7) es ie id Sedge SET IER ee : iy Sax. => ‘ fi ae iy th a vay hye a a . tie va ahi ®, ed saad NA] ne a \ vied as aaa P . 7, ‘ o i > , 7 Ps A “ ae i ‘ Sf . yy ti’. ‘ite * ee 4 pe 7 “Ay. ~~ (ALA a ane me i PON ia a AN EXHIBITION OF ~ PORTRAITS & LANDSCAPES BY RICHARD EDERHEIMER AT THE ANDERSON GALLERIES 4 : PARK AVENUE -AND FIFTY-NINTH STREET pe NE NEW. YORK CITY. ers ee etn oe nee ys ot ae ee aes COMMENCING THURSDAY DECEMBER SECOND PORTRAIT OF WILLIAM MARION REEDY BY RICHARD EDERHEIMER A LETTER FROM MR. EDERHEIMER My dear Mr. Kennerley :— The exhibition which you are so kindly arranging for me in no way represents the fruit of a life’s work but merely a promise of future achievement. For one who has lived with the very best that art has to offer and whose critical faculty has been sharpened by a con- stant search for the highest it is both difficult and embarrass- ing to apply criticism to his own work or to write of it. bk That I should ever have become an art dealer, I feel now, was but one step towards art appreciation and creation. As a dealer | always felt that I was a lover of art, an amateur, the commercial side being relegated to the background; | never could bring myself to sell the thing which did not arouse my own enthusiasm. Beginning as a dealer in prints, | abandoned this field readily, irrespective of the good-will built up in ten years, when the passion for original drawings took hold of me. Hav- ing my eye trained to the master drawings of Durer, Rem- brandt, Leonardo and Michelangelo, I never tried to draw my- self, having too much respect for art ever to try. [t took Ham- ilton Easter Field’s coaxing, in June, 1918, when I was stop- ping with him‘ in Ogunquit and the circumstance that | did not want to be an idler during my vacation on the beautiful Maine coast, to make me take up brush and paints. It was an experiment for Field and a joke to myself. Field believing that one whose eye was trained by the highest in art during many years did not require the toil and devel- opment of the art student, wanted to see what such a trained eye could attain without any technical knowledge. His only lesson was: “Here are brushes and paint—now go out on the rocks and try to come as near to nature as possible.”’ At first I was most sceptical, but soon quite amazed to dis- cover how easy it was to make a (bad) little sketch. Soon I became so intoxicated with the bliss of creating that I painted all the time. My very first portrait, that of the Japanese artist, Yasuo Kuniyoshi, is in this exhibition. It was done five weeks after the first childish efforts with the brush (some of which are also shown). From that time on I neglected my land- scape studies to paint portraits. After my return from Maine in August, 1918, I converted my office into a studio and went on painting portraits, using as sitters models and those who were kind and friendly enough to sit for me. The portrait of the colored lady “Daisy was painted in September; that of Field was done in December of that year and early January, 1919. After my return from Europe in September, 1919, I met our friend the late William Marion Reedy and found a fitting subject in him for a portrait in which I| tried to come nearer my ideal— the style of the primitive Dutch and German masters. This was followed by an uninterrupted series of portraits during the winter. This last summer was again spent in Ogunquit and the result of three busy months were some twenty portraits, twenty-five landscapes and a few still-lifes. I consider that my landscape painting is merely a pastime; it brings me into close communion with the beauty of nature. I feel that my real vocation is portrait painting. Always somewhat mystically inclined the subconscious contact between painter and sitter reveals to me one of the wonders of the unknown. If a sitter offers resistance in estab- lishing this contact or is careful not to reveal any part of his inner self, the portrait will be a failure or an empty external likeness. On the other hand if this contact is established | am working as in a trance, almost unconsciously portraying char- acteristics not even revealed to my eye. In my earliest works already | was amazed to find certain qualities of which I was not at all aware while painting, but which I recognized in these sitters, later, when knowing them much better. Portrait painting should never just be a representation of the outward features and appearance of the sitter. Photog- raphy can get much better results in that. The one thing that makes out of a picture a work of art is that mysterious element which makes a painting live. Technical accomplishment is only secondary. This I offer as an excuse for daring to exhibit these first productions of two years of study as a painter in spite of tech- nical shortcomings. Let me take this occasion to thank you for your interest in my art and your generosity toward me, a novice in the field of painting. Yours very faithfully, RICHARD EDERHEIMER ee a ae CSCO MON DMN BWNH— OU @MnN AU BW Hh — 40 net 42 PORTRAITS YASUO KUNIYOSHI DAISY HAMILTON EASTER FIELD THE LATE WILLIAM MARION REEDY MRS. CLARENCE M. LEWIS MISS NITA WOLFF MRS. A. J. MARCUSE MISS VERA RODNEY MRS. R. EDERHEIMER THE FRENCH WAITER MISS FALTER PORTRAIT SKETCH OF A NEGRO MR. A. HIRSCH MRS. NILES SPENCER ROBERT LAURENT, THE SCULPTOR MISS LUCY HOLT DR. GEORGE JAY SMITH MRS. ASHERMAN THE ARTIST IN HIGH SPIRITS FELIX WILDENSTEIN, ESQ. LANDSCAPES FOUR EARLY OGUNQUIT SKETCHES PALISADE SKETCHES (2) BRONX PARK SKETCHES (2) EARLY SPRING, VAN CORTLANDT PARK HIGH BRIDGE SPRING IN CENTRAL PARK BELOW THE PALISADES, NEAR ALPINE (2) ORCHARD IN ALPINE, N. J. GROUNDS OF D. F. PLATT, ESQ., ENGLEWOOD ROUGH SEA, OGUNQUIT, ME. DEVILS KITCHEN, OGUNQUIT, ME. PULPIT ROCK, OGUNQUIT, ME. PERKINS COVE FROM FIELDS POINT JOSIAS FALLS, PERKINS COVE FARM HOUSE BY THE SEA, OGUNQUIT AUGUST SEPTEMBER - JANUARY SEPTEMBER SEPTEMBER SEPTEMBER JANUARY JANUARY FEBRUARY MARCH APRIL MAY TORY JULY JULY AUGUST AUGUST _ SEPTEMBER OCTOBER NOVEMBER JUNE AND JULY JULY JULY APRIL APRIL MAY MAY MAY JUNE JUNE JULY JULY JULY JULY JULY JOSIAS RIVER WINDING INTO PERKINS COVE AUGUST STORMY COAST BALD HEAD CLIFF FISHING VILLAGE AND FIELD’S POINT, PERKINS COVE AUGUST AUGUST SEPTEMBER STILL LIFES AND FLOWER PIECES Still LIre WOOD LILIES PEACH AND FLOWERS DECEMBER JULY SEPTEMBER OLD AND MODERN MASTERS ii : FROM THE : ee Rh EDERHEIMER es ae COLLECTION THE ANDERSON GALLERIES PARK AVENUE AND FIFTY-NINTH STREET | NEW YORK SDAEL JACOB VAN RUY OLD MILL BER 119] NUN REMBRANDT AN OL AY D DOORW SALE NUMBER 1415 ‘ON PUBLIC EXHIBITION FROM APRIL THIRD . “ | “CATALOGUE OF ORIGINAL DRAWINGS BY OLD AND MODERN MASTERS FROM THE R. EDERHEIMER COLLECTION EXAMPLES OF THE WORK OF THE GREAT ITALIAN, FRENCH, GERMAN, DUTCH, FLEMISH AND ENGLISH ARTISTS OF THE XVI, XVII, XVIII AND XIX CENTURIES TO BE SOLD ON THE EVENING OF APRIL NINTH AT 8.15 O’CLOCK THE ANDERSON GALLERIES PARK AVENUE AND FIFTY-NINTH STREET NEW YORK 1919 CONDITIONS | OR) ‘SALE. 1, All bids to be PER LOT as numbered in the Catalogue. 2. The highest bidder to be the buyer; in all cases of disputed bids the lot shall be resold, but the Auctioneer will use his judgment as to — the good faith of all claims and his decision shall be final. He also reserves the right to reject any fractional or nominal bid which in his judgment may delay or injuriously affect the sale. 3. 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 to be resold immediately. 4, The lots to be taken away 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 absolutely paid on or before delivery, in default of which The Anderson Galleries, Incorporated, will not be responsible if the lot or lots be lost, stolen, damaged, or destroyed, but they will be left at the sole risk of the purchaser, and subject to storage charges. . 5. To prevent inaccuraey in delivery, and inconvenience in the settle- ment of purchases, no lot will be delivered during the sale. 6. All lots will be exposed for public exhibition in The Anderson Galleries before the date of sale, for examination by intending pur- chasers, and The Anderson Galleries, Incorporated, will not be responsible for the correctness of the description, authenticity, genuineness, or for any defect or fault in or concerning any lot, and makes no warranty whatever, but will sell each lot exactly as it is, WITHOUT RECOURSE. But upon receiving before the date of sale, expert opinion in writing that any lot is not as represented, The Anderson Galleries, Incorporated, will use every effort to furnish proof to the contrary, and in default of such proof the lot will be sold subject to the declaration of the aforesaid expert, he being liable to the owner or owners thereof for damage or injury occasioned by such declaration. 7. TERMS CasH. Upon failure to comply with the above conditions any sum deposited as part payment shall be forfeited, and all such lots © as remain uncleared after twenty-four hours from the conclusion of the sale, will be resold by either private or public sale at such time as The Anderson Galleries, Incorporated, shall determine, without further notice,. and if any deficiency arises from such re-sale it shall be made good by the defaulter at this sale together with all the expenses incurred thereby. This condition shall be without prejudice to the right of The Anderson Galleries, Incorporated, to enforce the contract with the buyer, without such re-sale. 8. Bips. We make no charge for executing orders for our customers and use all bids competitively, buying at the lowest price permitted by other bids. 9. The Anderson Galleries, Incorporated, will afford every facility for the employment of carriers and packers by the purchasers, but will not be responsible for any damage arising from the acts of such carriers and ~— packers. Priced Copy of the Catalogue may be secured for fifty cents for each session of the sale The Anderson Galleries Incorporated ParK AVENUE AND Furry-NInTH STREET, NEw YORK. Telephone, Plaza 9356 Catalogues on request. SALES CONDUCTED BY MR. FREDERICK A. CHAPMAN NOTE SHOULD like to explain the origin and meaning of this sale. It is very closely connected with the recent sale of drawings be- _ longing to Mr. Hamilton Easter Field, or rather with the owner ef these drawings. It was Mr. Field’s drawings which brought me _ to know him; and when I was spending my summer with him in Ogunquit, Maine, last year, he made up his mind to make a painter out of me. Whether he has succeeded only the future can tell, but he has inspired me with a passion to create, and I mean to devote all the time I have been giving to the details of my little gallery to painting. I have been painting in my office all winter and now I want to give up my office so I can spend all my time in my studio, -where, until I can make a living by painting, I shall continue my trade as expert and marchand amateur. | And now a few words as to the collection here offered. In trying to dispose of the greater part of my stock I naturally intended first of all to get rid of the things that were most in my way; but when making my selection and writing the catalogue I put aside one piece after another that came to me in collections and that I have never offered to my clients, and finally I had chosen all my good things and rejected all the poorer material. Of course, not all these drawings are great; there is material for the most moderate purse alongside of treasures fit for world-famous collections. But all the drawings are good and genuine. The catalogue, which is written with infinitely greater care than most catalogues, tries to _hbe as critical as possible. Every item has the endorsement of my ? good name to be what it is represented in these pages. I do not make attributions; I only reject those I consider faulty. Only in absolutely established things do I feel justified in giving a great ~ name without reserve, while it is a good principle to retain modest attributions. This latter principle can best be illustrated by the _ wise words of Arthur Strong, quoted in C. F. Bell’s excellent publi- cations of the Drawings of Christ Church, Oxford. He says: ‘‘The stream of tradition has brought down much that was once matter of common knowledge or of easy verification, and that, left to our own resources, however elaborate, we should find it impossible to restore.’’ If an attribution is solely based on my own opinion it is so stated. RICHARD EDERHEIMER ‘ : = ~ ey he » | sy, = . 2 ite (ee ' “Re * ‘ Ls 4 i cad ¥) a DRAWINGS OF THE GREAT MASTERS a 4 + * = ie, on] ete. iy cae 1. Sune Ree 4 Le 3ENTH AND SIXTEENTH CENTURIES ITALIAN SCHOOL awl | to. 37 as BACCIO BANDINELLI Zt a 1498-1560 ‘Contemporary and rival of Michel Angelo eg | al ST. JEROME, SEATED, WITH THE LION ° i “am Powerful pen drawing. strongly suggestive of Michel Angelo’s - Ten Height, 1114 inches; width, 734 inches ( 2 SEATED FIGURE OF AN ANGED (or SAINT) Vigorous pen drawing, signed with the initials B.B. in the _ lower left. Height, 914 inches; width, 514 inches CA CAMBIASO (called Luchetto da Genova)! a be: } 1527-1580 % A SAINT, SEATED ON CLOUDS | Vivid and characteristic reed-pen drawing with India ink wash. 47 ia the Hamilton Easter Field collection. Height, 1114 inches; width, 71% inches 4 LOT OF FOUR DRAWINGS, in peculiar pear shape, repre- a senting : vs ~g (a) Christ the Infant presented to the High-Priest. , (b) The Annunciation of the Virgin. (c) Christ carrying the Cross. (d) The Descent of the Holy Ghost. All four are in Cambiaso’s well-known style, but only the first one, the presentation to the High Priest, a brilliant example, a or . L4 ANNIBALE CARRACCI Ly" 1560-1609 \ pet appears to me to be from his own hand. A certain looseness in the technique makes me believe that the other three com- positions are works of a pupil, made to decorate a certain space in co-operation with the master. All about 131% inches high; 101% ar wide DOMENICO CAMPAGNOLA (attributed ©) 1484-1556 WIDE MOUNTAINOUS LANDSCAPE, WITH CLASSI- CAL RUINS AND STATUES _ In the middle-ground a city at the foot of a hill. Like most of the drawings given to the above attribution this drawing was previously attributed to Titian. Although it has all the earmarks of Campagnola’s style, his composition and typical flow of line, I am not fully convinced of his authorship. In certain spots it lacks his peculiar precision of line and there » more resembles Titian’s style. I am inclined to think that Agostino Carracci made this drawing. We know numerous. | drawings from his hand which bear a strong resemblance to the manner of Domenico Campagnola. A. beautiful Italian drawing. Hees 8 inches; width, 11 inches GROUP OF FIVE BOYS AT PLAY Magnificent charcoal sketch, showing the strong influence of Raphael’s style. A drawing of highest artistic quality. : Height, 53g inches; width, 854 inehes POLIDORO DA CARAVAGGIO (old attribution) 1495-1543 ROMAN WARRIOR AND HORSE Pen sketch. Interesting 16th Century drawing, from the collection of Sir Joshua Reynolds. Height, 45g inches; width, 5% inches 6 pit. a , ‘RAFFAELLO DAL COLLE ) (Raffaello di Michelangelo di Luca dal Colle) Born at Sansepolcro, before 1500; died there, 1566 GUARDIAN OF THE TOMB OF CHRIST ‘Beautiful sanguine drawing with the Collector’s mark Fagan _ 569, Charles I? Earl of Arundel or Laniére. _ The attribution on the reverse together with the note: ‘‘Si trova il quadro nel Duomo a San Sepolero’’ led to interesting re- search and an amusing discovery: In Thieme Becker, Vol. VII, ___ page 215; Walter Bombe writes about our artist amongst other things: ‘‘Patzak has recently produced evidence worthy of ___ attention that Colle belonged to the closer circle of pupils of Raphael. One of the arguments is, that Colle has copied some a parts of the Fresco in the Stanza del Heliodor exactly, in order to use them again later; as is, for instance, shown in the figure of Heliodorus himself, which we find with slight alterations in the form-of a guardian of the tomb, in Colle’s ‘Resurrection of Christ’ in the Cathedral of San Sepolero.. .”’ The drawing here shown is undoubtedly Colle’s memorandum for this theft, as it tallies almost exactly with the prostrate figure of Helidorus in Raphael’s famous Fresco. A highly interesting drawing and document. Height, 514 inches; width, 73 inches GIOVANNI BATTISTA FRANCO 1510-1580 CHRIST HEALING THE BLIND MAN - To the right, Sketch of an Angel. Pen drawing from the Collection of Sir Peter Lely and the Earl of Pembroke. There is a peculiar influence of the German art of the 16th Century noticeable in this drawing. The Angel looks as if it were copied from Durer. Highly interesting sketches. Height, 914 inches; width, 134 inches ft ' 7 ITALIAN SCHOOL (previously attributed to Fra Bartolomeo) | 10 16th Century HEAD OF AN OLD MAN (SAINT?) | a Broad charcoal sketch, in the lower left a sanguine ce ‘oF 1] a head, on the reverse charcoal and sanguine sketches. A brilliant sheet of sketches, but undoubtedly later than Fra_ Bartolomeo. To me it looks like work of the later 16th Cen- tury Venetian School, possibly Tintoretto. Height, 984 inches; width, 65g inches | ITALIAN SCHOOL 16th Century HOLY DISPUTA Very fine pen and India ink drawing, similar in grouping to the famous compositions of the same subject of Raphael and Albrecht Diirer. Rounded on top, and somewhat damaged. A drawing, which in my opinion will most likely be established | as the work of a very important master; when research in the European collections again becomes possible. Framed. | Height, 734 inches; width, 8 inches — TRITON AND CUPIDS AT PLAY WITH A DOLPHIN Highly spirited Italian 16th Century drawing. Charcoal, circular. Framed. Diameter, 634 inches — SCHOOL OF LEONARDO DA VINCI Lombard, Early 16th Century NUDE MAN Pen drawing. This exquisite little drawing came into my hands attributed to Leonardo da Vinci. With names of such magnitude I pre- fer to be very careful. I submitted it to Dr. Sirén, who shares | my view that it is not by Leonardo himself. Height, 4 inches; width, 15g inches | 8 i , ' q f | J —— v ie ee. FILIPPINO LIPPI Florentine School, 1457-1504 MAN OR SAINT, HOLDING A BOOK Superb pen drawing from the Sir Thomas Lawrence Collection. y _ This interesting drawing came into my possession attributed _z to Leonardo da Vinci. I did not think it representative of the master’s style but felt that it was the work of a very great master. I then submitted it to Dr. Sirén, who asked me to let ___ him have it for a few days to make some research, as he con- _ __Sidered it sufficiently interesting. He then wrote me the following letter: = ““The little pen and ink drawing representing a standing monk with a book and a staff(?)—-possibly St. Anthony—which you showed me the other day and which I now have studied again most carefully, is not as acclaimed by tradition a sketch by Leonardo, but the work of a younger contemporary master. I think there can be no doubt that it was executed by Filippino Lippi. The general character and position of the figure is very Filippinesque and the actual penmanship is the same as in certain of Filippino’s drawings such as the sketch in the Uffizi representing Christ among the doctors. The peculiar treat- ment of the hands and the feet is a conclusive proof of Filippino’s authorship. It is a very spirited and expressive little drawing by one of the most captivating of the Florentine Quatrocentisti.’’ Height, 47% inches; width, 444 inches NICOLO DA BOLOGNA Primitive Italian Miniaturist of the 14th Century MINIATURE: The Initial S. with a representation of the Slaughter of the Innocents, in the center King Herod en- throned. Superb early miniature in very rich coloring on gold ground, vellum. Manuscript of music on the reverse. Part of an old missal which has been cut apart. Other initials by the same hand and with the same attribution are known to the writer. Height, 814 inches; width, 7 inches 9 17 IM Ce 19 (i ‘« . Count Zanetti reproduced in chiaroscuro woodcuts. i. 0) | FRANCESCO MAZZUOLA, called Il Parmigiano | 1504-1540 a 3 | FULL-LENGTH FIGURE OF A MAN (SAINT) Beautiful drawing in ink, sepia wash and white high-lights on | i green paper. In the style of the Parmigiano drawings which | : From the F. Abbot Collection. Framed. | Height, 6 inches; width, 214 inches | FULL-LENGTH FIGURE OF A NUDE YOUNG MAN (ST. SEBASTIAN?) Pen and India ink drawing on greenish-grey paper. From the F. Abbot Collection. - Height, 814 nee width, 3 inches © t CUPID STRINGING HIS BOW Brilliant and characteristic little sanguine dvawwine: On the > reverse sketches of three men in the same medium. From the Nathaniel Hone, R.A., Collection, 1785. Height, 73 inches; width, 334 inches . GIANFRANCESCO PENNI, called il Fattore 1488-1628 Pupil and assistant of Raphael SHEET OF SKETCHES In the center, Woman holding a Sword (Justice) ; to the left a huge bird, below five sketches of Amorini. Above a cornucopia, - mitre and other small sketches. Superb delicate pen drawing of the closer school of Raphael. From the Collections of Thomas Hudson, 1779, and W. G. > Becker, 1819. This interesting sheet of studies is said to represent sketches for the Cupid and Psyche frescos in the Farnesina, in which Penni co-operated with Raphael. Height, 8144 inches; width, 614 inches 10 JACOPO CARRUCCI, called da Boers Forentine School, 1494-1557 One of the greatest Florentine dratiemen MAN, ALL SEATED / On the reverse Antique Statue (Jupiter), and four heads in ,. the upper right corner. _ Marvelous sheet of sanguine drawings, signed Pontormo in the lower left on the front sheet. Undoubtedly a work of the ed ak Florentine and of great beauty. Height, 6 inches; width, ae inches GIOVANNI ANTONIO LICINIO, called Pordenone (old attribution) 1483-1539 a. THE VIRGIN AND CHILD, DEFEATING THE DEMON OF EVIL if Interesting 16th. Century Italian Chiaroscuro drawing, pen . and India ink, heightened with white, on greyish-brown ground. Height, 1114 inches; width, 8 inches ie: FRANCESCO PRIMATICCIO (attributed to) ma '. Born at Bologna 1504; died Paris, 1570 22 RECLINING FIGURE OF A RIVER-GODDESS ty Beautiful design for a wall decoration, suggestive of the f Fontainebleau frescos. Charcoal on brown paper, heightened ith white. On the mount an old attribution: Primathaos. ’ The attribution to Primaticcio appears quite plausible to the writer. Height, 714 inches; width, 163 inches BIAGIO PUPINI . Flourished at Bologna from about 1530-1540 23 THE VIRGIN, WITH THE YOUNG CHRIST AND ST. JOHN (similar to Raphael’s Madonna del Cardellino) . Chiaroscuro drawing in ink and white color on green paper, from the collections of Sir Peter Lely and the Earl of Pem- broke, where it was attributed to Vicenzo di Biagio, 1435 to , yr 535, Height, 141 inches; width, 934 inches . 11 24 NUDE MAN | Resting on a couch and some figures standing at the nae of the reclining (sick) man. a neha by the same hand and ee peer as the preceding Charles I or the Earl of Aruniee On the border a. notes ‘‘Biageio, outline by R. U.’’ (Raphael). Height, 9 inches; width, 15%) inched | Dr. Oswald Sirén wrote to me about ies: two items: ‘‘These | two mus Wek are characteristic Speanang of the Bolognese | and ites and dane in exactly the same uate in the Col-} lections at Florence, Stockholm and elsewhere. The old tradi- | tional attribution which these drawings have borne since | Vasari’s time is Biagio Pupini. I am convinced that this name is perfectly right. Biagio Pupini was a later follower of Francesco Francia, strongly influenced by Raphael and the | other Roman masters of the early XVIth Century. As a draftsman he approaches Amico Aspertini, though his | style is often larger and more coloristic. Your two drawings | are fine examples of Pupini; they ought to interest anybody who is forming a collection of Italian Renaissance drawings.”’ FRANCESCO RAIBOLINI, called il Francia 1450-1816 SHEET WITH NUMEROUS PEN SKETCHES In the center: Holy Family, above a wounded lion; to the left _ large head of an old man, in the lower center and right two | Amorini at play and one asleep. Exceedingly fine sheet of drawings from the Earl of Pembroke Collection where it was catalogued under the above old attri- bution, which I do not feel justified to discard, having no better to offer. I am, however, not personally convinced that Francia was the author of this drawing, but believe that it is an un- usually fine early Italian 16th Century drawing of very rare qualities. Height, 9 inches; width, 65g inches iz vy JANIELE RICCIARELLI, called da Voltera (attributed to) 1509-1566 The Saint in armor, fallen from the Horse which is rearing behind, seeming to see an enlightening apparition. Roman soldiers to the left. Powerful composition in chiaroscuro, charcoal and sepia wash ~ with white high-lights on brown end: Height, 157% inches; width, 1114 inches GIULIO ROMANO Roman Schoot, 1498-1546 SKETCH FOR THE “TAKING OF CARTHAGE BY SCIPIO’’ - On the reverse the design of a griffin. Interesting pen drawing, from the Collection of Col. Harrison, who quotes the British Museum authorities as responsible for the attribution. Framed. Height, 634 inches; width, 814 inches ‘GIOVAMBATTISTA DEI ROSSI, called Il Rosso Fiorentino Florence, 1494; died Fontainebleau, 1541 SHEET OF PEN SKETCHES Above, a Holy Family ; below, two heads of youths in adoration. Interesting early 16th Century Italian drawing. For the above attribution I am indebted to Dr. Sirén. On the reverse the stamp of the Ambrosiana, Milan. Height, 614 inches; width, 45 inches ORAZIO SAMACCHINI 1582-1577 CLASSICAL SUBJECT Roman soldiers bearing standards surround the two central figures, consisting of a crowned king and a naked youth. In the background the soldiers’ tents. Chiaroscuro drawing in pen and bistre heightened with white, on brown paper. From the Earl of Pembroke Collection. Height, 1614 inches; width, 1034 inches 13 —— _ —— a i . We Lae 31 PELLEGRINO TIBALDI, called Pellegrino de Bologna : also called Pellegrino ~ Bellegrini_ | 1527-1592 DEMON, OR GIANT Presumably a sketch for a ‘‘ Battle of Giants.’’ Tremendously bold and vigorous drawing in charcoal, bistre and white high- lights. | Height, 1234 inal width, 9 inches ¥ . 4 ‘| DOMENICO ROBUSTI (TINTORETTO) 1562-1627 Son and pupil of Jacopo Tintoretto — PROCESSION OF VENETIAN NOBLEMEN ; Superb Charcoal drawing, signed in the lower right: Domco ; | Tentoretto. If it were not for this signature I would have given it unhesitatingly to the hand of Tintoretto the ‘ae as it shows all the characteristic qualities of the latter’s hand. However, it is a wise principle in collecting drawings to secant a modest old attribution while it is not advisable to put too much faith in a big name, unless the quality supports the attribution. 4 Formerly in the collection Ravaisson Mollien Aine of the Louvre). Height, 8 inches; width, 141% inches ~ - pe re EN Ol er ptee a ir eee TIZIANO VECELLIO (TITIAN) | 1477-1576 THE LORD CREATING THE LIGHTS OF HEAVEN From the Harl of Pembroke Collection, described and repro- — duced by 8. Arthur Strong, in his work on the drawings of Wilton House, Part I, No 9, as follows: ea ‘‘Pen drawing in bistre heightened with white. The Eternal floats through space in the act of projecting the Sun and Moon in their appointed courses. Below, on the surface of the new earth, plants and animals are in the full enjoyment of life, Leviathan takes his pastime in the deep. The drawing is a ~ modification or rather a free transcript of the similar composi- tion by Michelangelo on the ceiling of the Sistine Chapel, which ~ Titian must have seen when he visited Rome in 1545. It can- 14 Mae oe, wean oe edad SS He ERR da Riven: TITIAN CREATION OF THE LIGHTS OF HEAVEN ’ [NuMBER 32] >. pion om —« Si on | ov 2 ne, Fons pat a as ili r3 ‘enti i he Ae Fs eae 121% inches; oat 10Y, inches ~’ [SEE ci ieee aperd drawing. ; ‘Height 43/ inches; width, 214 se 1 1 TITIAN (attributed to) 3 Philip Besley Lankrink, page to King Charles ie (Fagan No. 415.) Height, 10 inches; width, 8 inches SANTI DI TITO Florence, 1536-1603 35 YOUTH OR SAINT, KNEELING IN PRAYER _f~— Charcoal sketch with white high-lights. Superb late Florentine | e 16th Century drawing, plainly showing the influence of Andrea | del Sarto and Fra Bartolomeo. | iy. Height, 12 inches; width, 61 inches V 36 37 - (probably David) enthroned, surrounded by courtiers in East- FEDERICO ZUCCARO- 15438-1609 LARGE COMPOSITION “ta ae Described in the Pembroke sale catalogue as follows: CoN King ern dress; bodies of dead and dying smitten by the plague are. being dragged off to a funeral pyre; in the foreground the Prophet Gad, with uplifted hand, addressing David.’’ a Powerful composition with magnificent Architecture. Pen and ) sepia wash, touched with white. z From the Earl of Pembroke Collection. Height, 134% inches; width, 16% inches THE VIRGIN AND CHILD, enthroned, bestowing blessing upon numerous Saints, adoring her Beautiful composition, in pen and sepia wash. From the Hamilton Easter Field Collection. Height, 14% inches; width, % inches SIXTEENTH CENTURY SWISS, GERMAN AND DUTCH SCHOOLS LOTS 38 to 53 | JOST AMMAN 1539-1591 FORTITUDE | Young woman, carrying a broken column, in the distance landscape with villages and ruins. Pen and India ink. From the R. Peltzer Collection. Height, 534 inches; width, 444 inches’ TWO NOBLEMEN WITH A HORSE Pen and India ink drawing. From the Peltzer Collection. Height, 3% inches; width, 414 inches 16 EU BR ER 41 RG JOE NUMB . ; HERRI MET DE BLES (Blesius) (Attributed to) 16th Century 40 ST. LUKE PAINTING THE MADONNA Bis? > Pa y Al 1g? i" , Cireular pen and India ink drawing on yellowish ground with white high-lights, | 7 -“ Beautiful composition with rich Gothic Architecture. The monogram of Lucas van Leyden on the round tablet on a pillar at the left apparently added by a later hand, also some of the pen lines have been strengthened in a later ink. This drawing was previously attributed to Dirk Vellert, the above attribution is due to Dr. Max J. Friedlaender. Diameter, 101% inches JOERG BREU 1480-1537 TUBAL CAIN, INVENTING MUSIC Masterly chiaroscuro drawing in pen and India ink on paper grounded in brown with white high-lights added. Magnificent — composition with rich Renaissance architecture and prospect Into an open landscape. Dated 1522. The monogram of Albrecht Aldorfer added by a later hand. This same compo- sition has been executed in oil by Breu on the wing of a small organ in the Fugger chapel at St. Anna, Augsburg. Thieme Becker, Vol. IV, page 594. Another chiaroscuro draw- ing of the same subject attributed to Breu is in the Uffizi Col- lection at Florence (Photograph Brogi), but according to Thieme Becker, this latter is a later repetition by a different hand. . There is no doubt, even without the confirmation in the **Kuenstler Lexicon’’ that the drawing here shown is the Original and the Florence drawing the imitation. If this draw- ing had been made after the Florence drawing with fraudulent intention, it is hardly probable that the name of the more famous Altdorfer would have been added as the author. A drawing of first importance. From the Ri. Peltzer collection. Height, 137% inches; width, 644 inches [SEE ILLUSTRATION | 17 42 44 ad CIRCULAR COMPOSITION , apparently representing a Foun tain of Youth. In the center in the foreground three women bathing, at the left a knight leading his wife to the fountain ; to the right a knight spectator, holding his horse. In the — middle-ground a party feasting with wine and music. Behind . a wall the roofs and towers of a medieval city. Pen drawing in Joerg Breu’s most characteristic style, arth colored in red, blue and light green. Drawings of this school of yj such quality are of the utmost rarity. Diameter, 11 inches ALBRECHT DtiRER (After) THE ANGEL WITH FEET OF COLUMNS OF FIRE hand- ing a book to St. John of Patmos, which the latter devours (figuratively ) One of the scenes depicted in Diirer’s series of wood-cuts : The Apocalypse of St. John. 3 Superb pen and sepia wash drawing, executed after Diirer’s wood-cut by a contemporary, most likely Mare-Antonio Raimondi, as the treatment of the trees shows that particular style of his earlier engravings. A highly interesting 16th Century copy, from the collections . of Louis C. Borgmeyer (where it was attributed to eubreahe : Diirer), Ravaisson-Mollien, and Garnier. Height, 1514 inches; width, 113 inches x URS GRAF Swiss School, about 1485-1535 A LANSQUENET Beautiful chiaroscuro drawing in white on brown eround. Swiss and German drawings of this period of such quality are of the greatest rarity. A drawing of first importance. Height, 534 inches; width, 4 inches 18 [<~@ & er. ‘azar’ ar f° : ’ \ - BALTHASAR JENICHEN Nuremberg, 16th Century Pp 01 eTRAIT OF ANSELMUS GRATAROLUS (born 1516) oa suae 47 mensib. 7 1563. mense novemb. ~ ‘CHRISTOPH MURER a2) 1558-1614 ceenoue Swiss Glass Painter RPHEUS PLAYIN G TO THE ANIMALS lagnificent pen and India ink drawing from the Peltzer Col- In the catalogue of the latter it was attributed to anil Lindtmayer, 1552- -1607, of the same school. This draw- _ ing, however, has been pronounced by highest authority as a typical of the manner of Murer. mene gad very rare specimen. Height, 614 inches ; eaitic 3% inches PRIMITIVE GERMAN MASTER (previously attributed to Master Wilhelm of Cologne) i ; 7 A WINGED SAINT, writing in a book, to the left an Angel : Both figures surrounded entirely by minute Gothic hand- _. - writing. In yery delicate old coloring on brown paper. \#” A puzzling drawing; the writer has never seen a similar work -_ with outline in writing. The attribution to Master Wilhelm of ' _ Cologne is hardly possible, it seems to me a work of the Cologne | a School of the end of the 15th Century. The delicate features | _ of the Angel remind me of Stephan Lochner. A connoisseur pd. | | 2% considers it work of the Krankish School and suggests Mathaeus uw} Grunewald. 2 | A highly interesting early drawing. __. From the Ravaisson Mollien Collection. asl | - 5 Height, 814 inches; width, 614 inches 19 ve bove the old inscription: Anselmi Grataroli effigies anno HANS LEONHARD SCHAEUFFELEIN (attributed to) Nuremberg, 1490-1540 MAN KILLING A WILD BOAR < Superb early 16th Century pen drawing, by one of the fol- lowers of Albrecht Direr. On a stone in the lower right a monogram H.S. which however is not that of Schaeuffelein. Exceedingly rare specimen. From the Collections of Ravaisson’ Mollien and Charles Garnier. Height, 8 inches; width, 6 inches + TOBIAS STIMMER Swiss School, 1539-1587 THE ANGEL APPEARING TO THE SHEPHERDS Masterly chiaroscuro pen drawing on dark greenish ground, India ink, with white high-lights. From the Grahl Collection. Height, 734 inches; width, Th inches DESIGN FOR A COAT OF ARMS © Supported and held by four angels. Pen drawing, hexagonal, with slight touches of red coloring. From the Lanna Collection. Height, 414 inches; width, 25. inches SWISS GLASS PAINTER of the 16th Century RICH COMPOSITION FOR A GLASS WINDOW In the center Christ at the Table of Simon the Pharisee, with Mary Magdalen kneeling before him. Below, at the right, a kneeling donator in prayer; and a coat of arms. In the upper right a biblical scene (4 Reg. Chap. 13). The corresponding space at left is blank. Pen drawing, only the coat of arms and the halo above Christ’s head. in colors. Drawings of this school and of such breadth of execution are of extreme rarity. On paper with the water mark of a bear. Height, 1514 inches; width, 1014 inches — 20 “4 wi “+ JAN WIERIX — 1548-1615 Exquisite pen i on vellum, of the greatest minuteness - and fineness of execution. From the Peltzer Collection. | Height, 354 inches; width, 45g inches LAMBERT ZUTMAN (also known as Suavius) 1510-1567 GROUP OF ABOUT 25 PEOPLE. Supposed to be a study for the artist’s engraving: St. Peter and St. Paul healing the lame man at the Beautiful Gate. Pencil drawing. From the Earl of Pembroke Collection. , Height, 1214 inches; width, 8 inches SIXTEENTH CENTURY 2 FRENCH SCHOOL 8 ( | LOTS 54 to 64 ¥ i= EP FRENCH MINIATURIST ' fr y of about 1500 | t. 54 THE JUDGMENT OF SOLOMON : ‘Illuminated page from a French Livre d’Heures. Four lines th (yo “ of Manuscript text with the initial D. below the miniature, : both surrounded by rich ornamental scroll border. Manu- | script text on the reverse. Framed. Height, 614 inches; width, 414 inches a SALOMON BERNARD, called le petit Bernard | Born at Lyons about 1515; died there after 1580 55 OLD LEATHER VOLUME with 60 leaves, containing about _ . 115 minute drawings representing Scenes of the Old and New be | ys Testament and the History of the Apostles, two title-pages with 21 \ ornamental borders, one sheet. of. Grnavienay eran a an. A exquisite minute pen drawing of the Virgin and Child in a 3 glory, standing on a Crescent, in Diirer’s style. casi These magnificent little drawings, from the Ritter von Pfeiffer 3 Collection, Vienna, came into my hands as the originals for Bernard’s famous Bible publication, which PEpEAROG in Lyons in 1553. 4 The German text added on many pages, however, aka tne j owner believe that the drawings in this volume are con- ~— temporary German copies from the famous French wood-cuts, which in their turn borrowed most of their motives from — Schongauer and Diirer. A highly interesting collection of drawings. FRANCOIS CLOUET AND HIS SCHOOL ‘ Francois Clouet was born, probably at Tours, between 1516 and 1520 ; he. } died in 1572. He was the foremost and leader of the French School of Por- 4 traitists of the middle of the 16th Century and was court painter under Henri 7 II, Francis II and Charles IX. | j 56 / { \ FRANCOISE DE LENONCOURT, PRINCESSE DE GUEMENEE - Attributed to Francois Clouet. Very fine original drawing in black and ra crayons (the hae touched in water-color), in lower border the old inscription : ‘*M. Damoiselle de Lononcor.’’ - ? In a beautiful Renaissance style frame. Height, 1114 inches; width, 73, snehan 4 She was the daughter of Rene de Laval, Seigneur de Bois- - dauphin. Married first, Henri, Marquis de Lenoncourt; sec-_- ondly, Louis VI de Rohan, Prince de Guéménée. She died in © 1615. . The notes to this and the following 8 items are copied Fromil the catalogue of a previous owner, and are attached to the back of each frame. FRANCOIS DE LORRAINE, SECOND DUC DE GUISE, © 1519-1563 . Attributed to Francois Clouet. Magnificent French 16th Century drawing in red and black 22 Z FRANCOIS CLOUET ] MBER 59 NU [ oe t \ _. erayons. In the lower right ie old inscription in ink: ‘‘Mon- ey sieur de Guise, son fils aisné,’ a a Renaissance style frame. Height, 1314 inches ; width, 834 inches ie was a son of Claude de Lorraine and of Antoinette de Bourbon and head of the Catholic party in opposition to that of Condé. He married Anne d’Este. Assassinated by a Protestant named Poltrot de Méré. -LEONOR D’ORLEANS, DUC DE LONGUEVILLE ET D’ESTOUTEVILLE, 1540-7 3. Married Marie de Bourbon _, Attributed to Francois Clouet. von Superb drawing of the same excellent quality as the preceding item. In black and red crayons. In lower right the old inscription in the same hand as the other item: ‘‘Monsieur le Due de Longueville.”’ a In a Renaissance style frame. Height, 13 inches; width, 834 PCA JACQUES DE SAVOIHE, DUC DE NEMOURS, 1531-1585 - Attributed to Francois Clouet. Of the same quality as the preceding item, and marked in the same old pring in the lower left: ‘‘Monsieur Le Duc de Nemours.’’ Black and red crayons. Ina . Renaissance style frame. Height, 13 inches; width, 834 inches He was a French General. Married Anne d’Este, widow of Francois, Duc de Guise, who was assassinated by Poltrot de Méré. [Sez ILLUSTRATION ] “MARGUERITE DE VALOIS, Called “‘LA REINE MAR- GOT,’ 1553-1615 Attributed to Francois Clouet. Delicate drawing in black and red crayons with slight touches of water-color. In a Renaissance style frame. Height, 13 inches; width, 814 inches Daughter of Henri II and Catherine de Midice: In 1672 she married Henri de Bourbon, King of Navarre, who became later Henri IV of France, by whom she was divorced. 23 61 62 63 MELCHIOR DES PRES, SIGNEUR DE MONTPEZAT Attributed by previous owner to Jean Clouet. (As he died in 1541 and it shows plainly the same hand as that of the author of the previous items,:I think the attribution to Francois, who _ worked later, more likely). Exquisitely delicate drawing in red and black crayons. In a Renaissance style frame. Height, 13 inches; width, 9 inches | Relation of Brantéme; Master of Forests and Sénéchal of Poitou; lieutenant of the King in Guyenne under Henri IJ and — his sons; lieutenant in the service of the Due de Guise. MADAME CURTON, WIFE OF JACQUES DE CHA- . BANNES; Governess to Marguerite de Valois Attributed to Jean Clouet. , Delicate drawing in black and red crayons, similar in style and character to the preceding items. In a Renaissance style frame. Height, 1234 inches; width, 814 inches PORTRAIT OF A GENTLEMAN Attributed to Jean Clouet. Delicate drawing in black and red chalks of the same style and quality as the preceding items. In a Renaissance style frame. Height, 138 inches; width, 814 inches PORTRAIT OF A GENTLEMAN, About 1569 School of Clouet, artist unknown. Exquisite drawing in black and red crayons, slight touches of. yellow water-color. Of the same unusual and rare quality as the eight preceding items. In a Renaissance style frame. Height, 1234 inches; width, 814 inches 24 | 65 67 SEVENTEENTH CENTURY ITALIAN SCHOOLS LOTS 65 to 76 DOMENICO MARIA CANUTI Bologna, 1620-1684 MARTYRDOM OF A SAINT The latter at the foot of a column in a Roman Circus sur- ; rounded by six lions, an old male Saint and an Angel floating in the air, comforting the Martyr. Beautiful Bolognese drawing in pen and sepia wash on brown paper, high-lights in white of lead, partly turned black. From the Count Gelozzi Collection. : Height, 814 inches; width, 14 inches GIULIO CARPIONI Born at Venice, 1611; died Verona, 1674 THE BODY OF A DROWNED MARTYR Supported by six nude figures; an Angel strewing flowers above. Highly interesting sanguine drawing of the 17th Century. The old attribution in ink on the reverse. It is a wise practice to retain an old traditional attribution, if it does not bear a famous name, as the early owner might have had much better evidence for the authorship than we are able to produce now. Height, 8 inches; width, 11 inches DOMENICO ZAMPIERI, called Domenichino (attributed to) 1581-1641 YOUNG MAN AT PRAYER Chareoal, heightened with white on blue paper. Framed. Height, 834 inches; width, 8 inches 25 68 69 70 rfl MATTEO DA SAN GIMIGNIANO) BIBLICAL OR MYTHOLOGICAL SCENE Vigorous and decorative Italian 17th Century pen drawing, ) India ink and white high-lights, partly turned black, on - grey paper. Composition for a fresco. Framed ’ Old attribution, impossible to verify as no Matteo da San ' Gimigniano is mentioned in the reference works. Height, 1014 inches; width, 914 inches — LUCA GIORDANO, called Fa Presto ' Naples, 1682-1705 MYTHOLOGICAL SCENE: MELEAGER AND ATALANTA Meleager wounded, supported by two women in the center, Atalanta with bow rushing from the right; Diana on the left. — Above in the clouds Venus in a chariot, in the middle distance the boar running away worried by a dog. Vivid pen and India ink drawing, oval. Height, 1014 inches; width, 71 inches ANDREA MALINCONICO Circa 1600-1650 PIETA ) : Four Holy Women mourning over the dead body of Christ. Chiaroscuro drawing in India ink touched with white, on tinted paper. From the Earl of Pembroke Collection. Height, 14 inches; width, 11 inches CARLO MARATTA (or Maratti) Roman School, 1625-1713 SAINTS AND ANGELS ON CLOUDS Magnificent charcoal drawing with white high-lights on green- ish grey paper. Signed C. Maratte, in lower right. Height, 1434 inches; width, 85g inches 26 * ‘DONATO MASCAGNI (or Mascagio) called Fra Arsenio Born in Florence, 1579; died 1636 THE JUDGMENT OF KING SOLOMON Splendid little pen sketch of great dramatic effect. Framed. | Height, 35g inches; width, 334 inches PIERFRANCESCO MOLA 1612-1668 ST. JOHN THE BAPTIST, PREACHING = _ Beautiful composition in pen, sepia and white of lead (which es has partly turned black). mae 47, inches; upper width, 614 rales: lower, 914 inches _ ANDREA SACCHI 1598-1661 ABRAHAM DISMISSING HAGAR Carefully executed sanguine drawing with white high-lights Height, 714 inches; width, 714 inches -ALESSANDRO TURCHI, called Orbetto Veronese 1582-1648 SALOME PRESENTING THE HEAD OF ST. JOHN TO HEROD > Highly interesting pen and India ink wash drawing. Prob- ably a study for the painting ‘‘Salome’’ in Munich mentioned in Bryan’s Dictionary. Circular composition. Diameter, 914 inches a 16 ACADEMIC STUDY OF A NUDE MAN 1 \ Charcoal, heightened with white on blue paper. Signed Allessandro Veronese, in ink, in the upper left corner. Height, 1534 inches; width, 1014 inches 27 SEVENTEENTH CENTURY DUTCH AND FLEMISH SCHOOLS LOTS 77 to 124 LUDOLF BACKHUYZEN 1631-1708 A 77 NAVAL ENGAGEMENT | 4) Spirited India ink drawing, with eight sailing vessels in action. i In the foreground the crew of one in a rowboat. ; Very clever seascape, somewhat suggestive of Willem van dol Velde. Framed. Height, 734 inches; width, 1234 inches | * a CORNELIS BEGA Harlem, 1620-1664 78 PORTRAIT OF CORNELISZ VAN HARLEM (| / Bust in sanguine, silhouetted and mounted on green ground, showing in the upper right corner the signature: Korns. Begga f. Remarkable drawing, representing a very early work of Bega, who is known to have been the son of an illegitimate daughter of Corn. Corneliszen. Height, 4 inches; width, 314 inches _ , | ABRAHAM BLOEMAERT 1564-1658 / 79 BACCHANALIAN SCENE | \o Silenus supported by two Satyrs, in the foreground to the left a group of female Bacchantes, children and a satyr. Highly interesting Flemish drawing, in pen and black chalk strongly suggestive of the style of Jacob Jordaens. c Signed A. Bloemart in lower right. Height, 714 inches; width, 8 inches 28 JOHANNES BRONKHORST 1648-1727 A SHEET WITH 24 PEN AND WATER-COLOR STUDIES OF INSECTS Clever drawings. From the Armand Sigwalt Collection, Paris. Height, 314 inches; width, 714 inches AELBERT CUYP (attributed to) | 1605-1691 COW RESTING Charcoal sketch with white high-lights on blue paper. This drawing came into my hands under the above attribution. It is a highly clever Dutch 17th Century drawing and it is - not at all impossible that Cuyp was the author. Height, 434 inches; width, 734 inches AERT DE GELDER School of Rembrandt, 1645-1727 JOSEPH INQUIRING FOR HIS BRETHREN Spirited pen and sepia sketch characteristic of the school of Rembrandt. Apparently one of a series of Bible illustrations by the same hand, all showing numbers and reference to the Bible text in the same handwriting. The writer has en- countered a similar drawing with identical handwriting in the Albertina Collection, another was in the Peltzer sale. Height, 8 inches; width, 124% inches THE GOOD SAMARITAN, MANNOAH HIS WIFE AND THE ANGEL Another drawing from the above-mentioned series, with num- ber and reference to the Bible text in the same handwriting. Highly interesting pair of drawings. Height, 8 inches; width, 1214 inches 29 co 84 85 -HENDRICK GOLTZIUS 1558-1616 THE TRIUMPH OF GALATEA The original drawing for his engraving after Raphadl? s Point | ing in the Villa Farnesina, showing the same inscription as” the engraving: six lines in Latin verse and the note: Opus hoes depictum est suis coloribus Roma ad parietem per Raphaelem 7 d’Urbin; in palatio Augustini Ghigi, et ibidem ab H. Goltzio (the initials forming Goltzius’ monogram) adnotatum, et deinde eri in sculptum. Anno 1592. There is no question in my mind that this is not a ‘drawing G from the engraving but Goltzius’ original design. It shows his peculiar precise rounded line, the same as his burin stroke. — Highly interesting pen drawing in red _ the sea, a BR in j India ink brush work. Framed. | Height, 2234 inches; widen, 17 rach P| JACOB JORDAENS 15938-1678 CHRIST WITH THE DISCIPLES AT EMAUS | , Christ seated at a richly laden table between the Disciples, ~ who seem to be talking animatedly. Behind, a woman brings) s ing a dish; to the left, a man pouring wine. q A metres color sketch in Jordaens’ most characteristic style. — An unusually fine example. : From the R. Peltzer Collection. . 3 Height, 10 inches; width, 111% inches y [SEE ILLUSTRATION ] PHILIP DE KONINCK 1619-1689 One of the foremost pupils of Rembrandt FULL-LENGTH FIGURE OF AN OLD MAN. Pen and — India ink % Signed Ph. Koninck on the reverse. Superb drawing, very closely related in style to Rembrandt. ~ Without the old signature, this drawing would possibly have J been known as a Rembrandt. Framed. : Height, 6 inches; width, 334 inches — 30 ' Riese —_. — Soll JACOB JORDAENS CHRIST WITH THE DISCIPLES AT EMAUS a JANI LIEVENS ie ise i | Sohooi of Rembrandt, AEOT-166S ry y pigeon house standing by the edge of a wood. ng ore 5 If it were not for a certain lack of life in the ay view shaved by Mr. Meder, “our best authority on t. en 832 inches ; width, 714 inches "gow al Re ie a ae JEAN LINGELBACH fe Born in Frankfort 1625, died in Amsterdam 1687 ‘HREE MEN ON HORSEBACK “ruined. ¢ eastle_ | India ink drawing. From the Peltzer Collection. iving a Parink from a landlord at the door of an inn. lisite charcoal dra wing with slight touches of white high- on ‘blue paper. Framed. , Height 414 inches; width, 314 ‘thes GODEFROY MAES Born in Antwerp 1649, died 1710 ed lor. On grey. paper. o Signed in lower left. : : i - _Height, 5 inches; width, 634 inches JACOB MATHAM Harlem, 1551-1631 Pupil and stepson of Hendrick Goltzius 91 ‘MYTHOLOGICAL SCENE In the foreground to the left, under an open tent, Venas, %® nude, embraced by a god; towards the rear, five gods seated 31 ypical pen drawing, in a style very close to Rem- _ Height, 414, inches; width, 2% inches around a table, a cupid in front; behind on a hill two goddesses — playing the flute and below a dancing couple. To the right © 40 92 93 94 in the foreground a greyhound seated in front of a fountain. — Pen drawing on Vellum, highly finished in the manner of an ~ engraver. The signature ‘‘Jac. Matham fecit’’ on the base of — the fountain. This drawing seems to be the design for the — engraving described by Bartsch under No. 21, which, however, — is in oval shape. Signed drawings by Jac. Matham are of the © greatest rarity. Height, 754 inches; width, 115¢ inches JAN MIENSE MOLENAER GROUP OF DRINKING PEASANTS Seated around a table; to the left one is being dragged out by his coat, by his wife and a small child. Broad and spirited drawing, in Molenaer’s characteristic style ; black and white chalks on green paper. Framed. Height, 105g inches; width, 165¢ inches ANTHONY PALAMEDESZ (Stevaerts) Born in London 1604, died in Delft 1680 SOCIETY SCENE A party of about 18 people of the rich class of Holland. A superb drawing in dark red chalk. Probably unique in quality of technique; the writer has never before encountered - a drawing of elegant Dutch life in a style so exceedingly simple and yet so full of vitality. Height, 414 inches; width, 914 inches * CRISPIN DE PASSE 1540-1629 THE ASCENSION OF THE VIRGIN Pen and India ink drawing, probably the design for an en- © graved Bible illustration. From the Lanna Collection. Height, 34% inches; width, 234 inches 32 Peo WOMAN PLAYING THE LUTE Design for an illustration of the Dutch Legend: Genevieve de Brabant. : | Exquisite pen and sepia drawing. From the Marquis de Lagoy (Fagan 332) and William Mayor (Fagan 601) Collection. Framed. Circular, Diameter, 414 inches REMBRANDT VAN RHYN 1606-1669 RUINS OF AN OLD DOORWAY To the left a woman seated on a bench, trees on both sides. Superb pen drawing, from the HE. Utterson and Peoli Collec- tions. This magnificent Rembrandt drawing was acquired by me in New York at auction, under the correct attribution, for a very small amount, those present apparently not having enough confidence in the attribution. It has never been offered by me, as I intended to hold it until peace would permit me to show it to the great Dutch authorities, Dr. Bredius and Hofstede de Groot, for verification. I include it in this sale, however, in order to have Rembrandt’s name worthily repre- sented. I consider this a drawing of very great value and I wish to state here for the benefit of the prospective purchaser, that my opinion is not only backed by my experience but also . by a very high wager with a sceptical friend pending the verdict of the authorities above referred to. Height, 7 inches; width, 12 inches [SEE. FRONTISPIECE | SCHOOL OF REMBRANDT HOLY FAMILY Interesting drawing, in Rembrandt’s typical manner. [| or- merly attributed to Rembrandt (see old ink attribution on the reverse). From the R. Peltzer Collection. Height and width, 514 inches 33 oo 100 101 MAN ON HIS KNEES BEFORE A WOMAN On the reverse another sketch of the same subject. Interesting school drawing, formerly attributed to Rembrandt, but more likely by a close follower or contemporary imitator. Height, 5 inches; width, 314 inches ~ ROELAND ROGHMAN 1597-1685 Friend of Rembrandt LANDSCAPE In the distance the large tower of a church. Interesting pen and India ink drawing, previously attributed to Rembrandt. On the reverse a pen drawing of another land- scape, with pedestrians walking on a road in the foreground. Height, 3% inches; width, 614 inches PETER PAUL RUBENS (attributed to) 1577-1640 FULL-LENGTH FIGURE OF A NOBLEMAN Very clever pencil and India ink wash drawing, signed in lower right P.P.R. fecit. With the collector’s mark. Fagan No. 381. When acquiring this interesting drawing I did not pay for the big name and quote the old attribution here with reserve. I have had no opportunity to verify the attribution, which, however, is by no means so very improbable. It is a Flemish drawing of the period, sufficiently good to own, even without the big name. Height, 614 inches, width; 314 inches SCHOOL OF RUBENS TWO ANGELS APPEARING TO AN ASSEMBLY OF NOBLEMEN AND CLERICALS Beautiful drawing in black and red chalks. From the R. Peltzer Collection. ‘ Height, 834 inches; width, 1214 inches — 34 PETER ANDRIES RYSBRAECK 1655-1729 Pupil of Francois Millet and Poussin WIDE LANDSCAPE With mountains and river, in the middle distance a village ; in the foreground two figures by a waterfall. Superb and decorative water-color drawing, from the A. G. de Visser, Amsterdam, 1881, and M. von Lanna Collection. Height, 634 inches; width, 914 inches HERMANN SAFTLEVEN (manner of) 1609-1685 LANDSCAPE WITH OLD CITY WALL, MOAT AND DRAWBRIDGE 7 Numerous people seated and walking near the walls and across the bridge. On the slope in the foreground two goats, on the water a rowboat. A lovely Dutch landscape drawing, superb in detail and per- spective. Pen and sepia. ; Height, 444 inches; width, 6 inches GODFRIED SCHALKEN 1643-1706 THE ARTIST’S SELF-PORTRAIT Decorative sanguine drawing from the F. A. van Scheltema Collection. In oval, height 8 inches; width, 7 inches MARY MAGDALEN PENITENT Sanguine, pen and India ink drawing, very strong in the effect of light, typical of Schalken’s paintings. From the Peltzer Collection. Height, 1014 inches; width, 101g inches 35 JOHANN CHRISTIANUS SCHOTEL Se 1787-1838 5 Distinguished Dutch Marine painter. | 106 MARINE | ) With many sailing vessels and row-boats. [ 2; Charcoal and pencil. Signed J.C.S. in lower right. From the Charles Gase Collection. : Height, 734 inches; width, 1114 inches BARTHOLOMAEUS SPRANGER 1546-1627 107 HOLY FAMILY With two angels, one singing and one playing the Iute. / Pen and India ink drawing. | | From the Earl of Pembroke Collection. Height, 13 inches; width, 914 inches i BARTHOLOMAEUS SPRANGER (attributed to) 108 BATTLE SCENE ; Nude man defending himself against seven onrushing horse- od men. Three fallen fighters on the ground. Tremendously powerful pen and sepia wash drawing of the pre-Rubens period. Height, 1614 inches; width, 2244 inches — ANTHONY VAN DYCK (attributed to) 1599-1641 109 THE DESCENT FROM THE CROSS This highly interesting and spirited drawing in charcoal, pen / and bistre came into my hands in a collection under the above 30 old attribution. Having seen numerous vivid sketches by the _ master in this same style, I believe in the attribution. Opinions of connoisseurs, however, vary in this case. Dr. Sirén was inclined to call it a Venetian drawing of the Tintoretto style. In any case, it is a sufficiently interesting drawing even without a big name. Height, 7 inches; width, 514 inches 36 112 PIETA Two holy women mourning over the dead body of Christ. Pen and India ink wash. A work undoubtedly by the same hand as the preceding item. The drawing which comes from an entirely different source had the same attribution before it came into my possession. Height, 814 inches; width, 7 inches CHILD (OR ANGEL) HOLDING A BOOK AND LILIES Pen and India ink wash drawing, from the Pierre Jean Mariette, Count Moriz von Fries and Count Poggi Collections. In spite of the wonderful pedigree I do not feel justified in endorsing the traditional attribution of this pretty drawing without reserve. It is a nice Flemish drawing of the period, but I cannot see , the hand of van Dyck in it. Height, 934 inches; width, 614 inches GERBRAND VAN DEN EECKHOUT | 1621-1674 Pupil of Rembrandt from 1635-40 YOUNG CAVALIER, SEATED Superb drawing in black chalk heightened with white on blue paper. Signed: Heckhout, in ink in the upper right corner. \ ; A drawing of rare artistic quality, of the closer Rembrandt school. Framed. Height, 814 inches; width, 654 inches JAN VAN GOYEN 1596-1656 LANDSCAPE Wide road bordered by high trees; from the distance a wagon is seen approaching. Pencil drawing of magnificent perspective in van Goyen’s characteristic style. Signed with the monogram V.G. in the lower right corner. Height, 61% inches; width, 10% inches YOUNG GIRL, STANDING Full length, in three-quarter profile. Exquisite charcoal drawing from the van Scheltema Collec- tion, Amsterdam. Height, 5 inches; width, 314 inches 37 115 116 cB Ws 118 WILLEM VAN MIERIS 1662-1747 ALLEGORY OF SPRING A young female genius floating in the air with a garland of flowers at play with two cupids holding a flower basket. — Exceedingly graceful and delicate sanguine drawing in the | younger Mieris’ characteristic elegant style. Circular com- position. Framed. Diameter, 734 inches YOUNG WOMAN crowning another with a wreath of flowers, in the rear a third playing the tambourine Drawing in black chalk, with white high-lights on grey paper. This charming drawing has also been attributed to Goltzius, whose style it closely resembles. Since, however, the exact- — ness and flow of line are also peculiar to Mieris, the old attribution is here retained. From the Peltzer Collection. Height, 5% inches; width, 414 inches ADRIAN VAN OSTADE 1610-1685 PEASANT PUSHING A LOADED SLEIGH Magnificent small sepia drawing, from the Selliére, Engert and A. von Lanna Collection. Height, 17% inches; width, 314 inches [SEE REPRODUCTION ON COVER] | INTERIOR OF A GRANGE, A woman kneeling in front of a barrel, from which she seems | to draw the contents; a man standing behind her. Beautiful and characteristic drawing in black and white chalk on blue paper. From the F. A. van Scheltema Collec- tion, Amsterdam. Framed. ~ Height, 8144 inches; width, 7144 inches" 38 ; | : e8 ta alba POSTERS IN JACOB VAN RUYSDAEL _ 1628-1682 119 OLD MILL With large water wheel; on a hill to the right two peasants. Among the reproductions of drawings in The Rijksmuseum, Amsterdam, I found another drawing by Ruysdael showing this same mill but from a different angle, drawn with the same bold and characteristic flow of line. Height, 4 inches; width, 7% inches [SEE FRONTISPIECE | ESAIAS VAN DE VELDE 1590-1630 TWO MEN IN CONVERSATION To the right a dog. Exquisite little pencil drawing. Framed. | 21% inches wide and high CORNELIS VISSCHER 1618-1658 HEAD OF AN OLD WOMAN In profile, turned to the right. Superb charcoal drawing on Vellum, of the greatest fineness of execution. Signed C. Visscher. From the Peltzer Collection. Height, 454 inches; width, 43 inches MARTEN DE VOS Antwerp, 1531-1603 THE FALL OF THE GIANTS Masterly composition of many figures on minute space. Pen and India ink drawing, signed M. de Vos in lower right. From the R. Peltzer Collection. Height, 534 inches; width, 334 inches 39 123 124 Sa Re ge ST. JEROME, IN THE DESERT, IN PRAYER Spirited pen and sepia wash drawing. From the same collection as the preceding item. Height, 754 inches; width, 514 inches $ PHILIP WOUWERMAN 1614-1670 CAVALIER ON HORSEBACK Exquisite charcoal drawing, in Wouwerman’s best style. Height, 334 inches; width, 2144 inches — SEVENTEENTH CENTURY FRENCH SCHOOL LOTS 125 to 138 ROBERT BOISSARD about 1600 (born 1570) NYMPHS SURPRISED bY SATYRS i) Graceful circular composition, drawn in exquisite flow of the pen. From the R. Peltzer Collection. Framed. : Diameter, 6 inches STEFANO DELLA BELLA Florence, 1610-1664 Worked in Paris, contemporary of Callot CHILD AT PLAY WITH DOGS i Clever little drawing in pen and India ink wash. Framed. Height, 314 inches; width, 414 inches 40 DANIEL DUMONSTIER 1574-1646 PORTRAIT OF AN OLD MAN Black and red chalks, the flesh tints touched in water-color. This magnificent drawing in the Bardini Collection given was to the Italian School. After some research and careful com- parison with the reproductions of Dumonstier’s work, there ‘remains not the slightest doubt that this is a typical repre- sentative drawing from the hand of the famous French Portraitist. A superb example, the paper somewhat worm-eaten in spots. Height, 934 inches; width, 814 inches FRENCH SCHOOL about 1600 Possibly Dumonstier or Lagneau HEAD OF A MAN Strong drawing in red and black chalks. Also from the Bardini Collection, where it was given to the Italian School. It is undoubtedly a work of the same school and period as the preceding item, but not quite sufficiently characteristic of the hand of Dumonstier, to give it to him without reserve. — Height, 9 inches; width, 7 inches FRENCH SCHOOL (Possibly Robert Nanteutl, 1623-1678) HEAD OF AN OLD MAN Superb drawing in red and black chalks. The features of the portraitee bear a strong resemblance to those on Nanteuil’s famous portrait engraving of Francois de la Motte Le Vayer, R. D. 148. It is undoubtedly a work of the period and an engraver’s drawing, and the attribution to Nanteuil seems quite plausible to the writer. Oval. Height, 734 inches; width, 614 inches HEAD OF A MIDDLE-AGED MAN Excellent drawing by the same hand and with the same characteristic qualities as the preceding item. Red and black chalks. Oval. Height, 8 inches; width, 614 inches 41 CHARLES LEBRUN ; 1619-1690 © 3 HEAD OF A MALE SAINT Beautiful drawing in red and black chalks. q Height, 1154 inches; width, 814 inches. 4 HEAD OF A FEMALE SAINT (MATER DOLOROSA) © ‘ Magnificent design in red and black chalks, heightened with | i white. An old French mount. t Height, 1414 inches; width, 1014 inches f CLAUDE GELLEE, called Le Lorrain ; 1600-1682 \ LANDSCAPE | In the center a ruined castle, in the foreground a oe with his flock. Pen and sepia, the castle and a beautifully touched up in, water-color. One of the most beautiful Claude drawings the writer has ever encountered, the flock of goats in the fore- ground strongly suggestive in style of Claude’s famous etching: ‘‘Le Bouvier.’’ ) From the Duke of Rutland Collection. - | Height, 534 inches; width, 7% inches [Szzx ILLUSTRATION ] WIDE LANDSCAPE , In the foreground a hill with three trees, in the center cant or town on a hill, in the distance the sea. . Exquisite and characteristic pen and sepia drawing masterly in perspective. Dated 1678. The date preceded by a word hard to decipher, the nearest I can make out is: Jan Lanee; it may possibly mean January of the year ! On the reverse a small pen drawing, showing four women washing in a well at the foot of a hill crowned by ruins. In the lower right the inscription: ‘‘Civita Lavinia.’’ é Height, 414, inches; width, 614 inches” [Sze ILLUSTRATION ] 42 TWO LANDSCAPES BY CLAUDE LORRAIN [NumBERS 133 anv 134] A — te gg ¥ i) i ‘P We |G sige 9 ey a Se as a “137 85 THE TEMPLE OF NEPTUNE, ROME _ The old temple by the Tiber, cruelly used as a human habita- tion, provided with new roof and chimney, seen from the side, to the left two small houses, the figure of a man in the fore- — ground. Superb drawing in red chalk and India ink wash. Height, 534 inches; width, 9 inches CLAUDE LORRAIN (attributed to) RUINS, SUGGESTIVE OF THE PALATINE, ROME Two male figures in the foreground. On the reverse, Christ or a Saint, standing on a rock. Pen and sepia wash drawings. While I could possibly accept the attribution to Claude for the very clever drawing in the front of the sheet, the one on the reverse undoubtedly betrays to me a weaker hand. I feel inclined to credit Bartholomeus Breenbergh, the Dutch artist, born about 1600, who worked mostly in Rome and also etched scenes of the ruins of classical Rome, with the author- ship of these drawings. Height, 814 inches; width, 914 inches | ee GASPARD DUGHET, commonly called: Gaspard Poussin Rome, 1613-1675 CLASSICAL LANDSCAPE With seven people in the foreground by the border of a lake. Beautiful pen and sepia drawing, in Gaspard Poussin’s characteristic style. Height, 5 inches; width, 10 inches ITALIAN LANDSCAPE With house and Roman temple in the middle-distance, in the foreground a man, standing in a boat and rowing. Signed in _ the lower left with the initials: P.G. Highly spirited pen and India ink drawing, with touches of sanguine. Height, 6 inches; width, 614 inches 43 139 140 141 142 SEVENTEENTH CENTURY SPANISH, ENGLISH AND GERMAN SCHOOLS ~~ dt LOTS 139 to 145 7 | F ALONZO CANO 1601-1665 ST. CECILIA Spirited sanguine sketch, signed Alonzo Cano in lower lefti} corner. From the Charles Gase Collection. Height, 414; width, 434 inches}. JUSEPE DE RIBERA (called Lo Spagnoletto) Born in Spain 1588; died in Naples 1656 ; 5 TWO BEGGARS Superb pen drawing from the collection of Earl Spencer (1758-1834) A masterly drawing which one feels inclined to give both to Callot and to Rembrandt. The grotesque character, however, | is entirely Spanish and makes one think of the much later } Goya. Height, 914 inches; width, 65 inches } SIR PETER LELY 1618-1680 Flemish painter, worked mostly in England PORTRAIT OF THE DUKE OF MONMOUTH Beautiful drawing in black chalk; the flesh tints in sanguine. Height, 714 inches; width, 534 inches ISAAC OLIVER Circa 1560-1617 English Miniaturist FIVE CHARMING SKETCHES in pen and sepia of fancy’ subjects on one sheet; they show much grace and charm, two being highly finished (Pembroke Catalogue description). From the Earl of Pembroke Collection. 44 iq 1 Reproduced in Arthur §S. Strong’s work, Vol. II, No. 66. Signed Isa. Oliver, on the mount. a Height 914 inches; width, 8 inches; popna the border ‘ on the mount. é WILLIAM ROGERS " English engraver, born in London about 1645 143 THE DUCHESS OF MARLBOROUGH “Sanguine, signed in lower left. iS Highly interesting early English engraver’s drawing. Height, 854 inches; width, 614 inches 4 ADAM ELSHEIMER (Style of) 1578-1620 us JACOB WRESTLING WITH THE ANGEL r In the foreground of a wide landscape. In the center a / *( caravan with camels and cattle crossing a bridge. I "4 Exquisite miniature painting on vellum in most brilliant -- vivid coloring. From the Peltzer Collection. Framed. Height, 234 inches; width, 434 inches WENZEL HOLLAR ‘ Born in Prague 1607 ; died in London 1677 145 VIEW OF A DUTCH TOWN WITH CASTLE we Fe Ne To the left and in the foreground a wide river, with two 50 sailing vessels. | Signed above: Orsvig(?) not clearly decipherable and dated | | 1630. Magnificent wide view in Hollar’s characteristic delicate style, in pen and pencil. From the collection of Philip Lankrink, page to King Charles I, and a contemporary of the artist. Height, 514 inches; width, 714 inches 45 0 146 | 148 |e as / FIGHTEENTH CENTURY FRENCH SCHOOL LOTS 146 to 164 GABRIEL BALLIN HEAD OF A MAN Black crayon drawing, probably for an engraving. Graceful French 18th Century work. Framed. Height, 514 inches; width, 3 inches | LANDSCAPE 4 Rocks and high trees in the center, water to the left and mountains in the distance. Decorative French drawing in red crayon. Framed. Height, 444 inches; width, 7 inches MILL AND WATER-FALL Showing the Title: ‘‘ Cascade et moulin du Chateau de Tencin, dans la Dauphine, dep. de 1’Isere, a 5 lieues de Grenoble.’’ Typical French 18th Century drawing in red and black crayons. Framed. Height, 434 inches; width, 734 inches MARIE JEANNE BERNARD 1740-1809 Daenter of Jean Joseph Bernard, called Bernard de Paris, famous calligrapher. LOUIS XVI AND MARIE ANTOINETTE Pen, wash and water-color drawing of the two heads in profile, within oval border of rich penmanship, the Tea probably done by the father, the famous ‘‘maitre d’ ecriture.’ Signed: Fait 4 la plume par Mlle. Bernard. Mademoiselle Bernard is known to have made some repetitions of her father’s portraits of the King and the Queen, one of which is in the Museum at Luneville. _ Highly finished and decorative drawing, engraved. Height, 16 inches; width, 1134 inches 46 153 154 FRANCOIS BOUCHER (attributed to) 1704-1770 HEAD OF A TURK Vigorous sanguine drawing in the typical manner of the French 18th Century drawings. Boucher made various draw- ings of similar subjects, and it is not at all impossible that this is not only a work of his studio but also by his own hand. _ However, it lacks the charm and grace which makes the possession of a Boucher drawing so attractive. Framed. Height, 834 inches; width, 614 inches SCHOOL OF BOUCHER HEAD OF A YOUNG GIRL Typical French 18th Century drawing in red and _ black chalks. Height, 1144 inches; width, 1114 inches APOLLO IN HIS CHARIOT Spirited French 18th Century drawing, in black chalk on grey paper, traces of white high-lights. Height, 1014 inches; width, 1614 inches JOSEPH AND POTIPHAR’S WIFE Spirited drawing in black and white chalk on grey paper of the period, but not delicate enough to be by Boucher, to whom it was attributed when it came into my possession. Height, 13 inches; width, 10 inches JEAN HONORE FRAGNARD 1732-1806 CLASSICAL SUBJECT Man and woman enthroned, to the right a boy approaching. Excellent drawing in red and black chalks, touched with white, of the early classical period of the artist. Framed. Height, 74% inches ; width, 734 inches 47 Sr. 155 156 THE ANGEL OF VICTORY ny Res Black and red chalks, heightened with white, on brown paper Of the same style and period as the preceding item. Framed, Height, 714 inches; width, 5 inches These drawings were acquired with four others by the same hand from a private collector to whom they were sold as Rubens drawings. I called them French 18th Century work immediately. When I returned to New York I sold two of © the lot to a dealer who soon established them as early works by Fragonard, an attribution confirmed recently by very good authority. : FRENCH SCHOOL | (attributed to Fragonard by the previous owner) 18th Century HEAD OF CUPID Beautiful and spirited charcoal drawing on grey Raper, Most likely a work of Boucher’s studio. Framed. ¥ Height, 1014 inches; width, 814 inches © FRENCH SCHOOL. 18th Century HEAD OF A YOUNG WOMAN | Black crayon, delicately touched in water-color. Exquisite © little circular drawing, framed in miniature style. a Diameter, 134 inches PORTRAIT OF A YOUNG WOMAN | Miniature, graceful and charming in color, somewhat rubbed. ~ Oval. Framed. Height, 13g inches; width, 1 inch © PORTRAIT OF KING CHARLES IV OF SPAIN Miniature. Superb 18th Century miniature. The features | of the portraitee are familiar from Goya’s painting. Oval. | Framed. Height, 4 inches; width, 3 inches © 48 % fi eh PORTAIL ANDRE [NUMBER 164] “Eg Ciesla ee oe a \ a Ra aeeecl. a = bP t . % a ‘ b . 163 “S ANTOINE JEAN, BARON GROS 1771-1835 THE ASSUMPTION OF THE VIRGIN (or more likely Transfiguration of Jeanne d’Arec, on account of sword and palm of victory held by the Angels) Charcoal with white high-lights on light brown paper. From the Charles Gase and Peoli Collections. Height, 914 inches; width, 514 inches JEAN BAPTISTE LANGLOIS - ORNAMENTAL PENMANSHIP Small old volume, in 18th Century leather binding, contain- ing 42 exquisite studies in ornamental penmanship, in the style of the art practiced by Bernard de Paris. Signed on the fly-leaf, J. B. Langlois and dated 1755. These interesting pen drawings represent ornaments on flower- scrolls, some have birds added and there is one excellent piece of virtuosity from the writer’s pen in the design of a parrot. An exceedingly interesting book of drawings, from the Ritter von Pfeiffer Collection, Vienna. NICOLAS DE LARGILLIERE (attributed to) 1656-1746 LADY, SEATED Her arm resting on a pillow; looking into a small mirror. Beautiful sanguine drawing on brown paper, with white high- lights. Height, 1014 inches; width, 85 inches CHARLES PARROCEL 1688-1752 SHEET WITH VARIOUS SKETCHES OF FIGHTING MEN To the left full-length figure of a man shooting, in the upper right a repetition of head and arms of the same. Below, a fallen soldier and two studies of feet. Brilliantly vivid sanguine sketches. Height, 714 inches; upper width, 814 inches; lower, 10 inches 49 ANDRE PORTAIL Famous French Portraitist and Designer, died 1760 YOUNG WOMAN Seated in a chair, in full figure. Drawing in red and black crayons of the most exquisite and | characteristic quality; typical representative of the graceful and charming draftsmanship of the period. Framed. From the E. Desperet ‘Collection, 1865. Height, 83g inches; width, 6 inches | [See ILLUSTRATION ] EIGHTEENTH CENTURY DUTCH, GERMAN AND ITALIAN SCHOOLS ~ LOTS 165 to 170 ABRAHAM DELFOS Leyden, 1731-1820 HEAD OF A YOUNG WOMAN Carefully executed design in red and black chalks, on vellum. | Height, 8% inches; width, 7 inches FRANCESCO GUARDI Venice, 1712-1798 SERIES OF EIGHT PEN AND SEPIA SKETCHES — (Two of them on one sheet) representing: 1 and 2. Sheet with five small sketches: on the front 2 i couples, in rich 18th Century costumes. On the reverse: _ on the left, another couple similar to the sketches in front; © in the center boy with a flock of geese, and to the right a — cavalier, standing. Height, 3 inches; width, 734 inches [3 3. Sheet with 12 figure sketches, all in various attitudes | and vivid motion. Height, 4 inches; width, 11 inches © 4 and 5. Two sketches on one mount, both pen and India ink on blue paper. The upper showing a group of ten Vene- ) tian people, moving away from the spectator, in open space, | signed Heo. Guardi in lower left. Height, 314 inches; width, 75¢ inches [SEE ILLUSTRATION ] 50 files rene UMBER 1 " 1 66 ae rr =I xB ‘pales: _ ep e <=} he LT ae ae im RL a ws a a The lower one showing groups of 17 adults, five children and a dog, in the same manner as the preceding item. Height, 354 inches; width, 884 inches [SEE ILLUSTRATION | 6. Group of about 50 people, in a frieze-like composition; most wonderfully vivid massing of many figures on a small space. Height, 3 inches; width, 1114 inches 7. Similar composition of a large group of people, more pro- nounced in the India ink, less in the pen work, in much wilder motion than the preceding item. : ; Height 27% x 1114 inches No more wonderful drawings have passed through the hands of the writer than these two marvelous compositions. 8. Venetian palace court-yard, with men and children. Charming design in the more ordinary style of Guardi draw- ings. From the Collection of General H. E. Fox, Ambassador at Naples, 1806. Height, 634 inches; width, 7% inches Owing to the great importance and value of this remarkable collection of Guardi drawings I do not wish to see them-split up and prefer to offer them as one single lot, hoping that they will always remain together and find their way into a very important collection. Instead, of further commenting on the unusual quality of this lot myself, I prefer to print here a letter, written to me about them by Dr. Oswald Sirén: ‘‘Tt is indeed with unusual interest and esthetic enjoyment that I studied the seven drawings by Francesco Guardi that you showed me the other day. They are not only perfectly characteristic of this great draughtsman, they show him at his very best. The two sketches on blue paper representing walking figures seen from behind are most remarkable studies of movement—one actually sees the small figures disappearing toward the background—and the two long horizontal draw- ings on white paper are the most living impressions of light and shade. They can well be compared to Rembrandt’s most impressionistic sketches, they vibrate with life and are filled with an atmosphere that envelops the figures and makes them all parts of one pictorial vision. The other drawings in the eollection of Guardis have merits of the same kind. Alto- gether they represent the master from different sides and give a good idea of his greatest qualities: the wonderful interpretation of light and atmosphere as a pictorial medium and the brilliant and life-catching technic.”’ 51 evye SL 167 \| 168 ho’ i169 4 \ V auroras rd # GEORGE PHILIP RUGENDAS 1666-1742 ; GROUP OF SEVEN RIDERS WITH EIGHT HORSES — Vivid pen and India ink drawing in Rugendas’ well-known ~ style. Framed. . Height, 884 inches; width, 10 inches — AART SCHOUMAN | Born at Dordrecht 1710, died at The Hague 1792 : PORTRAIT OF LOUIS, DUKE OF BRUNSWICK- WOLFENBUETTEL (1718-1788) Bust, three-quarters to left, in armor. Clever India ink drawing; signed in lower left: Nv Schouman | fecit 1755. Framed. From the van Scheltema Collection. Height, 10 inches; width, 634 inches _ J. TAMBOER Dutch Artist, about 1800 ABRAHAM VAN STRIJ (1753-1826), genre-painter of — Dordrecht, giving a drawing lesson to a pupil Water-color drawing in rich coloring. Signed in verso: J. Tamboer, 4 Maart 1816, na A. van Strij. Height, 914 inches; width, 8 inches © CORNELIS TROOST Amsterdam, 1697-1750 Famous Dutch painter of the 18th Century THE PORTRAIT BUST OF J. CAMPO WEYERMAN | | (1677-1747) Painter and pamphletist ; surrounded by five cupids ea little fauns. Beautiful sanguine drawing from the Pinto and Habich q Collections; engraved. | Height, 7 inches; width, 53% inches _| 52 THOMAS GAINSBOROUGH MRS. SHERIDAN AND MRS. TICKELL [NUMBER 172 2 te Ranta: “sneer yeni RE ener rye! SOP wee ase See Stas a Me a = Se eee = = CE 7M 4 oe: ae tion. Framed. a » hve ; aa A Ge ; Ane al i ie ae 4 won hat Pee 29 ‘. : . sn _ EIGHTEENTH CEN TURY | ENGLISH SCHOOL LOTS 171 to 183 PRINCESS CAROLINE Daughter of King George —_— ee ~—% ' a ORE yO mol ee eee ge a ee | | | | Evostor Harding, the miniaturist. I find in Bryan’s tionary that Gardiner, Bartolozzi and Harding collabo- ted in the latter’s publications, and therefore, supported he monogram, I think my attribution the correct one. Height, 514 inches; width, 45¢ inches ANGELICA KAUFFMAN 1741-1807 YOUNG WOMAN, SEATED 5 in mourning attitude in front of a tombstone. ~ Decorative water-color in the artist’s characteristic taste. Essence with the initials A.K. on the tombstone. se: _ From the James Saunders Collection, London. : é Z ena --—-——s Height, 8 inches; width, 1014 inches THOMAS STOTHARD 1755-1834 178 A LOVING COUPLE, SURPRISED Exquisite little pen and ‘India ink, delicately touched in “bg ne -water-colors. + From the Be Collection. THOMAS STOTHARD (style of) 179 MYTHOLOGICAL SCENE 16° Charming English illustration, in pen and sepia wash. ‘Framed. Height, 414 inches; width, 3 inches PAIR OF ENGLISH 18TH CENTURY BOOK ILLUS- TRATIONS In pen and sepia wash, by the same hand and in the same style as the preceding item. Height, 414 inches; width, 3 inches 55 Height, 434 inches; width, 3 inches © 181 182 np 184 Very clever pen and India ink drawing, mounted like the BEN JAMIN WEST 1788-1820 CHRIST IN THE HALL OF CAIPHAS a Sepia wash and pen drawing. Mounted. On the reverse | title and autograph signature of the artist q Masterly composition in Rembrandtesque chiaroscuro. " Height, 33@ inches; width, 514 inches CUPID STRINGING HIS BOW | oe a preceding item, with the autograph title and wae of f the artist on the reverse. Height, 814 ingle width, ae inche es THE DEATH OF CICERO a Pen drawing on slate grey ground, on an old mount, showing title and signature on the reverse, in West’s autograph. Very powerful. Height, 125g inches; width, 9 inches NINETEENTH CENTURY FRENCH AND ENGLISH ARTISTS LOTS 184 to 200 EUGENE BALAN 1809-1858 LA FOIRE ST. ROMAIN A ROUEN, 1834 Marvelously vivid water-color, strongly suggestive in avon oL the contemporary Isabey. An exquisite composition of masses and color. The title, name and date, transferred from the old mount to the back of the frame. Framed. Height, 4 inches; width, 634 inches FARMYARD a On the reverse the title: ‘‘Interieur de la ferme Bertrand, rue du Champ des Oiseaux, a Rouen. Abattue en 1834,” Name and date 1834. Water-color. Framed. “3 A companion piece to the preceding item and of the same charming quality. Height, 334 inches; width, 614 inches 56 [yu iy > Fre JEAN BAPTISTE COROT ry 188 |yo ~ ROSA BONHEUR 1822-1899 FOUR CHARCOAL SKETCHES FOR THE “HORSE- FAIR’’ in one frame The lower one signed with the stamp Rosa B— in lower right. Three of the sketches on the upper sheet, one below. Highly interesting sketches for the famous painting in the Metropolitan Museum. From the Blumenstiel Collection. The upper, 6 inches; the lower, 45 inches high, both 1214 inches wide. TWO SKETCHES OF LIONS, in one frame Above: Lion and Lioness, lightly drawn in grey chalk; very brilliant. Below: pen studies of three lions in the desert. The stamp ~ Rosa B— in lower right. Framed. From the Blumenstiel Collection. Each 514 inches high; 1014 inches wide FRANCOIS BONVIN 1817-1888 With Courbet, the leading realist of the French School of the middle of the 19th Century A YOUNG GIRL, HOLDING A BASKET Water-color, signed and dated 1847. Exquisite aa comparable in quality to Millet. Framed. . Height, 8 inches; width, 514 inches JEAN BAPTISTE CAMILLE COROT . 1796-1875 WIDE LANDSCAPE With large tree and classical ruins, five figures in the fore- ground. Signed Corot in lower right. Magnificent charcoal drawing of the greatest beauty, as typical as far as the hazy and almost mysterious quality of the atmosphere is concerned, as the best of the master’s paint- ings. Framed. From the J. Staats-Forbes Collection. Height, 1134 inches; width, 18%¢ inches [SEE ILLUSTRATION ] 57 GEORGE PERFECT HARDING Exhibited in London between 1802 and 1840 Son of Sylvester Harding (distinguished chiefly by his water-color copies — 190 191 of English historical Portraits) PORTRAIT OF A NOBLEMAN Water-color portrait in miniature style after an Old Master. | Framed. Height, 514 inches; width, 414 inches | FREDERIC, LORD LEIGHTON 1823-1896 HEAD OF A BEARDED OLD MAN, looking upward Sketch for the painting in Tate Gallery: ‘‘ And the Sea gave up the Dead which were in it.’’? See autograph pencil note in lower right: ‘‘The Sea giving up its dead.’’ A separate autograph signature appears in a special opening — in the mat. ; Excellent drawing in black and white chalk on brown paper. Published and reproduced in an English Art Magazine. — Framed. Height, 514 inches; width, 8 inches JEAN FRANCOIS MILLET 1841-1875 LE CHARBONNIER (The Charcoal-burner) He is pushing a wheel-barrow towards his primitive hut in the woods. Superb large charcoal drawing, signed J.F.M. in lower left. Framed. From the J. Staats-Forbes Collection. Height, 11 inches; width, 1514 inches [SEE ILLUSTRATION | 58 LGOL YAWN | LATTIN SIOONVAd NVal Ad AANUNT TVOOUVHO AHL bs es % 2 “es ‘aie Ree Mads ies See oi S Seed Rea wo RH wom SE bakers 3 P JASANTS IN CONV ERSATION WITH A SHEPHERD | Beautiful charcoal drawing in Millet’s characteristic manner, eS signed with the stamped initials in lower left. Framed. iy J Important drawing, from the J. Staats-Forbes Collection. | Height, 714 inches; width, 834 inches 194 ook SLIGHT SKETCHES IN ONE FRAME ‘o the left quick sanguine study of a figure, stamped in . a ae right. Center: Two small pencil sketches on one sheet, both stamped in lower left, to the right pencil figure of a a man, stamped in lower left. _ The two outer sketches, 6 inches high; 354 inches wide . The one in the center, 514 inches high; 314 inches wide z ‘Interesting sketches, acquired by the previous owner at the _ dispersal of the effects of the artist. Baer . ‘ST. JEROME, AT PRAYER, IN THE DESERT oF. Bold and vigorous pen sketch, in Rembrandtesque manner. % Stamped J. F. Millet, in lower left. _ Acquired from the same source as the preceding item. _ Framed. 5 Height, 6 inches; width, Mee inches 196 PEASANTS AT REST | = 2 Magnificent little charcoal drawing in Millet’s best style. |4@ The stamped initials in the lower right. Framed. From the J. Staats-Forbes Collection. Height, 314 inches; width, 514 inches | 197 LA LEGON DE LECTURE + Mother teaching her little daughter to read. 4 Lovely and characteristic charcoal sketch. The stamped initials in lower right. Framed. ~ From the same collection as the preceding item. Height, 8 inches; width, 534 inches 198 INTERIOR OF A DARK CELLAR | h | ’ The light falling in through a small window in the thick wall, two empty baskets below. The stamped initials in lower right. Framed. From the J. Staats-Forbes Collection. Height, 61 inches; width, 634 inches 59 ee EE fv" his 199 200 An unusual little sketch of much more solid modellin mt AUGUSTE | RODIN. GROUP OF A MAN AND CHILD Seta Small pen and India ink drawing; signed HR Rodi ” lower right corner. eS the more well-known Rodin drawings. “a Acquired directly from the artist by the previous ow Framed. Height, 334 inches; width, 2% i inch GABRIEL SALAMPIN Early 19th. Century STREET OF AN OLD TOWN : Water-color, signed and dated 1830. jl Charming water-color in the manner of Isabey and Boningto Framed. Height, 714 inches; width, 444 inch NE ee SN TT NT Ir SY eT es W he fies tithes A ees, = = =. Sears iL 7 ata ee t= iO Seo s Ry ae ory 3 3125 01663 1S hc j a sete! 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