OMNP Auction Preview: Sotheby’s Sale L09633 Old Master Paintings, London, 7-8 July

While Sotheby’s major sale of Old Masters is comparably diminutive to Christie’s this  year, in both size and quality, there are a few treasures still to be found. OMNP’s star of the show has to be Sir Anthony van Dyck’s “Portrait of Endymion Porter”

This portrait easily trumps the three that Christie’s is offering this week, capturing the subtle confidence of a man in proximity to the throne. Mr. Porter was a close confidant of Charles I, who in service to James I, the Prince of Wales, schooled the young Charles on the beauties of Spanish culture during the heir’s formative years. Endymion’s  thorough knowledge of the best artists of the time stoked a long enduring collecting passion for Charles, who in seeing van Dyck’s potential as a portrait artist, appointed him a long-standing post as the official painter of his court. Van Dyck’s esteemed position went on to to heavily  influence English art of the time, importing the Baroque realism of the Spanish and Venetian Masters. From the Sotheby’s catalog:

“One of the earliest of van Dyck’s portraits of Englishmen, (this) painting is emblematic of the introduction of a progressively more engaging and psycho-analytical style of portraiture than had been previously practiced in England, one that emphatically reveals the sitter’s personality and sophistication.”

You definitely get a sense of an enlightened affinity felt between the artist and subject here. Van Dyck doesn’t necessarily embellish Porter’s features, yet there is there is psychological evidence of a man resplendent in both character and taste. Endymion Porter=Art Advisor for the Ages.

Further interest comes by way of a couple of  other works both are atypical for their  author’s oeuvre. A view of a masquerade  by Francesco Guardi, titled  The Ridooto at Palazzo Dandolo, with Masked Figures Dancing and Conversing” (lot 37) reveals a painterly versatility that extends beyond his seductive views of Venice’s  cityscape and waterways.

The intriguing moment of commotion between the masked characters shows Guardi’s understanding of the tension of human interaction, only further enhanced by the mysterious spirit of his hometown. There is  a bizarre atmosphere about this affair that is both exciting and creepy at the same time.

Pieter Brueghel the Younger’s ” A Flemish Village in Winter with the Massacre of the Innocents” (lot 13) is znother unusual mashup of mythical and contemporary elements. Brueghel the Younger’s output was based primarily on the compositions of his father, whose vignettes were best known for their bucolic look into the virtues and follies of Dutch village life. In this work however, we get a scene that is both violent and political.

From Sotheby’s catalogue entry:

“Whilst the subject of this painting, the Massacre of the Innocents, is taken directly from Matthew II:6 the village bloodshed depicted here was an all too present reality in the Spanish Netherlands in the late 1560s. In 1567 Phillip II of Spain appointed the Duke of Alba Governor General of the Netherlands and sent him with an army of 12,000 men to deal with the heretical protestant movements. His arrival led to such violent suppression that his rule became known as the “Reign of Blood” and contemporary Dutch accounts speak of over 18,000 people killed. It has been argued that the mounted figure, surrounded by the troop of lance carrying soldiers and clothed all in black and with a long grey beard and moustache was intended by Bruegel to be a portrait of the Duke, who was also known as the Black Duke because of his penchant for black clothes.

MORE:

Sotheby’s Old Masters Week E-Catalogue [Sothebys.com]

Scroll down further for images, lot  information, and catalogue notes for selected works from this sale.

LOT 1
THE PROPERTY OF A LADY
ATTRIBUTED TO HENDRICK AVERCAMP
Amsterdam 1585 – 1634 Kampen
WINTER LANDSCAPE WITH A HUNTER SHOOTING DUCK AT THE EDGE OF A FROZEN WATERWAY
bears monogram at the foot of the beacon lower centre: HA
oil on oak panel
23 by 31.3 cm.; 9 by 12 1/4 in.
ESTIMATE 80,000 – 120,000 GBP

.

LOT 2
PROPERTY FROM AN ENGLISH PRIVATE COLLECTION
JAN JOSEFSZ. VAN GOYEN
Leiden 1596 – 1656 The Hague
A DISTANT VIEW OF DORDRECHT, WITH SMALL VESSELS BEATING AGAINST AND RUNNING BEFORE THE WIND, WITH FISHERMEN
UNLOADING FISHTRAPS IN THE FOREGROUND
signed with monogram and dated lower centre: VG 1655
oil on oak panel
41.2 by 64 cm.; 16 1/4 by 25 1/8 in.
ESTIMATE 150,000 – 250,000 GBP

.

.

LOT 11
SIR ANTHONY VAN DYCK
Antwerp 1599 – 1641 London
PORTRAIT OF ENDYMION PORTER (1587-1649)
half length, wearing a red silk doublet and cloak
oil on canvas
114.5 by 94 cm., 45 by 37 in.
ESTIMATE 1,000,000 – 1,500,000 GBP

.

.

.

.

.

LOT 13
PROPERTY FROM A DISTINGUISHED EUROPEAN PRIVATE COLLECTION
PIETER BRUEGHEL THE YOUNGER
Brussels 1564 – 1637/8 Antwerp
A FLEMISH VILLAGE IN WINTER WITH THE MASSACRE OF THE INNOCENTS
oil on oak panel
122 by 170 cm.; 48 by 67 in.
ESTIMATE 2,500,000 – 3,500,000 GBP

.

.

.

LOT 17
PROPERTY FROM A PRIVATE COLLECTION
AN ANONYMOUS ANTWERP MASTER, CIRCA 1500-20
A TRIPTYCH:
CENTRAL PANEL: THE ADORATION OF THE MAGI;
LEFT WING: THE NATIVITY
RIGHT WING: THE CIRCUMCISION
oil on panel
central panel: 87.6 by 56.6 cm.; 34 1/2 by 22 1/4 in. wings: 85.5 by 23.5 cm.; 33 3/4 by 9 1/4 in.
ESTIMATE 200,000 – 300,000 GBP

.

.

.

.

LOT 19
JORGE INGLÉS
Active in Castile circa 1455 – after 1485
ST. GEORGE AND THE DRAGON
oil on panel
169 by 57 cm.; 66 1/2 by 22 1/2 in.
ESTIMATE 400,000 – 600,000 GBP

.

.

.

.

.

.

.

.

.

LOT 26
GIORGIO VASARI
Arezzo 1511 – 1574 Florence
THE HOLY FAMILY
oil on poplar panel
65.5 by 43 cm.; 25 3/4 by 17 in.
ESTIMATE 70,000 – 100,000 GBP

.

.

.

.

.

LOT 28
GIOVANNI FRANCESCO BARBIERI, CALLED IL GUERCINO
Cento 1591 – 1666 Bologna
SAINT PAUL
oil on canvas
103 by 76 cm.; 40 1/2 by 30 in.
ESTIMATE 200,000 – 300,000 GBP

.

.

.

.

.

.

.

LOT 29
GIOVANNI FRANCESCO BARBIERI, CALLED IL GUERCINO
Cento 1591 – 1666 Bologna
THE PENITENT MAGDALENE
oil on canvas
230 by 177 cm.; 90 3/4 by 69 3/4 in.
ESTIMATE 600,000 – 800,000 GBP

.

.

.

.

.

.

LOT 32
PROPERTY FROM A SPANISH PRIVATE COLLECTION
BERNARDO CAVALLINO
Naples 1618-1654
TOBIAS CURING THE BLINDNESS OF TOBIT;
LOT AND HIS DAUGHTERS
a pair, both oil on canvas
each: 66 by 89.5 cm.; 26 by 35 1/4 in.
ESTIMATE 300,000 – 500,000 GBP

.

.

LOT 34
FRANCISCO DE ZURBARÁN
Fuente de Cantos, Badajoz 1598 – 1664 Madrid
PORTRAIT OF DOCTOR JUAN MARTINEZ SERRANO, FULL LENGTH
oil on canvas
193 by 107 cm.; 76 by 42 1/4 in.
ESTIMATE 800,000 – 1,200,000 GBP

.

.

.

.

.

.

.

LOT 35
SEBASTIANO RICCI
Belluno 1659 – 1734 Venice
THE INVESTITURE OF MARCO CORNER AS COUNT OF ZARA IN 1344
oil on canvas
190 by 140 cm.; 74 3/4 by 55 in.
ESTIMATE 400,000 – 600,000 GBP

.

.

.

.

.

.

.

LOT 36
SEBASTIANO RICCI
Belluno 1659 – 1734 Venice
ANTEROS PLEADS WITH ATROPOS
oil on canvas
190 by 140 cm.; 74 3/4 by 55 in.
ESTIMATE 150,000 – 200,000 GBP

.

.

.

.

.

LOT 37
PROPERTY FROM A PRIVATE COLLECTION
FRANCESCO GUARDI
Venice 1712 – 1793
VENICE, THE RIDOTTO AT PALAZZO DANDOLO, WITH MASKED FIGURES DANCING AND CONVERSING
oil on canvas
84.8 by 107 cm.; 33 1/2 by 42 in.
ESTIMATE 800,000 – 1,200,000 GBP

.

.

.

.

.
.

.

LOT 38
PROPERTY FROM A PRIVATE COLLECTION
MICHELE MARIESCHI
Venice 1710 – 1743
VENICE, THE GRAND CANAL WITH A VIEW OF THE CHURCH OF SAN STAE
oil on canvas
83.4 by 114 cm.; 32 3/4 by 44 3/4 in.
ESTIMATE 600,000 – 800,000 GBP

.

.

.

.

LOT 43
JEAN-BAPTISTE VAN LOO
Aix-en-Provence 1684 – 1745
PORTRAIT OF LOUIS XV, KING OF FRANCE (1710-1774), FULL-LENGTH
oil on canvas, in the original carved and gilt wood Regency frame
197.5 by 142 cm.; 77 3/4 by 56 in.
ESTIMATE 150,000 – 200,000 GBP

.

.

.

.

.

LOT 48
JOSEPH MALLORD WILLIAM TURNER R.A.
1775-1851
VIRGINIA WATER
watercolour heightened with scratching out
29.8 by 44.7 cm., 11 3/4 by 17 1/2 in.
ESTIMATE 500,000 – 700,000 GBP

.

.

.

.

LOT 106
PROPERTY FROM A SWISS PRIVATE COLLECTION
ANTON MIROU
Antwerp 1570 – 1661 or after
AN EXTENSIVE LANDSCAPE WITH VILLAGERS IN THE FOREGROUND
signed and dated lower centre and inscribed on the reverse: MIROV/1601
oil on copper
27.5 by 39.5 cm.; 10 3/4 by 15 1/2 in.
ESTIMATE 8,000 – 12,000 GBP

.

.

.

LOT 107
PROPERTY FROM A SWISS PRIVATE COLLECTION
FOLLOWER OF SEBASTIAN VRANCX
A VILLAGE LANDSCAPE WITH FIGURES WORKING THE LAND IN THE FOREGROUND
oil on panel
26 by 37 cm.; 10 1/4 by 14 1/8 in.
ESTIMATE 6,000 – 8,000 GBP

.

.

.

.

.

.

LOT 108
PROPERTY FROM A SWISS PRIVATE COLLECTION
WORKSHOP OF JOOS DE MOMPER ANTWERP 1564-1635 AND WORKSHOP OF JAN BRUEGHEL THE ELDER
BRUSSELS 1568 – 1625 ANTWERP
AN URBAN WINTER LANDSCAPE WITH A FARROW OF PIGS IN THE FOREGROUND
oil on panel
59 by 87 cm.; 23 1/4 by 34 1/4 in.
ESTIMATE 30,000 – 50,000 GBP

.
.


.

LOT 109
PROPERTY FROM A SWISS PRIVATE COLLECTION
JOOS DE MOMPER
Antwerp 1564 – 1635
AN EXTENSIVE RIVER LANDSCAPE WITH HORSEMEN BEFORE A ROCKY ARCH IN THE FOREGROUND
oil on panel
76 by 140 cm.; 30 by 55 1/8 in.
ESTIMATE 30,000 – 50,000 GBP
CATALOGUE NOTE
Fantastic rock formations and the grottos beneath them such as the spectacular double arch shown here, seem to have fascinated de Momper throughout much of his career and appear in a variety of his works. Although these are undoubtedly imaginary, and the travellers and wayside shrines that populate them equally so, they were no doubt drawn from the memories of his trip over the Alps to Italy in the 1580s and were clearly popular with his clientele in Antwerp and beyond. Another such, painted in collaboration with Jan Brueghel the Elder (1568-1625), depicting
gypsies encamped before a cavern and towering outcrops is in the Hague, Rijksdienst BeeldendeKunst.1 Ertz dates the present work to the 1630s and suggests that the staffage is the work of the workshop or following of Jan Brueghel the Younger (1601-1678).
.

LOT 110
JAN BREUGHEL THE YOUNGER
Antwerp 1601 – 1678
AN ALLEGORY OF THE SENSE OF HEARING
with inventory number lower left: 103
oil on copper
58 by 89.4 cm.; 22 7/8 by 35 1/4 in.
ESTIMATE 80,000 – 120,000 GBP
Old Master Paintings Day Sale, 9 July 2009, Lot 110
.

.

.

.

.

.

LOT 111
THE PROPERTY OF A PRIVATE COLLECTOR
STUDIO OF JAN BRUEGHEL THE ELDER
Brussels 1568 – 1625 Antwerp
A RIVER LANDSCAPE WITH FIGURES BATHING AND A VILLAGE BEYOND
oil on copper
22.4 by 29 cm.; 8 3/4 by 11 3/8 in.
ESTIMATE 60,000 – 80,000 GBP
Old Master Paintings Day Sale, 9 July 2009, Lot 111

.

.

.

LOT 112
PROPERTY FROM A SWISS PRIVATE COLLECTION
JOOS DE MOMPER ANTWERP 1564-1635 AND JAN BRUEGHEL THE YOUNGER ANTWERP 1601-1678
AN AUTUMN LANDSCAPE WITH TRAVELLERS AND HERDSMEN ON A PATH, A COUNTRY INN BEYOND
oil on canvas
85 by 119 cm.; 33 1/2 by 46 7/8 in.
ESTIMATE 40,000 – 60,000 GBP
CATALOGUE NOTE
As early as 1604 Karel van Mander, writing in his Schilderboek, praised Joos de Momper for ‘painting landscapes excellently with a clever technique’. The present work affords a fine example of the innovative and distinctive style which made de Momper one of the most important landscape painters of the early 17th century. The warm earthy tones of the village and the ochres and russet reds of the foliage suggest clearly that this landscape was intended as a representation of autumn, and they provide a dramatic chromatic contrast with the clear blue tones of the distant landcape and the city on the far horizon. The large scale of the present painting suggests it was intended as a subject in its own right rather than as part of a larger cycle of painting illustrating the Four Seasons. Ertz (see Literature) dates it to the 1620s. The staffage is, as Ertz suggests, probably by Jan Brueghel the Younger, who continued the very close relationship his father Jan Brueghel the Elder had had with de Momper up until his death in 1625.

.

.

.

LOT 115
PROPERTY FROM A PRIVATE COLLECTION
WORKSHOP OF LUCAS CRANACH THE ELDER
Kronach 1472 – 1553 Weimar
PORTRAIT OF MARTIN LUTHER
bears the artist’s device of a winged serpent centre left
oil on panel, in an italian carved and gilt wood frame
62.8 by 47.8 cm.; 24 3/4 by 18 3/4 in.
ESTIMATE 80,000 – 120,000 GBP

CATALOGUE NOTE
Probably executed in Cranach’s workshop in the 1540s, this portrait represents Martin Luther   (1483-1546) at a fairly advanced age, probably in his late forties or early fifties. There is a portrait of the sitter by Cranach himself dated 1539, in which Luther, wearing the same shirt and coat, appears to be slightly more advanced in years, his hair somewhat whiter and his features a little more sunken.1 It is probable therefore that the present work repeats a lost work by Cranach from the mid 1530s, the sitter thus being depicted at the approximate age of fifty-two. However,
although based on a Cranach from the 1530s this workshop production is likely to have been executed in the following decade; Friedländer and Rosenberg attest to the activity of the workshop in this decade at making fairly numerous copies of Cranach’s portraits of Luther, as well as those of his friend Philip Melanchthon and of the Dukes of Saxony, all of which were in very high demand both in and outside of Saxony itself. Indeed, the present work is likely to have been originally paired with a portrait of Melanchthon. The pose and positioning of the hands recall another portrait of Luther from 1532 in the Gemäldegalerie, Dresden.

.

.

.

LOT 117
STUDIO OF SIR PETER PAUL RUBENS
Siegen 1577 – 1640 Antwerp
PORTRAIT OF A YOUNG CAPTAIN, HALF LENGTH, WEARING ARMOUR AND A RED SASH
oil on panel
67 by 61 cm.; 26 3/8 by 24 in.
ESTIMATE 10,000 – 15,000 GBP

CATALOGUE NOTE
The prototype, incorrectly catalogued as a portrait of the Duke of Mantua, was sold London, Christie’s, 23 January 1920, lot 98. It subsequently made its way to the Putnam Foundation housed in the Timken Art Gallery, where it hangs now.1
More recent speculation2 identifies the sitter as William Lamport (161501659), who took the Spanish name of Guillén Lombardo and is supposedly the man on whom the original Zorro myth is based. The Irish man’s red hair adds fuel to the speculative flames: zorro is the Spanish word for fox. After spending time in Madrid (where he presumambly met Rubens), in 1643 he was posted to Mexico, where he was soon jailed. On his escape he sought to lead an uprising against the brutal regime. It is this struggle for the oppressed, especially the indigenous population, which has linked him to the Mexican hero Zorro.

.

.

.

LOT 119
JUAN PANTOJA DE LA CRUZ
Madrid 1551 – 1608
PORTRAIT OF PRINCE FELIPE EMMANUELE (1586-1605) OF SAVOY, HALF LENGTH, WEARING THE BADGES OF THE ORDERS OF THE
ANNUNZIATA AND ST. MAURICIUS AND LAZARUS
signed and dated centre left: pantoja de la +/ 1604
and with inventory number lower right: 52686
oil on canvas
63.2 by 46.8 cm.; 24 7/8 by 18 1/2 in.
ESTIMATE 15,000 – 20,000 GBP

CATALOGUE NOTE
Felipe Emmanuele of Savoy was the eldest son of Carlo Emmanuele, Duke of Savoy and the Infanta Doña Catalina Micaela of Austria, daughter of King Philip II of Spain. Felipe Emmanuele died unmarried in 1605, just prior to his 19th birthday. With his death his younger brother Vittorio Amadeo succeeded his father as Duke of Savoy in 1630, having married Princess Christina (1606-1663), daughter of King Henry IV of France, on 10th February 1619. There is a threequarter length portrait of Felipe Emmanuele in Bilbao, Museo de Bellas Artes (for which see M. Kusche, Juan Pantoja de la Cruz…, Madrid 2007, p. 162, reproduced fig. 118).

.

.

LOT 134
THE PROPERTY OF A NOBLE FAMILY
WILLEM CLAESZ. HEDA
Haarlem circa 1596 – 1680
STILL LIFE WITH A ROEMER, A FLUTED WINE-GLASS, A SILVER GOBLET, A BLUE-AND-WHITE PORCELAIN BOWL FILLED WITH GREEN
OLIVES, A PARTLY PEELED LEMON AND A KNIFE, ALL ARRANGED WITHIN A STONE NICHE
signed and dated lower centre: HEDA. FECIT./ 1649.
oil on oak panel
92 by 70 cm.; 36 1/4 by 27 1/2 in.
ESTIMATE 60,000 – 80,000 GBP

.

.

.

LOT 137
SCHOOL OF PAVIA, FIRST DECADE OF THE 16TH CENTURY
SAINT BONAVENTURA, DRESSED AS A BISHOP
oil on panel, unframed
174 by 61.5 cm.; 69 1/2 by 24 1/4 in.
ESTIMATE 8,000 – 12,000 GBP

.

.

.

.

.

.

LOT 146
THE PROPERTY OF A PRIVATE COLLECTOR
ALESSANDRO VAROTARI, CALLED IL PADOVANINO
Padua 1588 – 1649 Venice
THE THREE GRACES
oil on canvas
121 by 146 cm.; 47 5/8 by 57 1/2 in.
ESTIMATE 50,000 – 70,000 GBP

.

.

.

.

LOT 163
NEAPOLITAN SCHOOL, CIRCA 1700
THE ARCHANGEL MICHAEL DEFEATING SATAN
oil on canvas
134.5 by 100.5 cm.; 53 by 39 1/2 in.
ESTIMATE 8,000 – 12,000 GBP

.

.

.

.

.

.

LOT 207
FOLLOWER OF FRANCESCO GUARDI
VENICE, A CAPRICCIO VIEW OF THE LAGOON
oil on panel, unframed
12.5 by 19.2 cm.; 4 7/8 by 7 1/2 in.
ESTIMATE 10,000 – 15,000 GBP

One Thought

  1. [...] on Sotheby’s end, OMNP’s forecast of subpar performance was more or less disproven, as the prestige behind the collection up for sale, that of Barbara [...]

Your Thoughts...


Tel: +001 (646)-705-4339
Email: contact@omnparts.com

Copyright 2014 by OMNP Arts, LLC
Subscribe to RSS Feed – Here