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Lot 1657
IKONE "Gottesmutter Freude aller Leidenden", Russland 18./19. Jh., mit Bezeichnung in Kirchenkyrillisch, Tempera über Kreidegrundierung/Holztafel (einer von zwei Rückseitensponki), HxB: ca. 40x33 cm. Trocknungsrisse, part. beschädigt. ICON "Our Lady Joy of All Sufferers", Russia 18./19. Century, with inscription in church Cyrillic, tempera over chalk primer / wooden panel (one of two back ponki), HxW: approx. 40x33 cm. Drying cracks, part. damaged.
Lot 1660
IKONE Gottesmutter "Hodigitria von Smolensk", Russland 2. Hälfte 18. Jh., mit Randheiligen und Bezeichnung in Kirchenkyrillisch, Tempera und Vergoldung über Kreidegrundierung/Holztafel (mit zwei Stirnseitensponki), HxB: ca. 33x29 cm. Craquelé, Berieb und Farbabplatzer, restauriert und retuschiert. EXPERTISE Galerie Viktor Puch, München liegt bei. ICON Mother of God "Hodigitria von Smolensk", Russia, 2nd half of the 18th century, with marginal saints and names in church Cyrillic, tempera and gilding over chalk primer / wooden panel (with two front sponki), HxW: approx. 33x29 cm. Craquelé, rubbed and flaked off paint, restored and retouched. EXPERTISE Galerie Viktor Puch, Munich is included.
Lot 5
A French parcel-gilt silver boxthe panel possibly by Jacques Frédéric Kirstien, the box with Paris mark for 1818 - 1838 Rectangular, the lid and base with guilloche niello borders and chased scroll corners, centred with a panel (surrounded by turquoise cabochons) of a stag hunt scene with multi-layered elements giving a three-dimensional effect, length 8.2cm, weight 136gms.For further information on this lot please visit Bonhams.com
Lot 58
An important pair of German late 18th century ormolu and brass mounted mahogany 'mechanical' reading/writing/card/games tables attributed to David Roentgen (1743-1807)Circa 1785, each with a triple foldover top, the first hinged top enclosing an inset baize playing surface, the second inlaid with a chess and draughts board, the third surface on one table inset with a baize surface incorporating a hinged rest and a lever-activated opposing 'pop-up' hinged box, enclosing an ebony and stained fruitwood inlaid backgammon playing surface encompassed by ivory playing discs, flanked by two compartments with line-inlaid tambour sliding lids, the other table inset with a gilt-tooled leather surface incorporating a hinged writing rest and a lever-activated opposing 'pop-up' hinged box, enclosing a void interior, each with panel mounted friezes and flute mounted angles, with a catch-activated release for the rear gateleg and a secret drawer, on four detachable screw-in square tapering legs each with two mille raie outer facings headed by collar mouldings, terminating in moulded block and peg feet, each: 99cm wide x 48.5cm deep x 81cm high, (38 1/2in wide x 19in deep x 31 1/2in high) (2)Footnotes:ProvenanceFormerly with Didier Aaron, Paris.Purchased: Koller Auctions, Zurich, 26th March 2015, Furniture, Porcelain and Decoration, lot 1184.Auction ComparablesA single games table of this same type sold Sotheby's, Zurich, 7th December 1994, lot 257. Another similar Roentgen table, albeit a very slightly earlier model dating to circa 1780, sold Christie's, London, 7th July 2008, Important European Furniture, lot 535.Forerunners and Further ComparablesTwo precursors to the offered lot, in terms of form, Neoclassical design and multifunctionality, feature in W. Koeppe, Extravagant Inventions: The Princely Furniture of the Roentgens, 2012, New York, fig.'s 24 & 27, pp.'s 108-9 & 116-119, which was published to accompany the important and hugely successful exhibition of the same title held at the Metropolitan Museum of Art, New York in 2012. The first table is dated circa 1774-1780 and the second 1774-1775, and as a result of their earlier dates of production both of these incorporate marquetry which is totally absent on the offered pair.However the closest comparables to the present tables include one, dated 1780-1783, also illustrated and analysed in W. Koeppe, Extravagant Inventions: The Princely Furniture of the Roentgens, fig. 45, pp.'s 163-5. And another, circa 1785, that is housed at the Palace of Pavlovsk in St. Petersburg features in both Greber, J.M. Abraham und David Roentgen, Mobel fur Europa, 1980, Starnberg, Bd. 1, S. 235, Bd. 2, S. 320, 321 and in D. Fabian, Abraham und David Roentgen, Das noch aufgefundene Gesamtwerk ihrer Mobel- und Uhrenkunst in Verbindung mit der Uhrmacherfamilie Kinzing in Neuwied, 1996, Bad Neustadt/Saale, fig. 103, p. 62. The New Restrained Roentgen StyleThese 'tables a jeu a quatre variations', examples of which are very rare to come across in pairs, display all of the features typically found on those pieces emanating from the workshop of Neuwied-based David Roentgen during the 1780s. By that time Roentgen's output had become increasingly restrained, incorporating the linear forms and antique elements of the new Neoclassicism. Instead of marquetry which had gradually fallen out of fashion, Roentgen took to simple but costly mahogany veneers with sparingly elegant use of gilt bronze ornamentation, thus completing the process of artistic emancipation from his father, Abraham Roentgen (1711-93). And yet arguably the most notable feature of David's works were now their complex mechanisms, in this case the rising box for 'tric-trac', the lateral compartments with tambour covers, the detachable screw-in legs, and the skilfully concealed, or essentially 'secret', drawer.The Development of Roentgen's Mechanical Furniture The earliest mechanical tables of Neoclassical design by David Roentgen were supplied in 1771 for the country house at Worlitz on behalf of Prince Leopold III Friedrich Franz von Anhalt-Dessau, where they are still located, D. Fabian, Abraham und David Roentgen, 1996, No.'s 47a-b. Roentgen provided a further pair to his main client of the mid-1770s, Prince Charles of Lorraine, Governor of the Austrian Netherlands, but these are now housed at the Museum fur Angewandte Kunst in Vienna, D. Fabian, Op. Cit, No.'s 67 & 68. Both sets employ abundant colourful marquetry but by the 1780s Roentgen had rejected this aesthetic in favour of plain mahogany with delicate mounts and this proved to be preferred by the princely patrons throughout that decade, as evidenced by the Pavlovsk model which was delivered along with many other items to the Russian court from circa 1783 onwards, Op. Cit, No. 103. For his most mechanically complicated pieces, Roentgen worked closely with Peter Kinzing, a highly gifted clockmaker likewise from Neuwied, and after they had supplied Marie Antoinette with an automaton in 1785, the position of Ebeniste Mecanicien du Roi et de la Reine was even conferred upon Roentgen. This was a rare and distinguished Royal appointment which one of the most famous cabinet makers of the 18th century, Jean-Francois Oeben (1721-1763), had previously been honoured with in 1760, during the reign of Louis XV.Famous Admirers of RoentgenInterestingly, it was this mechanical element of Roentgen's output that was held in the highest esteem by his peers and various notable contemporary figures. Roentgen was even revered by the literary, cultural and scientific polymath and major German Romantic, Johann Wolfgang von Goethe (1749-1832) who epitomised the zeitgeist. Goethe, author of the seminal Faust, Parts I and II probably encountered a games table similar to the offered examples while working at Weimar Palace as Privy Councillor to Duke Karl August von Sachsen-Weimar-Eisenach. This is believed to be the case due to an 1810 inventory of the assembly room at the Weimar Palace which documents a: 'game table veneered with mahogany, and decorated with brass mouldings. With a hidden 'Tocadille' [backgammon board]', 3 feet 4 inches long, 1 foot 8 inches deep. By Rontchen.', W. Koppe, Idem, p. 164.Analysis of the Offered LotAt first appearance the present tables are misleadingly simple in form and decoration, but it is clear that Roentgen's choice of superb mahogany veneers is perfectly matched and beautifully highlighted by his restrained, yet visually striking, use of both gilt bronze and brass mounts. The natural grain of the mahogany is effectively manipulated so that it runs horizontally along the length of the leaves whereas the flame figuring is vertical on each frieze. The mounts are brilliantly incorporated into the overall scheme to create a visually thrilling sense of depth. In particular, the projecting mouldings are brought out with bronze applications, the mille raie fields on the front and outer side facings of the legs are gilded, and the classical fluting to the angle blocks are lined with brass.In relation to the mounts, evidently Roentgen was influenced by the practice of contemporary Parisian ebenistes, who ordered their mounts directly from specialists working solely within that field. By 1779 Roentgen was employing the same process and in fact many of his mounts from that date onwards were supplied by the renowned maitre-doreur, Francois Remond (1747-1812) who was also based in Paris, C. Baulez, David Roentgen et Francois Remond, Une Collaboration Majeure dans l'Histoire du Mobi... This lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the EU, see clause 13.Ф This lot contains or is made of ivory. The United States Government has banned the import of ivory into the USA.For further information on this lot please visit Bonhams.com
Lot 72
A German late 18th century ormolu and white marble mounted mahogany, burr elm, maple, mother-of-pearl and stained sycamore 'Schreibschrank' attributed to the circle of David RoentgenCirca 1795, the superstructure comprising a pierced fretwork gallery surmounted by five urn finials above a pair of mirror-inset panel mounted doors enclosing one shelf, interspersed with three Corinthian columns, over a concealed stepped central drawer flanked by projecting block and urn finial mounted angles, the frieze drawer below with an inset hinged top, above a fall enclosing an architectural interior comprising a catch-activated cedar-lined drawer with triangular pediment mouldings, over a central arched recess with a mirrored interior and chequered lozenge-inlaid floor centred by a model tempietto, flanked by two arched recesses and interspersed with four composite columns and two conforming engaged end columns, with two pierced fretwork secret drawers below, above five catch-activated mahogany-lined drawers, the reverse of the fall inlaid with a central conch shell oval, over a ribbon-tied oak-leaf mounted waist with projecting mille raie block angles, with three long panelled drawers below, flanked by canted classical youth herm-tapering and husk pendant mounted pilaster angles, terminating in square tapering panelled feet, 112cm wide x 54cm deep x 210cm high, (44in wide x 21in deep x 82 1/2in high)Footnotes:ProvenanceFormerly from the Estate of Elizabeth Fondaras, USA.With Peter Muhlbauer, Lower Bavaria, between 2013 and 2017.Then purchased by the vendor from Christie's, London, 4 July 2017, European Furniture and Works of Art, lot 57.A comparable, albeit slightly plainer, version of the offered lot sold Christie's, Amsterdam, 24-25 June 2008, lot 751. This Berlin 'Schreibschrank', or secretaire a abbatant, attributed to Georg Ruppert is of similar design and incorporates related characteristics such as white marble or alabaster columns, the Ionic capitals appearing one level below Corinthian ones, a galleried cabinet superstructure and a fitted architectural interior. It was supplied by Ruppert to the Prussian General Carl Freidrich Henrich, Graf von Wylich und Lottum (1767-1841).Although due to the current absence of relevant documentation the cabinet maker responsible for the present secretaire is unknown, as more academic research is completed and further information made public then this will inevitably change over time. However for now it is clearly the case that whoever produced such a magnificent piece, or meisterstuck, of German craftsmanship had undoubtedly been directly influenced by the incredible output and legacy of one of the most renowned cabinet makers of all time, David Roentgen (1743-1807).This wonderful secretaire perfectly typifies the latter stages of the Neoclassical style, and in particular the gout Grec, which was indicative of the height of fashion across Europe during the period 1770-1800. The impact of David Roentgen, whose output was always distinct, elegant, supremely high quality in terms of its construction and often enclosed ingenious mechanisms, especially dominated Prussia, or what is now modern day Germany. And this impact can be seen in the works produced by the contemporaries and immediate successors of Roentgen, which very often sought to emulate the latter's example and merely introduced subtle variations to his stock designs and clearly defined models. It is also worth noting that, during the peak of its fame, the annual income of the Roentgen workshop rivalled that of the Meissen porcelain manufactory, W. Koeppe, Extravagant Inventions: The Princely Furniture of the Roentgens, 2012, New York, p. 3.As a result of Roentgen's successful personal and working relationship with perhaps his most important patron, Crown Prince Frederick William who later became Emperor Frederick William II, he was honoured with the title of Royal Prussian Privy Councillor. Then in 1791, by which time Roentgen had evidently already begun to draw back from accepting new commissions, he chose to give his financial backing and influential support to his foreman, David Hacker, so that the latter could set up his own workshop and in essence become Roentgen's most immediate successor. Hacker, who himself went on to supply many of the Prussian Royal palaces with furniture, appears not to be the likely maker of the present lot however Johann Georg Stein and Johannes Andreas Beo, who both trained under and worked for the former, are indeed possible candidates. Stein and Beo, who evidently inherited Hacker's predilection for the working method and aesthetics originally developed by Roentgen, each executed a practically identical model of 'Schreibschrank', which in turn closely relate to the offered example, A. Stiegel, Berliner Mobelkunst, 2003, Berlin, fig.'s 28-9, p. 95. All three of these have characteristics in common including the use of brilliant mechanisms, a la Roentgen, such as concealed drawers and compartments stored within separate central architectural units. In an inventory of the Charlottenburg Palace undertaken in 1800, the secretaire by Stein is documented as being housed in the private dressing room of Empress Louise (1776-1810), wife of Friedrich III. While the Beo version, which seems to have once enclosed an impressive clock mechanism (in direct continuance of the tradition of Roentgen) remains for now at the Getty Museum (84.DA.87).As well as helping Hacker to establish himself, it appears that Roentgen also assisted Johann Cristian Harder, another cabinet maker who had worked for the former, to also found his own firm in Brunswick in circa 1800. Harder even calls it the Braunschweigische Priviligierte Kunst-Meuble-Fabrik von Neuwied in honour of Roentgen. Constructed following the same stock design as the three aforementioned secretaires, Harder's comparable model, in the collection at the Kunstgewerbemuseum in Berlin, is even more impressive in terms of the extremely complicated and ingenious mechanisms stored within it. And as a result this particular variant features, analysed in meticulous detail, in W. Koeppe, Extravagant Inventions, The Princely Furniture of the Roentgens, 2012, New York, app.'s 3.1-3.15, p. 234.Ultimately the difficulty in attributing the above lot to any of the previously referenced makers - Hacker, Stein, Beo or Harder - proves the immense consistency and cross fertilisation in terms of ideas, innovations and artistry among these Prussian cabinet makers during this period. However one common thread uniting all of them is clearly the enormous and understandably all-pervasive influence of David Roentgen.This lot is subject to the following lot symbols: TP YTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.Y Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com
Lot 73
An early 19th century Italian Micromosaic and cornelian snuff box, depicting Andromache mourning Hector's ashes, with makers initials B.O.F, the gold mounts marked for Luigi Mascelli, Rome, circa 1804-1825engraved to the inner mount with later presentation inscription 'From Countess Newburgh to Col.Maclean, 13th Drs, in token of his late friend the Hon. John Kennedy, 1846'the lid with inset rectangular panel depicting the mourning female, dressed in a white robe and loose gold shroud, her eyes downcast, facing a large green urn raised on a rectangular plinth, together with a contemporary tooled green leather and satin lined presentation box, 8.9cm long, 6.2cm wide and 1.8cm highFootnotes:It is possible that the Countess in the present lot refers to the 7th Countess Newburgh who married the 4th Marquis Bandini. It is hardly surprising therefore that there would have been links to Italy and, more specifically, any micromosaic workshops in Rome during this period.Lieutenant General Allan Thomas Maclean was born in Pennycross, Isle of Mull, Argyllshire, Scotland on 1 May 1793 to Archibald MacLean and Alicia MacLean. He became an Ensign with the 2nd West India Regiment without purchase on the 4th January 1810. He then became Cornet with the 13th Light Dragoons on the 23rd August 1810 again without purchase and served at Waterloo in 1815. Maclean married Agnes Lisle Robertson Forlong in 1843 and had 3 children. He died on the 9th December 1868 at 3 Oxford Square, London.LiteratureJ. H. Gabriel, The Gilbert Collection, Micromosaics, Philip Wilson, 2000.J. H. Gabriel, Micromosaics, Private Collections, 2016.For further information on this lot please visit Bonhams.com
Lot 74
A 17th century Italian pietre dure panel of a parrotpossibly attributable to the Grand Ducal workshop, Florencethe rectangular panel depicting a colourful parrot perching on fruiting branches, reserverd on a black marble ground, 30.6cm high, 16.5cm wideFootnotes:Panels such as current lot were produced in the Grand Ducal workshop (originally named the Galleria dei Lavori) which was founded in 1588 by the Grand Duke Ferdinand I de Medici. Following the end of the Tuscan Duchy in 1859, the Grand Ducal workshops were used principally for restoration and many old hardstone panels were re-used and incorporated in new arrangements within contemporary furniture.For further information on this lot please visit Bonhams.com
Lot 93
A French mid-19th century ormolu, silvered metal, aventurine glass and blue coloured glass mounted ebony and ebonised breakfront meuble d'appuiprobably made for the Ottoman or Russian marketWith an onyx top and gadroon mounted edge moulding above a frieze mounted with a trailing branch issuing C- and S-scrolls, foliage and flowers, over a central panelled door mounted with flowers, berried foliage, two cockerels and scrolled acanthus centred by a Flora mask, enclosing one long shelf, flanked by two smaller panelled doors each with a central arched panel inset with scrolled foliage, floral, shell and lion mask mount hung with a ribbon-tied martial trophy pendant comprising fasces di combattimento, weapons, banners, trumpets, drums and a suit of armour, with a floral bouquet and scrolled foliate mount below, interspersed by flowerhead and entrelac chute angles, flanked by projecting canted angles each with concave panelling mounted with pendant C-scrolls, rosettes and rocaille centred by an entwined floral wreath mount, above a shell, scrolled acanthus and floral cast apron mount, on foliate capped spiral reeded toupie sabots, with tortoiseshell veneered rear pilaster angles, some losses and some composition replaced segments to the blue coloured glass, restorations, 165cm wide x 56cm deep x 99cm high, (64 1/2in wide x 22in deep x 38 1/2in high)Footnotes:ProvenanceSir Warwick and Lady Fairfax Collection, Sydney.Within the vendor's family both the offered and following cabinets, lots 94 and 95, were believed to have originally belonged to the celebrated Rothschild Collection, and were possibly even purchased as such during the mid 20th century. And an excerpt from an old valuation with this alleged provenance appears applied to the reverse of the door. However unfortunately we have not come across any records proving that the present cabinet had any connection to the Rothschilds.The collection of Sir Warwick and Lady Fairfax represents a significant chapter in Australian twentieth century history, the Fairfaxes being as they were one of the country's most prominent families. Fairwater, their 19th century harbour-side home that housed their vast art collection, became the most valuable property ever sold in Australia when it came to the market following Lady Fairfax's death in 2017. Until that time Fairwater had become a symbol of Sydney's social scene, a society destination where parties were held amongst artworks by Rodin, Chagall, Degas and Epstein. One party, for instance, was held to celebrate the opening of the Sydney Opera House in 1973 where the 800-strong guest list included names like Liberace, Rudolf Nureyev and Rex Harrison. With Sir Warwick Fairfax at the centre of the dynasty's seat, Fairwater truly became the focal point of the family's story. The young Warwick took over the family publishing business following the death of his father Sir James in 1930, who had become one of Australia's most prominent figures after leading and growing a business that encompassed The Sydney Morning Herald, The Sun Herald, The Age and The Australian Financial Review – many of the country's top news publications. The family's influence was inestimable. During Warwick's tenure as head of the family business he took over the influential architecture, design and interiors review called: The Home. It was at this time that he really started to engage with collecting and decorating the family home at Fairwater. The founder of The Home, Ure Smith, became a close advisor and he introduced Warwick to a number of important figures in the art world who would go on to shape Warwick's collection. The combination of this new milieu and Warwick's marriage to his second wife Hanne, a Danish ballerina who loved the arts, galvanised the businessman's interest in collecting. Regular trips to Europe during the 1940s resulted in acquisitions from renowned galleries such as The Leicester Galleries, London, where Warwick purchased works by Marie Laurencin, Edgar Degas and Maurice Utrillo.This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 27
A rare late 18th century relief-carved lime wood panel depicting a vase of flowers, signed and dated Putman 1790possibly an allegory relating to the Declaration of the Rights of Manthe finely carved flowers including roses, ranunculus, narcissus, poppies and lilac, the vase decorated with a frieze depicting Britannia and Plenty flanking two oval pendants - one with a brazier on a plinth, the other with a cockerel standing on a reeded plinth with a laurel wreath to the base, the pedestal foot resting on a platform scattered with four coins or medallions, three decorated with portrait bust, the last vacant, two busts bearing striking resemblances to Benjamin Franklin & the Marquis de Lafayette, the whole supported by four recumbent lions and centred by a sea serpent,, signed and dated to the left hand bottom corner fecit . putman . Sculp . 1790, later mounted in a glazed and carved and parcel gilt rectangular box frame, the panel, 55cm x 38cm, the frame, 71cm x 53cm Footnotes:The Declaration of the Rights of ManThe Declaration of the Rights of Man and of the Citizen (Déclaration des droits de l'homme et du citoyen de 1789) is a human rights document which originated from the French Revolution and was enacted by France's National Constituent Assembly in 1789. Inspired by the philosophers of the Enlightenment, the Declaration was the fundamental statement of the values of the French Revolution and had a major impact on the development of popular conceptions of individual liberty and democracy in Europe and worldwide. Drafted by the Abbé Sieyè, the Marquis de Lafayette, and Thomas Jefferson it was subsequently included in the beginning of the constitutions of both the Fourth French Republic (1946) and the Fifth Republic (1958). The Declaration, the Magna Carta, the 1689 English Bill of Rights, the 1776 United States Declaration of Independence, and the 1789 United States Bill of Rights, hugely influenced part of the 1948 United Nations Universal Declaration of Human Rights.For further information on this lot please visit Bonhams.com
Lot 105
Victorian mahogany davenport with raised lift up top section with carved detail, revealing fitted interior above slope front with inset green leather writing surface with internal drawers on twin turned supports with panel details to the fronts and sides with a bank of 4 drawers enclosed by single paneled cupboard door. (W56cm x D55cm x H95cm)
Lot 25
Jan Steen (Leiden 1626-1679)A wedding feast signed 'JStEEn' (lower right, the J and S in ligature)oil on panel35.3 x 50.3cm (13 7/8 x 19 13/16in).Footnotes:ProvenanceThe Collection of John Newington Hughes, 1829, no. 83Friedrich Schwarz, by whom sold in 1913 toDr Leon Lilienfeld, Vienna, and by descent to the present ownerLiteratureT. van Westrheene, Jan Steen: Étude sur l'Art en Hollande, The Hague, 1856, p. 126, no. 120J. Smith, A Catalogue Raisonné of the Works of the Most Eminent Dutch, Flemish, and French Painters, London, 1829, pp. 44/5, no. 135C. Hofstede de Groot, A Catalogue Raisonné of the most eminent Dutch painters of the Seventeenth Century, London, 1907, vol. I, p. 129, no. 484G. Glück, Niederländische Gemälde aus der Sammlung des Herrn Dr. Leon Lilienfeld in Wien, Vienna, 1917, no. 68For further information on this lot please visit Bonhams.com
Lot 3
Attributed to Frans Pourbus the Elder (Bruges 1545-1581 Antwerp)Portrait of a lady, bust-length, in black costume with a white lace collar and headdress oil on panel42.2 x 32.4cm (16 5/8 x 12 3/4in).Footnotes:ProvenanceThe Collection of Mr and Mrs F. Springell family, before 1960, by descent toMrs G.B. Springell, by whom offeredSale, Sotheby's, London, 9 March 1983, lot 9 (as Attributed to Frans Pourbus the Elder), where purchased by the present owner's late fatherExhibitedManchester, City Art Gallery, Exhibition of Works of Art from Private Collections in the North West of England and North Wales, 21 September- 30 October 1960, no. 55 (lent by Mr and Mrs. F. Springell, according to a label on the reverse)For further information on this lot please visit Bonhams.com
Lot 35
Follower of Rembrandt Harmensz. van Rijn (Leiden 1606-1669 Amsterdam)Saint James the Greater oil on panel, stamped with the hands and castle of Antwerp (on the reverse)56.7 x 42.2cm (22 5/16 x 16 5/8in).stamped with wax seal of 3rd Earl of Harrington (on the reverse)Footnotes:ProvenanceCollection of the Earl of Harrington, Elvaston Castle, Derby (the reverse bears the inventory number EC 229)With Appleby Brothers, London, 1960s (together with a pendant of an Apostle Sale, Christie's, London, 16 April 1971, lot 98 (as Jan Lievens)For further information on this lot please visit Bonhams.com
Lot 40
Gilbert Stuart (Saunderstown 1755-1828 Boston)Portrait of Mrs Hammond Dorsey, seated three-quarter-length, in a white dress and an ermine-trimmed robeoil on panel83.8 x 66.8cm (33 x 26 5/16in).together with volumes I, II and III of The Pickering GenealogyFootnotes:ProvenanceThe sitter and thence by descent to the present ownerLiteratureH. Ellery and C. Pickering Bowditch, The Pickering Genealogy, 1897, vol I, p. 270, ill. p. 268 Mrs Hammond Dorsey was the daughter of the Federalist Senator Timothy Pickering (1745-1829) who was painted by Stuart in 1808 and was Secretary of State in George Washington's administration. It is thought that the painting was commissioned by Elizabeth's brother, Henry Pickering.For further information on this lot please visit Bonhams.com
Lot 45
Netherlandish School, 16th CenturyThe Madonna and Child enthroned flanked by angels oil on panel55.3 x 39.1cm (21 3/4 x 15 3/8in).unframedFootnotes:ProvenanceThe Collection of Judge Charles H. Carey, Portland, Oregon, USAPossibly with Edmondo Sacerdoti Gallery, Milan, by 1972Private Collection, ItalyWhilst the present work is Netherlandish in origin and reveals the influence of artists active in Antwerp and Bruges in the 16th century, such as Jan Gossaert, Joos van Cleve or the Master of the Female Half-lengths, it may be that its author was in fact active in France. The painting of The Madonna and Child with the Infant Saint John the Baptist, now in the Musée des Beaux Arts, Dijon (inv. no. 2775) by Grégoire Guérard, a painter thought to be from Breda or Utrecht, but who worked throughout France and Burgundy, shows a similar use of decorative, Italianate architectural detail to frame the central composition.We are grateful to Till-Holger Borchert for his kind assistance in cataloguing this work.For further information on this lot please visit Bonhams.com
Lot 57
Attributed to Alessandro di Cristofano Allori (Florence 1535-1607)Portrait of Cosimo I de Medici, half-length, in violet fur-lined costume oil on panel86.3 x 64.7cm (34 x 25 1/2in).Footnotes:ProvenanceWith Simon Dickinson Ltd., London, where purchased by the present ownerThe present portrait is based on Bronzino's 1559 portrait of Cosimo I de' Medici (1519-1574), showing the sitter at the age of 40. A number of versions exist of the portraits of Cosimo, both by Bronzino himself, who was court portraitist to the Medici, and by members of his studio which included Alessandro Allori. In addition to painting portraits and devotional works, Allori also participated in the decoration of Francesco I's studiolo in the Palazzo Vecchio, Florence, under Vasari. Florence was established as an imperial duchy governed by the Medici in the 1530s and Cosimo held the title of Duke of Florence (1537-69) before being made first Grand Duke of Tuscany in 1569. This portrait shows him as a determined and strong leader, but he is chiefly remembered today for his patronage of the arts. He was responsible for building the Uffizi (intended as administrative offices) which now house one of the world's greatest art collections, as well as completing the Pitti Palace as a Medici home and creating the Boboli Gardens behind it. He commissioned numerous works from the major artists of the day including Pontormo, Vasari and Cellini and his court was frequented by notable Humanists and poets. For a discussion on the many variants of this composition see Robert B. Simon, Bronzino's portraits of Cosimo I de Medici, 1982, vol II, pp 273-307, cat. Nos B1-39.For further information on this lot please visit Bonhams.com
Lot 63
Follower of Leonardo da Vinci (Anchiano 1452-1519 Amboise)The Madonna and Child oil on panel61.8 x 47.2cm (24 5/16 x 18 9/16in).unframedFootnotes:The present work follows the composition of a work given to Giampietrino, now in the Galleria Borghese, Rome (inv. no. 456), which is thought to be derived from a lost original by Leonardo.For further information on this lot please visit Bonhams.com
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