The Old Master and British drawings sale, to be held in two sessions on 5 and 6 July, will be one of the most exciting and varied for years.
The first session (lots 1–154) will consist of the last remaining portion of the famous collection assembled in the first half of the 20th century by the great scholar and connoisseur, Paul Oppé (1878-1957). The larger, British section of the Oppé collection was acquired by the Tate some years ago, but the family retained a selection of their favourite continental Old Masters, including a magical, minimalist Roman landscape by Claude Lorrain, an important study sheet by Paolo Veronese for one of his most significant commissions, and other outstanding drawings by artists as varied as Watteau, Carracci, Tiepolo and Guercino. Caricature and satire was also a theme that Oppé dearly loved, and the sale includes important caricatures by, for example, Agostino Carracci, and a splendid set of lively depictions by Stefano della Bella of dwarves disporting themselves in various ways.
Please note that all lots from the Oppé collection with a low estimate of £2,500 or below will be offered without reserve.
In the second, ‘various owners’ session of the sale (lots 200–365), the highlights encompass five centuries of European art. A clear star is the brilliantly drawn self-portrait by a clearly very self-confident Peter Lely, from the 1650s, one of only two documented self-portrait drawings by the artist. It is being sold along with portraits of the artist’s wife and son. Astonishingly, all three drawings have remained together in the possession of the artist’s family, passing down through successive generations for three and a half centuries.
Also consigned for sale by descendants of the sitter is the very beautiful portrait by Ingres, of the young John William Montagu, later 7th Earl of Sandwich, shown with his much-loved dog, in Rome in 1816, when he would have been around five years old. In excellent condition, this is one of the most charming of all Ingres’ celebrated series of portraits of the English in Rome.
Moving back in time, we have a rare figure study executed by a member of the workshop of Filippino Lippi, in the second half of the 14th century. Florentine drawings of this period hardly ever come to the market. Also executed in Florence is the highly important, large compositional study by the Flemish-born artist Jan van der Straet, called Stradanus, who worked, as part of the team headed by Giorgio Vasari, on the major cycle of scenes from Florentine history that Cosimo de’Medici commissioned to decorate the Sala Grande in the Palazzo Vecchio. This grand and impressive drawing, probably made in 1563, depicts Arnolfo di Cambio presenting the plan for the enlargement of the city of Florence. From the 17th century, we have an exceptional group of drawings by Guercino, the star of which is the superb red chalk study of St. Simeon holding the Christ child, the study for the artist’s highly important early frescoes in the Cathedral at Piacenza.
Among the 18th-century drawings in the sale, one of the most exceptional is the extremely amusing depiction by Fragonard of his vision of ‘The Inspiration of the Artist’. Combining all of Fragonard’s famous brilliance as a draughtsman with a healthy dose of humour, this is a particularly unusual and delightful drawing by the artist, which has not been on the market in several generations.
Lastly, the British section of the sale is truly exceptional, with a fine watercolour by the rare and short-lived Thomas Girtin, and no fewer than seven excellent watercolours by that Titan of English art, J.M.W. Turner, spanning his entire career, and illustrating every aspect of his talent and imagination.
Please note that the exhibition on Tuesday 5 July will only feature works from Session 2.
Please note that the illustration in the catalogue is larger than actual size.
Please note that the drawing was actually exhibited in Washington in 1979 and in Rome in 2000, and not just mentioned in the exhibition catalogues.
Clovis Whitfield will publish this drawing in his forthcoming article in Studiolo. He believes that the drawing may be related to the celebration of the marriage of Margherita Aldobrandini and Ranuccio Farnese in Rome.
Additional literature - the present drawing is mentioned by Simonetta Prosperi Valenti Rodino in her article 'Su Pier Francesco Mola e le cosiddette 'caricature' in I Pittore del Dissenso, Rome 2014, p. 118. Professor Valenti Rodino suggests that the central figure in the drawing, holding the baby, may be the artist himself.
This Lot has been withdrawn from the sale, having been acquired for the Barber Institute, Birmingham.
Simonetta Prosperi Valenti Rodino has kindly informed us that the present drawing is not by Carlo Marchionni. Professor Valenti Rodino is the author of Carlo Marchionni Caricaturista, Rome 2015.
Please note this lot is withdrawn from the sale.
We are grateful to Simonetta Prosperi Valenti Rodino who has kindly informed us that this drawing is by Carlo Marchionni. Professor Valenti Rodino is the author of Carlo Marchionni Caricaturista, Rome 2015
Please note that there are nine works in this lot and not eight as described in the printed catalogue.
Please note that the location depicted is The Arch of Galerius, at Thessalonika
Constance McPhee has kindly pointed out that an 1805 watercolour by Simone Pomardi, in the Metropolitan Museum of Art, New York, clearly depicts the same location (inv. no. 2014.607). From the inscriptions on the back of that drawing and on the print after it included in Edward Dodswell's A Classical and topographical tour through Greece during the years 1801, 1805 and 1806 (London, 1819), the location can be identified as the Cave of Pan, near modern-day Sounion, on the tip of the Attic Peninsula, 69 km south-southeast of Athens. The Venetian name for this location was Capo Colonne, hence the inscription on the present drawing.
This Lot has been withdrawn from the sale.
Rick Scorza, 'Vasari's Painting of the Terzo Cerchio in the Palazzo Vecchio. A Reconstruction of Medieval Florence,' in Vasari's Florence. Artists and Literati at the Medicean Court, edited by Philip Jacks, Cambridge 1998, pp. 196-98, reproduced fig. 79
We are grateful to Catherine Loisel for providing us with more information on the drawings in this album:
The figure in the lower section of this sheet is a copy after a drawing by Giovanni Lanfranco that is now in the Louvre (INV 7365, Recto)
The drawing by Annibale is now in the Santa Barbara Museum of Art
Folio 97 Recto:
This is a copy after a drawing by Domenichino in the Louvre ( inv. 7374)
Folios 101 verso, 102 verso, 121 verso, 122 recto, 123 verso and 124:
These drawings are all copies after a drawing by Domenichino - two versions of this drawing exist, one in the Louvre and one in Stockholm: Louvre inv. 12729 and Stockholm inv. NMH 1105/1863
Please note that David Cox shows the view taken from the Piercefield Estate, on a walk put in by Valentine Morris towards the end of the 18th century, and not from Wyndcliffe, as stated in the catalogue.
Please note that this work was gifted to the University of Pennsylvania by Richard Thune.
Please note that the image in the printed catalogue is incorrect. The right image for this lot is illustrated under lot 348 in the printed catalogue. The image is correct in the on-line addition of the sale catalogue.
Please note that the image in the printed catalogue is incorrect. The right image for this lot is illustrated under lot 347 in the printed catalogue. The image is correct in the on-line addition of the sale catalogue.