DAVID TENIERS THE YOUNGER, AFTER ANDREA SCHIAVONE | Scipio Africanus
DAVID TENIERS THE YOUNGER, AFTER ANDREA SCHIAVONE | Scipio Africanus
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DAVID TENIERS THE YOUNGER, AFTER ANDREA SCHIAVONE | Scipio Africanus

Estimate: 10,000 - 15,000 GBP

DAVID TENIERS THE YOUNGER, AFTER ANDREA SCHIAVONE | Scipio Africanus

Estimate: 10,000 - 15,000 GBP

Lot Sold:20,000GBP

Lot Details

Description

The Property of a Private Collector

DAVID TENIERS THE YOUNGER, AFTER ANDREA SCHIAVONE

Antwerp 1610 - 1690 Brussels

Scipio Africanus


oil on oak panel

17.1 x 23.2 cm.; 6¾ x 9⅛ in.

Condition Report

The bevelled panel is uncradled, flat and stable. The paint surface is clean, and the varnish slightly discoloured. There are two vertical, faint surface scratches visible on the right-hand side of the composition: one approx. 5 cm through the female figure pouring water, the other approx. 7 cm., finishing in her elbow. There is also very minor frame abrasion along the upper and left edges, with associated fine retouching. Inspection under ultraviolet light reveals this, as well as a fairly extensive campaign of retouching throughout the sky, but the figures and foreground appear largely untouched. In overall good condition.


"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.

NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Cataloguing

Provenance

With Duits, London, 1934;

Henry George Charles, 6th Earl of Harewood (1882–1947);

His wife, HRH Princess Mary, The Princess Royal (1897–1965);

Her posthumous sale, London, Christie's, 26 November 1976, lot 9;

Mrs Edelstein, London, by 1980;

British Rail Pension Fund collection;

By whom sold, London, Sotheby's, 5 July 1995, lot 36;

With Salomon Lilian, Amsterdam, 1996;

With Noortman Master Paintings, London and Maastricht;

From whom acquired by the present owner.

Exhibited

London, Kenwood House, 1972–76, on loan;

London, Kenwood House, Cabinet Pictures by David Teniers, October 1972, no. 21;

London, Victoria and Albert Museum, 1977–89, on loan;

Brussels, Palais des Beaux-Arts, Bruegel. Une dynastie de peintres, 18 September – 18 November 1980, no. 216c (lent by Mrs Edelstein, London);

Doncaster, Doncaster Museum and Art Gallery, 1990–93, on loan;

Amsterdam, Salomon Lilian, Old Master paintings, Nineteenth Century paintings, 1996– 97, unnumbered.

Literature

T. Borenius, Catalogue of the pictures & drawings at Harewood House & elsewhere in the collection of the Earl of Harewood, Oxford 1936, p. 68, cat. no. XV or XVI;

P. Roberts-Jones et al.Bruegel. Une dynastie de peintres, exh. cat., Brussels 1980, p. 282, cat. no. 216c;

M. Díaz Padrón and M. Royo-Villanova, David Teniers, Jan Brueghel y Los Gabinetes de Pinturas, exh. cat., Madrid 1992, p. 71, under cat. no. 34;

Salomon Lilian, Old Master paintings, Nineteenth Century paintings, exh. cat., Amsterdam 1996–97, unnumbered. 


ENGRAVED

Quirin Boel, for the Theatrum Pictorum, no. 138.

Catalogue Note

After the original painting by Schiavone now in the Kunsthistorisches Museum, Vienna (inv. no. 1558). This little copper was produced as part of Teniers' Theatrum Pictorum, the first catalogue of a picture collection ever to be illustrated and printed, which Teniers produced with a view to acquaint the educated public with works of art from the princely collection of Archduke Leopold Wilhelm, governor of the Spanish Netherlands from 1646–56. With one exception, Teniers painted small copies of the 243 original paintings selected for the catalogue, which served as modelli for the engravings of the same dimensions.

Old Masters
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