium for this lot is:
oil on paper, laid down on canvas
The correct bold type heading for the present lot is:
Bernardo Strozzi and Studio
Please note, the correct date for the Salon in which the final version of the Sacrifice of Abraham appeared is 1746 not 1646 and the correct date for Coypel's Medea and Jason is 1715 not 1615.
Please note an amendment to the condition report.
Also, this painting is incorrectly described in the catalogue entry as having been owned by Lord Hesketh and as having been included in the Eighteenth Century Venice exhibition at London and Birmingham in 1951; that was a different painting of the subject sold from the Fermor-Hesketh Collection at Christie's, London, in 1988.
Though stated in the catalogue note that Charles Beddington has previously asserted that the figures are the work of Marieschi himself, he was, in fact, one of the first to identify them as the work of Antonio Guardi (in the catalogue of the 1984 sale). Filippo Pedrocco (in his catalogue of 1999) was thus the only scholar to disagree with this identification, suggesting that they may be the work of Giambattista Cimaroli.