o _ SALE NUMBER 1707 _ ON PUBLIC EXHIBITION FROM THURSDAY, FEBRUARY FIRST -— THE COLLECTION OF | DRAWINGS ORSCEE OLD MASTERS - FORMED BY THE WELL-KNOWN CONNOISSEUR “ ~ MR. VICTOR KOCH OF LONDON, ENGLAND PART ONE NTAINING IMPORTANT EXAMPLES OF THE DUTCH, FRENCH, FLEMISH, IAN AND ENGLISH SCHOOLS, INCLUDING A REMARKABLE SERIES OF _ THE WORKS OF REMBRANDT, DURER AND GAINSBOROUGH TO BE SOLD BY HIS ORDER THURSDAY EVENING, FEBRUARY EIGHTH AT EIGHT’FIFTEEN THE ANDERSON GALLERIES _ EMITCHELL KENNERLEY, PresipenT] _ PARK AVENUE AND FIFTY-NINTH STREET, NEW YORK 1923 , —e 4 a ‘ * - . Z = 2 f 4 ’ ‘ + ~ a si < 7 —* ~ . cea *. } \ ‘ A “ x a aa ' 4% 4 - _ Ry ok : - _— Ts . fn 1 « 5 ? ; a b - ys Phy ne Wes the 4 war ine ar #8) 7 * ‘ Ji - ~~ i = | se a g a ina iv) - f oe va 6 a 4; S < Ves A SALE NUMBER 1707 ON PUBLIC EXHIBITION FROM THURSDAY, FEBRUARY FIRST THE COLLECTION OF DRAWINGS OF THE OLD MASTERS FORMED BY THE WELL-KNOWN CONNOISSEUR MR. VICTOR KOCH OF LONDON, ENGLAND PART ONE CONTAINING IMPORTANT EXAMPLES OF THE DUTCH, FRENCH, FLEMISH, ITALIAN AND ENGLISH SCHOOLS, INCLUDING A REMARKABLE SERIES OF THE WORKS OF REMBRANDT, DURER AND GAINSBOROUGH TO BE SOLD BY HIS ORDER _ . THURSDAY EVENING, FEBRUARY EIGHTH AT EIGHT’FIFTEEN THE ANDERSON GALLERIES [MITCHELL KENNERLEY, Presipenr] PARK AVENUE AND FIFTY-NINTH STREET, NEW YORK 1923 CONDITIONS OF SALE ALL BIDS TO BE PER PIECE AS DESCRIBED IN THE CATALOGUE. The highest bidder to be the buyer. In all cases of disputed bids the decision of the Auctioneer shall be final. Buyers to give their names and addresses and to make such cash payments on account as may be required, in default of which the lots purchased shall be resold immediately. Purchases. to be removed at the buyer’s expense and risk within twenty-four hours from the conclusion of the sale, and the remainder of the purchase money to be paid on or before delivery, in default of which The Anderson Galleries, Incorporated, will not be responsible for any loss or damage whatever, but the [ot or lots will be left at the sole risk of the purchaser, and subject to storage charges. All lots will be placed on public exhibition before the date of sale, for examina- tion by intending purchasers, and The Anderson Galleries, Incorporated, will | not be responsible for the correctness of the description, authenticity, genuine- ness, or for any defect or fault in or concerning any lot, and make no warranty whatever, but will sell each lot exactly as it is, WITHOUT RECOURSE. If accounts are not paid and purchases removed within twenty-four hours of the conclusion of the sale, or, in the case of absent buyers, when bills are rendered, any sum deposited as part payment shall be forfeited, and The Anderson Gala leries, Incorporated, reserve the right to resell the lot or lots by either private or public sale, without further notice, and if any deficiency arises from such resale it shall be made good by the. defaulter, together with all expenses in- _ curred. This condition shall be without prejudice to the right of this Com- pany to enforce the sale contract and collect the amount due without such resale, at its own option. The Anderson Galleries, Incorporated, will afford every facility for the employ- ment of carriers and packers by the purchasers, but will not be responsible for any damage arising from the acts of such carriers and packers. The Anderson Galleries make no charge for executing orders for their cus- ‘tomers and use all bids competitively, buying at the lowest price permitted by other bids. Priced Copy of this Catalogue may be secured for one dollar THE ANDERSON GALLERIKES, INC. PARK AVENUE AND FIFTY-NINTH STREET, NEW YORK TELEPHONE PLAZA 9356 SALES CONDUCTED BY MR. FREDERICK A. CHAPMAN > Se ee ee ee Se INTRODUCTION AINTINGS and sculptures are the achievements of artists; drawings are their intimate thoughts. ‘The opti- mists, the realists, the men of action, and the young, like achievements. ‘hose who have become skeptical through age, contemplation and experience know that achievement is limited in comparison with the infinite dream of the cre- ative spirit. A home can be decorated with a row of master- Pieces on its walls; a bare room with a portfolio of drawings in the corner may contain greater and more intense treasures of beauty. Yet drawings, of course, are not all of the same kind. There is the sketch after nature that shows how the imagin- ative artist sees life. It is used as record and material by the artist. [here is secondly the sketch of a composition, the imaginary plan of a work to come, that later on is to be filled with the detail of life. ‘here is thirdly the drawing created as final purpose by the artist. In the first two categories the character of the artist reveals itself. ‘The followers, the men of the Schools, and the imitators will cling to the details of nature in their studies without seeing the inner structure, and instead of freely flowing imagination, the rules, recipes and dogmas of the academies will help them to build up, not a microcosmos, but a stage setting. There are, however, exceptions. Genius is freedom and daring. Routine work is inhibition and repression that does not dare to show to others what might not be in accordance with established convention. But sometimes even the conven- tional ones have moments where they think they are unob- served, and where they give themselves freely. A drawing of a minor master may sometimes show a power of inspiration which the same man would never be capable of in a painting. This psychological fact increases the interest in drawings. While in paintings the establishment of authorship is a matter of historic facts, it is a question of psychology in drawings, and it seems therefore to be of greater interest in drawings. Keen eye and perception may sometimes lead to indisputable state- ments. In other cases, a final solution may be impossible. If every problem could have a solution the world would soon be at a standstill for lack of interest. The third type of drawings is created not for the purpose of study but as a final expression. They may be called small- sized paintings; they have psychologically nothing to do with the first two classes and are generally remarkable for careful execution rather than for free inspiration. The Collection of Mr. Victor Koch, a well-known finan- cier of London, the first part of which is now offered for sale in New York, shows a deep understanding of the pyschology of drawings. It abounds in works that reveal genius, per- sonality and temperament. He laid particular stress on secur- ing drawings by the great masters, which are now becoming as rare as their paintings, and which fetch in the stores of the European dealers or in the European auction rooms, ex- tremely high prices. His collection is familiar to European experts. Mr. Roger Fry has studied it thoroughly and com- ments upon it very favorably. He calls the superb series of Gainsborough drawings the “outstanding feature of the works of the British School,” and qualifies them as “All of excellent quality and some of the utmost importance.” ‘The head by Signorelli is “typical of one of the greatest draftsmen of all time.” ‘The very fine Correggios and the Filippino Lippi would alone make the Italian group important.” He also dwells upon the “beautiful Guardi and several important Tiepolos.” About the Dutch drawings, Mr. Roger Fry wrote to Mr. Koch: “You appear to me to have made yourself a serious and learned connoisseur of this school, with the result that you have accumulated so many typical and well-authenticated drawings, not only of the greater masters but also of the lesser known painters, that your collection would form a useful point de repere for the study of Dutch art.” Among the German drawings, he stresses the importance of the Lucas Cranach and the Hans Baldung Grien. The collection is also well known to Dr. W. R. Valen- tiner, who intends publishing the Rembrandt drawings Num- bers 60, 61, 62, 63, in his forthcoming book on Rembrandt’s drawings. In his commentaries upon the present collection, Dr. Valentiner particularly emphasized the importance of Numbers 49, 53, 55, 56, 57, and 59, besides the splendid series of Rembrandts. Among the German drawings, he de- clared himself particularly impressed by the Cranach, Num- ber 70, and the Dtirer, Number 72. In the presence of such authorities, to which we may add, the well-known expert on drawings, Dr. Lilienfeld, and in consideration of the excel- lent pedigrees of many of the drawings, such as Collection Mrozateoi Peter Lely, Sir Joshua Reynolds, Esdaile and Heseltine, further comments upon the quality of this collec- tion are unnecessary. The present selection is the first part only of the whole collection. ‘Che division has been made numerically. R. M. RIEFSTAHL, PH.D. + i ‘ ee) a. ?. . - ‘ _ ~m Fs <> ue LIST OF ARTISTS NUMBER ALLEGRI A. (IL CORREGGIO) 44, 45, 46 ALTDORFER, A. 69 BARBARELLI, G. (ATT. TO) 16 BARBIERI, G. F. ZA 25 ay 2 BAROCCIO, F. 22 BARTOLOMEO, FRA 19 BAZZI, G. A. 28 BOLLLY.,-L. I BOLTRAFFIO, G. A. 21 pet btiCeLLlL S. 29 BOUCHER, F. ps BREUGEL THE ELDER, P. iia BROUWER, A. 58 CORREGGIO 44, 45, 46 Cir NnnCH THE ELDER, L. 70 DAUBIGNY, C. 6 DE KONINCK, P. S22 54 DE VLIEGER, S. 49 DOOMER, L. 56 DURER, A. We Parken (ATT. TO) cI FLORENTINE SCHOOL ae FRAGONARD, J. H. 2 FRANCIABIGIO 14 GAINSBOROUGH, T. IMA eine IO; On OL 2 82 RARE ORG. 87, 88, 89, 90, 91, 92 GERMAN SCHOOL, EARLY 66 GIORGIONE, IL (ATT. TO) 16 GRAF, U. 67 eiLON. H. B. 68 GUARDI, F. 43 GUERCINO 24, 25, 26, 27 ITALIAN MASTER, LATE 17TH CENTURY 18 ITALIAN SCHOOL 20 JORDAENS, J. t2 LEPRINCE, J. B. Z LIEVENS, J. eS | wall) ol eels 33 METZU, G. 50 MICHELANGELO (ATT. TO) 34, 36 MICHELANGELO (SCHOOL OF) 35 MODENA, M. DA MURILLO, J. E. PADUAN SCHOOL PATINIR, J. PRIMATICCIO, F. RAEBURN, SIR H. RAFFAELLE SANZIO REMBRANDT VAN RIJN REMBRANDT (SCHOOL OF) ROBUST. |. CLINTORET10) ROUSSEAU, T. RUBENS, P. P. (ATT. TO) SIGNORELLI, L. TERBORCH, G. TIEPOLO, G. B. TINTORETTO TURNER, J. M. W. VAN DE CAPELLE, J. VAN GOYEN, J. VAN HUYSUM, J. VAN OSTADE, I. VAN RUYSDAEL, J. VENETIAN SCHOOL WATTEAU, A. ZERIO Sa DAW Ae TO) NUMBER yi 60; 61, 6203, 39; 40, 4I, 31 iB) 17 SALE THURSDAY EVENING, FEBRUARY EIGHTH, AT 8:15 DRAWINGS OF THE OLD MASTERS FROM THE COLLECTION OF NURS VLC LORAROC EI OF LONDON, ENGLAND PART ONE NUMBERS 1-92 PRENCH SCHOOL NUMBERS 1-8 LEOPOLD BOILLY FRENCH, 1761-1845 Pee OUP OF HEADS, “TASTE” Colored chalk. Sketch for one of the expressive litho- graphs of the artist. Size, 918 X 7% inches JEAN HONORE FRAGONARD FRENCH, 1732-1806 2 LADY SEATED, READING Black and white chalk on tan paper. ‘The lady sitting before a draped table and holding a book in her hands. WIZE AIS X O54 inches ANTOINE WATTEAU FRENCH, 1684-1721 fee OR TRAIT OF A LADY IN HUNTING COS- TUME Red and white chalk on tan paper. Seated, the tricorn set coquettishly on the head. ‘The lady holds a rifle in her right hand. Size, 9 X § inches I FRANCOIS BOUCHER FRENCH, 1703-1770 Ae CUPL DELO DUNG ASG 5 Colored chalk. Cupid sitting on a rock, upholding in his left hand the cup which he has filled from a brook in the foreground. Landscape background. Signed in the lower left. Size, 11%4 x 7% inches FRANCOIS BOUCHER FRENCH, 1703-1770 AN IDYLLIC HAMLET ON A MILL POND Sepia wash. Boy and girl with boat in the foreground. On the other side of the mill pond, a pointed medieval tower and picturesque grouping of cottages with a per- spective on far-away woods. Size, 124% x 17 inches CHARLES DAUBIGNY FRENCH, 1817-1878 LANDSCAPE ON THE MARNE Pencil. ‘The slow flowing stream to the left; in the cen- tre, boat with two men, groups of trees, gently rolling meadows and hills. Seal with the initials of the artist. Size, 91% x 16% inches JEAN BAPTISTE LEPRINCE FRENCH, 1733-1781 COTTAGES BY- TH REV Black chalk. Anglers and tree in the foreground. ‘The river separates them from the romantic tumble-down cot- tages in the middle ground. Size, 738 x 10 inches 2 IO II THEODORE ROUSSEAU FRENCH, 1812-1867 VILLAGE LANDSCAPE Black chalk. A village probably near the forest of Fon- tainebleau. Study for the composition of a painting, of quick and thorough conception. Seal of the Rousseau estate, with the initials of the artist to the lower right. Size, 734 X 157% inches FLEMISH SCHOOL NUMBERS 9-13 FOACHIM: PATINIR FLEMISH, ABOUT 1490-1524 RIVER AND MOUNTAIN LANDSCAPE Pen drawing. A wide stream with inlets and channels interrupted by islands with abrupt mountains, castles, etc. Drawing of charming fantasy. Size, 55g x 1038 inches POACHING PATINIR FLEMISH, ABOUT 1490-1524 RIVER LANDSCAPE Pen drawing. A river in the foreground; on the oppo- site shore a castle and farmhouses, surrounded by trees and meadow. Size, 434 x 734 inches Prete R BREUGHEL THE ELDER FLEMISH, ABOUT 1525-1570 RIVER LANDSCAPE WITH CASTLE Pen and ink. A landscape full of the imaginative, fairy tale quality characteristic of Breughel’s work, combined with delicate exactness of detail. On the left bank, boats and a turret. (From the Fairfax Murray Collection) Size, 978 x 14% inches 13 14 JACOB JORDAENS FLEMISH, 1593-1678 ADORATION OF THE SHEPHERDS Sepia. The Virgin with child, and a shepherd to the right. Shepherds, one of them playing the flute, to the left; a donkey in the background. (From the Crozat Collection) Size, 1034 x 7 inches ATTRIBUTED TO PETER PAUL RV Gis FLEMISH, 1577-1640 DIANA AND CALLISTO Black and red chalk. Group of maidens to the right, Callisto in their midst, Diana to the left, attended by a negress. A study for the master’s painting of the same subject in the Prado, Madrid. (From the Fairfax Mur- ray Collection) Size, 1114 xX 17 inches ITALIAN SCHOOL NUMBERS 14-46 FRANCESCO BIGI (FRANCIABIGIO) FLORENTINE SCHOOL, 1482-1525 HEAD OF A RED-HAIRED WOMAN, WITH HEADDRESS Black and white and red chalk. Size, 10% x 8% inches VENETIAN SCHOOL 16TH CENTURY CASTLE ON A HILL Pen and sepia. Brush wood in the foreground. Land- scapes of this period are very rare. Collector’s mark in left corner. Size, 3% x 3% inches 4 16 18 19 ATTRIBUTED TO GIORGIO BARBARELLI (IL GIORGIONE) VENETIAN SCHOOL, 1478 ?-I511 VARIOUS SKETCHES Pen and sepia. Lute player, portrait sketch, various studies, hands, etc., on both sides. Dashing composition, which makes the attribution highly probable. Some of the figures are reminiscent of the “Concert” by Giorgione in the Louvre. Size, 87% x 13% inches PADUAN SCHOOL EARLY 160TH CENTURY SKETCH FOR A BRONZE In pen and sepia. A sea monster with an amorino stand- ing on its back, holding a torch. With an old signature “A Mantinea,’ which would point to Mantegna as author. ‘The attribution to Bellano, however, is more probable. (From the Carlo Prayer Collection) Size, 54% x 6% inches ITALIAN MASTER OF THE LATE 17TH CENTURY Cad ran Brush and sepia. At the foot of the cross, the Virgin holding the body of the dead Christ. Weeping angels around. Powerful and simple treatment of the masses. Collector’s mark “H B.” Size, 914 x 634 inches FRA BARTOLOMEO FLORENTINE, 1475-1517 Tig APPARITION OF THE CHRIST | Red chalk. In the upper part of the composition, the apparition of the Christ; praying Franciscan monks on either side and below. Vivid sketch of two monks on the reverse. Size, 814 x 534 inches 20 21 2 ee 23 ITALIAN SCHOOL ABOUT 1550 STUDY OF AN ANGEL Red chalk and charcoal. Seemingly the angel of the Annunciation. (From the Earl of Warwick Collection) Size, 1138 x 7% inches GIOVANNI ANTONIO BOLTRAFFIO MILANESE SCHOOL, 1467-1516 CARICATURE OF A MAN’S HEAD Pen and ink. The head seen in profile)” (fran Joseph Richardson and R. Holditch Collections) Size, 5 X 3 inches FREDERICO BAROCCIO ROMAN SCHOOL, 1528-1612 PASTEL HEAD OF AsGiRe A vivid study after nature of a girl with blonde hair and rosy complexion. Size, 16 x 107% inches FRANCESCO PRIMATICCIO ITALIAN, 1504-1570 NUDES Pen and ink on toned paper. ‘Two nude women, running with a third on their shoulders. Dog in the lower right. (From the Martette, Lazoy and Earl of Warwick Col- lections) Size, 918 x It inches GIOVANNI FRANCESCO BARBIERI (GUERCINO) BOLOGNESE, 1590-1666 24 LANDSCAPE WITH TRAVELLERS Pen and sepia. In the typical manner of the artist, with rapid strokes of the pen. A group of trees to the left, a highway with man a-foot and another mounted on horse- back:. With collectors marks ae Size, 1134 x 165% inches 6 GIOVANNI FRANCESCO BARBIERI (GUERCINO) 25 BOLOGNESE, 1590-1666 PORTRAIT OF A WARRIOR Pen and ink. A bearded man with long hair in plate armor, holding a sword over his right shoulder. Size, 85% x 73% inches GIOVANNI FRANCESCO BARBIERI (GUERCINO) 26 BOLOGNESE, 1590-1666 THE VIRGIN AND FEMALE SAINT Pen and ink. The Virgin seated on a cloud in the upper right. The saint in the gown of a nun is holding the Christ Child lovingly in her arms. Size, 1134 x 7% inches GIOVANNI FRANCESCO BARBIERI (GUERCINO) 27 28 BOLOGNESE, 1590-1666 Pee reOr A YOUNG MAN SITTING AIT A TABLE Pen and ink. The young man wears a high fur hat and holds a sheaf of papers in his hand. Size, 104% X 75% inches GIOVANNI ANTONIO BAZZI (IL SODOMA) SIENESE SCHOOL, 1477-1549 ST. SEBASTIAN Pen and ink with wash. An important sketch for the well known composition of the artist. On the reverse, two pen and ink sketches. See “Gazette des Beaux Arts,” Vol. 1, 1878, page 104. Size, 1038 x 7% inches 7 29 30 32 33 SANDRO BOTTICELLI FLORENTINE, 144'7-1510 TWO DANCING FIGURES Pen and ink. ‘The one nymph jumping in a rapid move- ment to the left, while the other one moves backward in bold contra posto. Size, 934 X 798 inches LUCA SIGNORELLI TUSCAN, 1441-1523 HEAD OF A WOMAN Black chalk. A pensive face framed in loosened hair. Size, 738 x 7 inches MARTINO DA MODENA FERRARESE SCHOOL, ABOUT 1470 THE DESCENT OF THE HOLY GHOST Illumination from a missal in vivid colors and gold. Oval, 5% x 4% inches ATTRIBUTED TO STEFANO DA ZERIO FLORENTINE SCHOOL TWO DRAPED STUDIES FOR AN ANNUNCIA- TION Red chalk. Size, 938 X 10 inches FILIPPINO LIPPI FLORENTINE SCHOOL, 1457-1504 DRAPED MODEL, MAN WITH CAP Red chalk. Perhaps a shepherd. of the Adoration. Rapidly sketched, the hands raised. | Size, 1544 x 958 inches § 34 36 37 ATTRIBUTED TO MICHELANGELO BUONARROTI ITALIAN, 1475-1564. ANATOMICAL STUDY Pen and ink. Rapid sketch of extraordinary swing. On the reverse studies of two horses from another artist. (From the Laniere, Crozat, W. Y. Ottley, and Wm. Esdaile Collections) Size, 16 x 11% inches SCHOOL OF MICHELANGELO THKEE ANATOMICAL STUDIES Red and black ink. Repeated study of a man in the attitude of the Perseus of Cellini. Size, 123 x 7 inches APTRIBULED TO MICHELANGELO ITALIAN, 1475-1564 fe) OF A MAN WEARING CAP Pen and sepia. Head of a man with flowing beard, the head draped by a turban-like cloth. Strong rhythm. (From the Sir Peter Lely and Earl of Pembroke Collec- tions) Size, 12% x 8Y inches JACOPO ROBUSTI (TINTORETTO) ITALIAN, 1512-1594 Sey POR THE ADORATION OF THE SHEP- HERDS Black chalk and white wash on dark grey ground. Well massed composition of the Virgin and Child surrounded by three shepherds. (Collection of the Duchess of Wel- lington) Size, 654 x 8% inches y 38 ag 40 ATTRIBUTED TO RAFFAELLE SANZIO ITALIAN, 1483-1520 STUDIES OF FIGURES Pen and ink. ‘To the right a female figure in rapid move- ment; group of men standing and walking to the left. The extreme fluidity of line indicates an artist close to the great master. On the reverse sketches for frames and cornices. (From the Collections of Sir Peter Lely, Joseph Richardson and Sir Joshua Reynolds) Size, 814 x 11% inches GIOVANNI BATTISTA TIEPOLO ITALIAN, 1693-1770 STUDY FOR CEILING PICTURE Pen and sepia.. Jupiter and Juno, Hebe pouring wine in Jupiter’s cup. Rapid and skilful sketch. Size, 734 X 11% inches GIOVANNI BATTISTA TIEPOLO ITALIAN, 1693-1770 HEAD OF AN OLD MAN Pen and wash. Bold, sketchy treatment. Size, 87% x 65% inches GIOVANNI BATTISTA TIEPOLO ITALIAN, 1693-1770 MARTYRDOM OF ST. FAUSTINUS Pen and ink, heightened with wash. Group of warriors to the right. In the middle, a low tower on which the execution of the saint takes place, three angels hovering above. Boldly sketched. ‘The authorship of Tiepolo is also confirmed by the painting of the same subject by Tiepolo, in the Weisbach Collection in Berlin. With mark of the Collection of the Alliance des Arts. Size, 11 7 Ua enone. ie 43 44 45 GIOVANNI BATTISTA TIEPOLO ITALIAN, 1693-1770 MARTYRDOM OF ST. AGATHA Red chalk. An extraordinary sketch of the artist for his famous painting in the Church of St. Anthony in Padua. Another representation of the same subject is in the Kai- ser Friedrich Museum in Berlin. (From the Basan Col- lection, with seal and hand-written note of Basan on the reverse) Size, 15 x 944 inches FRANCESCO GUARDI VENETIAN, 1712-1793 Pee yt OR AN OPEN AIR DANCE Brush wash. Spectators on chairs watching the dancing couples in the centre. ‘Typical composition of the artist, showing his keen observation of people moving in the dazzling sunlight. (From the Jean Francois Gignoux Collection) Size, 6 x 8% inches ANTONIO ALLEGRI (IL CORREGGIO) LOMBARD SCHOOL, 1494°-1534 Pedy OF A CROUCHING NUDE FIGURE Red chalk. A realistic study after life, without any aim at classical rhythm and for this reason the more striking. Endorsed by Lilienfeld. (From the Collection of Queen Christina of Sweden) ieee ean ea inches ANTONIO ALLEGRI (IL CORREGGIO) LOMBARD SCHOOL, 1494°-1.534 STUDY OF DRAPED FEMALE FIGURE WITH. WINGS Red chalk. Study for one of the ceiling paintings of the artist. Squared off, in order to facilitate transfer and enlargement on the wall. Similar figure, roughly sketched in ink on the reverse. (With collector’s mark _° “W B,” and from the Collection Crozat) Size, 878 X 11% inches 46 47 48 49 ANTONIO ALLEGRI (IL CORREGGIO) LOMBARD SCHOOL, 1494-1534. RECLINING FEMALE FIGURE Red and white chalk. Bold swing and simplification. (With marks of the Lankrink, Sir Peter Lely, Sir Joshua Reynolds and Paul Sandby Collections) Size, 4 x 9% inches DUTCH SCHOOL NUMBERS 47-65 JAN VAN DE CAPELLE DUTCH, 17TH CENTURY BOATS IN A CAUM SEA Black and white chalk on blue paper. A composition characteristic of the artist. ‘Three boats in the fore- ground, others in the distance. Size, 10 X 14.34 inches GERARD TERBORCH DUTCH, 1613?-1681 ARTIST SKETCHING Black and white chalk on blue paper. ‘The artist sits on a chair and holds the paper with his right hand, while he looks attentively at the model. ‘lhe expression is excellently rendered. Size, 734 x 11% inches SIMON DE VLIEGER DUTCH, 1600-1660 LANDSCAPE Black and white chalk on blue paper. Opening of a wood bordering a canal; a church in the distance. ‘This rare landscape by De Vlieger, as Dr. Lilienfeld points out, is reminiscent of Ruysdael. Size, 13 x 165% inches 12 GABRIEL METZU DUTCH, 1630-1667 Poe OUNG GIRL, SEATED §2 53 Black chalk on blue paper. Young girl in close fitting cap and white kerchief typical of the period. (From the Northwick Collection) Size, 1358 X 914 inches J. VAN HUYSUM DUTCH, 1682-1749 FLOWER STUDY Black chalk. Flowers in a Renaissance vase. While Huysum’s paintings are somewhat formal and cold, the present drawing excels through impressionistic freshness. Very rapid sketch of another still life on the back. Size, 1534 x 1214 inches ISAAC VAN OSTADE DUTCH SCHOOL, 1621-1649 Perr VILLAGE Pen and sepia with wash. Village street along a canal. Night scene. People assembled. One of the finest pieces of the collection. (From the Heseltine and Rodriquez Collections) Size, 738 x 113% inches PHILIP DE KONINCK DUTCH, 1619-1688 THE RAISING OF LAZARUS Pen and ink. ‘The Christ with disciples to the right,. Lazarus and group of people to the left. Drawing of powerful and strangely modern simplification. Although Philip de Koninck is particularly famous as a landscape painter, the present drawing, as well as the famous series in the Dresden Museum, reveals him as a master in figural composition, as Dr. Lilienfeld observed. (From the Lord Northwick Collection) Size, 656 x 8% inches 13 54 55 56 a, PHILIP DE KONINCK DUTCH, 1619-1688 SMALL DUTCH LANDSCAPE Colored chalk. Long, flat stretches of land and water. Wide perspective, a composition characteristic of the artist. Infinity expressed with the simplest means. Size, 2% x 63% inches JAN LIEVENS DUTCH, 1607-1674 COTTAGE UNDER TREES, "WITH yaa WHEEL Pen and ink with sepia. Dr. Lilienfeld says of this draw- ing: “This is one of the most beautiful drawings of Lievens. ‘There is a similar one in the Rotterdam Museum. It is important for the placing of many other works of Lievens which have formerly been ascribed to Rembrandt.” (From the Collections of Charles Gax, 1860, and Fairfax Murray) Size, 84% x 10% inches LAMBERT DOOMER DUTCH, 1647-1680 CANAL SCENE WITH WINDMILL Pen and ink with sepia. Inlet of the river in the fore- ground to the left with perspective of sailing vessels far away. Windmill in the centre; path with peasants to the right. Doomer’s drawings are more appreciated by collectors than his paintings. Size, 854 x 12 inches JAN VAN GOYEN DUTCH, 1596-1666 BEACH SCENE WITH FIGURES Black chalk, accented with sepia. ‘The shore with boats to the left, fishermen and women, a horse cart in the middle ground. An old church and houses in the back- ground to the right. Signed and dated 1649. (From the W. Esdaile and Rumohr Collections) Size, 654 x 11% inches 14 ADRIAAN BROUWER DUTCH, 1605-1638 50 PEASANTS REVELLING wie Pen with blue and red ink. A couple dancing in the foreground; a table with three singing peasants to the right; a kissing couple to the left. Remarkable quality. (From the Fairfax Murray Collection) Size, 10% x 16% inches JACOB VAN RUYSDAEL DUTCH, 1625-1682 DUTCH LANDSCAPE Black chalk and wash. An important and unusual draw- ing by this great artist. The endless stretch of the Dutch lowlands, a town in the distance. Signed. Size, 75% X 9 3/5 inches 15 60 REMBRANDT HARMENSZOON VAN RIJN DUTCH, 1607-1669 GROUP OF FOUR SMALL HEADS Boldly sketched in pen and ink. Endorsed by Dr. Valen- tiner, who will reproduce and list it in his forthcoming book on Rembrandt’s drawings. ‘The style places this drawing in the period around 1650. | Size, 344 x 234 inches [SEE ILLUSTRATION | 16 ; ’ 61 62 [61] REMBRANDT HARMENSZOON VAN RIJN DUTCH, 1607-1669 BUST OF A WOMAN Keenly sketched with pen, brush and ink. Dr. Valen- tiner considers this drawing an excellent work of the artist, and will reproduce and list it in his forthcoming book on Rembrandt’s drawings. Such bold sketches after nature are characteristic of the artist’s work around 1650. Size, 21%4 x 1% inches [SEE ILLUSTRATION | REMBRANDT HARMENSZOON VAN RIJN DUTCH, 1607-1669 SMALL HEAD OF AN ORIENTAL Expressive drawing in pen and ink. Endorsed by Dr. Valentiner, who will reproduce and list it in his forth- coming book on Rembrandt’s drawings. With collector’s mark of Chevalier G. de Frank, 1836. Size, 2X 1% inches [ SEE ILLUSTRATION | 17 63 REMBRANDT HARMENSZOON VAN RIJN DUTCH, 1607-1669 SATAN IPEMPITING THE @ELRioas Pen and ink. Satan and Christ standing on the roof of the Temple. Extraordinary depth in the expression of the Christ, who stands to the right. Considered by Dr. Valentiner as an important drawing by Rembrandt. It will be listed and reproduced in Dr. Valentiner’s forth- coming book on Rembrandt’s drawings. (Formerly in the Collection of Sir Joshua Reynolds) Size, 75% x 65% inches [SEE ILLUSTRATION | 18 genes Set ee Pen and ink with wash. .Trees to the right and left. Out- look towards a farmhouse and sunny plain. Figures in -.. the foreground. Signed in the upper left. Size, 9 x 10% inches 27 84 85 THOMAS GAINSBOROUGH, R. A. ENGLISH, 1727-1788 ENTRANCE INTO THE WOOD Black and white chalk on blue paper. A winding road with a lonely wanderer. Large tree to the right, cottage to the left. Size, 74%4 x 9% inches THOMAS GAINSBOROUGH, R. A. ENGLISH, 1727-1788 TWO LANDSCAPES ‘Two important sketches of the artist. (a) Recto: Black and white chalk. Boldly sketched group of trees. Sheep in the foreground to the right; shepherdess with dog to the left. 3 (b) Verso: Colored chalks. A farmyard, the barn to the right, cows, farm woman and trees to the left. Size, 1158 x 14% inches [ SEE ILLUSTRATIONS ] 28 Seer is ¥ eS ‘ a a ' ; } * , , ; TWO DRAWINGS ON ONE SHEET : | | [85] 86 87 88 89 THOMAS GAINSBOROUGH, R. A. ENGLISH, 1727-1788 LADY AND GENTLEMAN IN PARK Brush and ink, heightened with colors. ‘The lady seated on a bench with her spaniel. Gentleman approaching from the right. Background of trees. Charming sketch. Signed ‘““T’ G, 1767”. On the reverse diverse sketches in pencil. Size, 334 x 71% inches [ SEE ILLUSTRATION | THOMAS GAINSBOROUGH, R. A. ENGLISH, 1727-1788 STUDY FOR A PORTRATE Black and white chalk on grey paper. Woman in 18th century costume, the head resting upon one hand. Size, 17 x 9% inches THOMAS GAINSBOROUGH, R. A. ENGLISH, 1727-1788 STUDY OF A PEASANT GIRL Pencil. The girl is wearing a hat and carries a jug with both hands. Size, 834 x 61% inches THOMAS GAINSBOROUGH, R.A. | ENGLISH, 1727-1788 COTTAGE BY THE BROOK 7 Sepia. Large tree to the left, cottage screened by trees to the right. Size, 544 x ol inches 30 [86] THOMAS GAINSBOROUGH, R. A. ENGLISH, 1727-1788 90 HOUSES ON THE HILLSIDE QI Q2 Pen and ink, with white wash on blue paper. A gently sloping hill crowned by a group of trees, in which the gables of a house are visible. On the reverse, a faint but excellent figure sketch. Size, 67% x 103% inches THOMAS GAINSBOROUGH, R. A. ENGLISH, 1727-1788 SKETCH FOR AN ALLEGORICAL PAINTING Black chalk. Girl in classical garments seated holding a tablet in one hand, and with the other resting upon the hand of Cupid, who stands beside her with averted head. Size, 1334 xX 114% inches THOMAS GAINSBOROUGH, R. A. ENGLISH, 1727-1788 ROCKY LANDSCAPE Brush, black and white wash. Ruggedly massed rocks to the right contrasting with feathery trees. Shrubs and rocks in the foreground to the left. Very beautiful quality. (From the Fairfax Murray Collection) Size, 734 x 10% inches 32 a Be ce awe eek ate ee - eel oy s . 2. s “a ae 7 * \ ~ 7]