Old Masters (before 1870)

Theo van Rysselberghe - RYSSELBERGHE, THEO VAN 1862 Gent - 1926 St-Clair/Var Title: "Petite plage á Saint-Tropez". Date: 1898. Technique: Oil on canvas. Mounting: Relined. Measurement: 40,5 x 49cm. Notation: Monogrammed and dated lower right: "vR 1898". Frame: Framed. Verso: On the stretcher label with handwritten details on the depiction as well as exhibition label Palais des Beaux-Arts, Brussels 30.10.1956. Literature: R. Feltkamp: Théo van Rysselberghe 1862-1926, Paris/Brussels 2003, p. 320, no. 1898-021 with ill. Provenance: Jean Willems, Brussels; Private ownership, Germany. We would like to thank Olivier Bertrand, Luxembourg, who also confirmed the authenticity of the work in an e-mail dated 24.04.2024. Deserted the bay is lying in front of us. The beach is lying serenely in the blue shadow while sun rays paint the rock formations that protrude into the sea in a warm gold. The sea is calm; the rocks are distinctly reflected in the water surface. Distinctness, however, is, in the context of this small ladscape, a fallacious expression. The colour is whirring and vibrating. There are no firm contours, lines or threedimensional modellings. And yet tha painter has understood to clearly convey the place and its mood. Théo van Rysselberghe was 35 years old when he painted this atmospheric "portrait" of the little beach near St. Tropez and he had perfected a special form of expression, pointillism, for more or less 10 years. Van Rysselberghe who had been born in the Belgian town Ghent had been educated in his home town at first, then, however, at the Académie Royale des Beaux-Arts in Brussels from 1879 on. After first participations in the public salon exhibitions in Ghent and Brussels, the young artist could celebrate his first successes in 1882/83 when he presented his travel impressions in exhibitions after an extended stay in Morocco. It was the first of three Morocco voyages during which the young artist already felt fascinated by the southern light. Depicting light became his great challenge and the central theme, to which he committed himself from then on. When 20 artists organised themselves within the "Société des Vingt" (in short "Les XX") as a group in Brussels in 1883. This society of young avant-garde artists was interested in the exchange with international, primarily French colleagues. Among the members were, amongst others, James Ensor, Ferdinand Khnopff or Félicien Rops. 20 international artists were invited to the annual exhibitions of the "Vingtistes" for giving new impulses to the Belgian art scene but certainly for connecting the Belgian artists internationally, as well. Also because of this progressive concept Brussles became a centre of modern art in the finishing 19th century. In 1886, Auguste Renoir und Claude Monet exhibited at the "Les XX". Théo van Rysselberghe was deeply impressed by their special new depiction of light and his own so far rathr realist style became inscreasingly impressionist. Van Rysselberghe, who was already well known in the Parisian art scene, was a driving force behind the "XX" and became the group's "talent scout" in France. He "discovered" Henri de Toulouse-Lautrec as well as his own fellow pupil from his Academy days, Vincent van Gogh, who was able to conclude his only public sale during his lifetime at the group's exhibition in 1890. However, the most lasting influence on van Rysselberghe's own work was his involvement with the innovative, pointillist painting of George Seurat and Paul Signac, whom he met in Paris in 1886. He was also able to persuade both of them to take part in the "XX" exhibition in Brussels. While the Impressionists placed the atmospheric depiction of light at the centre of their artistic endeavours, the Pointillists took a radically scientific approach. Colours dabbed onto the canvas in dots were not mixed together, but stood side by side. The picture was to be created in the eye of the beholder, which the painter constructed according to optical laws. Van Rysselberghe was the most influential Belgian painter who predominantly used this new technique from around 1888. However, he modified the strict doctrine of pointillism, working with tonal colour values and - as in the example of the present landscape - with short brushstrokes. These strokes (here in the sea waves or in the transition between rocks and water) could also be applied longer and with a different intensity than the "pure doctrine" of pointillism envisaged. In the year before the present painting "Petite plage á St. Tropez" was created, van Rysselberghe had already painted the same motif in a slightly smaller format. In our later work, the artist has shifted the complementary colours by one shade: from violet-yellow in the earlier painting to a blue-orange contrast. He has also given the sky more space in the present work. This more recent version is richer in contrast and conveys an intense freshness. Estimated shipping costs for this lot: Arrangement after au

Ecole FRANCAISE vers 1720, suiveur de Nicolas de LARGILLIERRE - Portrait of a woman On its original canvas 72 x 58.5 cm Damage No frame

Harrington MANN (1865-1937) Portrait of Peter Kroyer in Black in Front of a Sofa Oil on canvas, signed lower left and dated 1924 (Accidents and restorations.) Height : 123 cm ; Width : 100 cm The model is a son of Sir Michael KROYER KIELBERG (1882-1958) Provenance : - Former collection of Sir Michael KROYER KIELBERG (1882-1958) Danish-born shipping magnate and philanthropist, Sir Michael Kroyer-Kielberg was founding president of United Molasses. Under his leadership, the company played a key role in supporting the Free Denmark Movement during the war. He also served as Danish Ambassador to the Court. An art lover, his collections included important works by Sisley, Corot, Pissarro and Epstein. Between 1928 and 1930, he built Stockgrove Park House in Bedfordshire, a property considered to be the last major castle in England. built in England. During this period, he probably commissioned opulent silverware from the houses of Puiforcat and Garrard (lots 22 to 34 and 37).

Roman Master Römische Schule - RÖMISCHE SCHULE, ROMAN MASTER 17th / 18th C. Title: Head Study of a Young Man. Technique: Oil on canvas. Mounting: Relined. Measurement: 44,5 x 38cm. Frame: Framed. Provenance: Collection Erich Schleier, Berlin. Estimated shipping costs for this lot: Germany: 36,97 Euro plus 7,03 Euro VAT EU: 58,82 Euro plus 11,18 Euro VAT Worldwide: 100,84 Euro plus 19,16 Euro VAT additional shipping insurance Explanations to the Catalogue Roman Master Römische Schule Italian School Old Masters Framed Figure / Figures Sketch

Scuola di Praga/Rudolfina del XVI/XVII secolo - Prague/Rudolfine School of the 16th/17th century Venus and Cupid Oil on canvas 121 x 82 cm The work represents a prestigious example of Rudolfina art with clear reminiscences of the Italian Renaissance and Mannerism, especially the Venetian art of Titian and his subjects with female nudes. Sensuality, despite being in the midst of the Counter-Reformation period of the Catholic Church, is a very recurring theme in the Rudolfine sphere, where the spirit of the Renaissance revives, investigated pictorially by the most renowned artists of the Prague cenacle such as Hans von Aachen, Daniel Froschl, Matthaus Gundelach, Joseph Heintz, Dirck de Quade van Ravesteyn and Bartholomaus Spranger. Upon Maximilian's death in 1576, Rudolph II succeeded to the Habsburg throne. Educated in Spain, a refined and cultured man of a shy and solitary character he established a picture gallery among the most important of his time. In 1583 he moved the capital of the kingdom from Vienna to Prague where he surrounded himself with prestigious masters of Nordic Mannerism. In Prague Castle, around 1590 Bartholomeus Spranger, was at the pinnacle of his prestige. Over the next two decades he, together with Hans van Aachen and Joseph Heintz, dominated the scene at this court that had become, with Fontainebleau and Augsburg, one of the most relevant seats of European Mannerism. In 1612 with the death of Rudolf II, the court was emptied of the surviving artists and scientists, and after more than a quarter of a century with the death of the ruler an era finally closed. Prague School/Rudolfina of the 16th/17th century Venus and Cupid Oil on canvas 121 x 82 cm The artwork represents a prestigious testimony of Rudolfine art with clear reminiscences of Italian Renaissance and Mannerism, especially the Venetian art of Titian and his subjects with female nudes. Despite being in the Counter-Reformation of the Catholic Church, sensuality is a very recurrent theme in the Rudolfine sphere, where the spirit of the Renaissance lives on, investigated pictorially by the most renowned artists of the Prague cenacle such as Hans von Aachen, Daniel Froschl, Matthaus Gundelach, Joseph Heintz, Dirck de Quade van Ravesteyn and Bartholomaus Spranger.

Scuola genovese del XVII secolo - Genoese school of the 17th century Saint Mary Magdalene and the Angel Oil on canvas 109.5 x 86.5 cm The work shows stinging stylistic affinities with the art expressed by Domenico Piola. Genoese school of the 17th century Saint Mary Magdalene and the Angel Oil on canvas 109.5 x 86.5 cm The artwork shows strong stylistic affinities with the art expressed by Domenico Piola.

Ecole du XVIIIe - Bunch of flowers Oil on canvas 47.4 x 64 cm (view) Covered

Scuola francese del XVIII secolo - French school of the 18th century Portrait of a lady Oil on canvas 50 x 43 cm French school of the 18th century Portrait of a Lady Oil on canvas 50 x 43 cm

Raden Saleh Ben Jaggia - SALEH BEN JAGGIA, RADEN 1811 Samarang (Java) - 1880 Buitenzorg Title: Battle between Arab Horsemen and a Lion. Date: 1842. Technique: Oil on canvas. Measurement: 63.5 x 98cm. Notation: Remains of the original signature lower right: "Raden Saleh 184(...)". Frame: Framed. Verso: On the stretcher with a later, incorrect attribution to Verestchagen (1842-1904). Certificate: Werner Kraus, Passau, 2023. Provenance: Private ownership, France. A wide landscape with palm trees, a deep blue sky in the first warm glow of evening-and below it a wild battle of animals and people intertwined with challenging perspective and almost unparalleled dramatic movement. Life and survival, death and mortal combat are the themes of this extraordinary 1842 painting, in which the contemporary viewer can experience strangeness, wildness and boldness. Like many other artists of this time of emerging mechanization, Raden Saleh was fascinated by the contrast between the wild and turbulent nature and the anthropized world. In his paintings he shows nothing but the superiority of culture in the struggle against the forces of nature: Be it the large marine paintings with which he established himself in the tradition of his Dutch masters, or the exotic-looking hunting scenes that he painted in Dresden from 1840 onwards. His savage world stood in stark contrast to the sheltered bourgeois system of the 19th century, which tended to create a cosy atmosphere and appealed to the idealised late-romantic vision of the Oriental world. In this way, he attracted even more attention in European society than he had already received as a Javanese prince. In 1829, at the age of 18, Raden Saleh Ben Jaggia took on the great challenge of travelling to Holland on a scholarship. He wanted to complete his training as a painter, but also to study the homeland of the colonial rulers. Saleh was an absolute exception in the art world of the 19th century. He stayed in Europe, mainly in the Netherlands and Germany, for over 22 years. His technical skill and flamboyant personality quickly made him a star in a society fascinated by exoticism. The Dresden years, during which our painting was made, were extremely productive and some of his paintings are still privately owned in Germany to the present day. The esteem Saleh enjoyed among his contemporaries is also reflected in the fact that the European aristocracy, including the British royal family, coveted and sought out his paintings. Some of his works can still be found in Buckingham Palace and Windsor Castle, among other places. In his home country Saleh, who returned to Java in 1851, is considered the founder of modern Indonesian art. Raden Saleh thus built a cultural bridge between two then physically and conceptually distant worlds. The present work, painted in 1842 at the height of his career, brings together the most diverse aspects of Raden Saleh's art: his great model Horace Vernet and his lion hunt painted in 1836, recognisable here, as well as the lion 'Nero', which he saw and portrayed several times in The Hague in 1837. It is also possible here to recognise his way of working in search of the right expression, which is revealed in the discrepancy between the underlying drawing and the final stroke. The infra-red reflectography indicates preliminary drawings in chalk with varying perspectives and movements or small changes in detail. Raden Saleh literally plays with figures and animals in his work process until he finds his characteristic and powerful composition with fast movements, wide-open eyes and flowing manes. It is noteworthy that the signature was removed from the painting. Werner Kraus, the leading expert on this artist, explains in his report that the attempt to remove the signature by the previous owners was influenced by the varied reception of Raden Saleh's work in Europe. While it was the exotic star of its time, it fell into oblivion in the decades of Impressionism and was ignored: a false attribution on the verso of the frame was probably intended to increase its economic value. Today, the remains of the original signature and date are still slightly recognisable with a magnifying glass. They are an important confirmation of this masterly painting, in which Kraus sees one of his major works: "The painting 'Battle between Arab Knights and a Lion', 1842, oil on canvas, 67.3 x 98 cm, is an original work by the Javanese artist Raden Saleh. It was painted in Dresden and must be considered a masterpiece by the artist'. VAN HAM weaves together with Raden Saleh Ben Jaggia its history as an auction house and a sequence of successful sales: in 2011, we managed to sell Saleh's monumental work 'In letzter Not', also dating from 1842 and depicting an Arabian knight on his grey horse fighting a lion, for around EUR 2 million - for many years the highest auction price for a 19th century painting worldwide. Estimated shipping costs for this lot: Arrangement after auction. Explanat

French school, in the taste of DUMONSTIER Portrait of a woman in her thirty-third year holding a book Oil on panel, annotated "attatis sua 33" and "anno 1634". Painted coat of arms top left (Repainted.) Height 66.5 cm; Width: 64.5 cm

Scuola veneta del XVII/XVIII secolo - Venetian school of the 17th/18th century Martyrdom of Saint Agatha Oil on canvas 122.5 x 161 cm Venetian school of the 17th/18th century Martyrdom of Saint Agatha Oil on canvas 122.5 x 161 cm

Piat Joseph SAUVAGE (Tournai, 1744-1818) and his workshop Antique profiles in medallions and putti with baskets of flowers Five canvases Unframed (Old restorations, accidents and small missing pieces). Height 105.5 cm; Width 109 cm (two canvases) Height 78 cm; Width 106 cm (three canvases) Provenance : - Nantes mansion where General Cambronne lived from 1820 to his death in 1842.

Francesco Solimena - SOLIMENA, FRANCESCO 1657 Canale di Serino - 1747 Barra Title: Preparatory Study for the Crucifixion. Date: Ca. 1728. Technique: Oil on canvas. Mounting: Relined. Measurement: 33 x 41cm. Frame: Framed. Expertise: Riccardo Lattuada, Naples, 19.02.2024, copy available. Provenance: Collection Erich Schleier, Berlin. The large area of visible and well preserved brown ground suggests that it is a preliminary study for a more complex composition. The three figures can easily be traced back to the lower right part of Francesco Solimena's "Descent from the Cross", the most important version of which was painted in 1728-29 for the chapel of Prince Eugene of Savoy's hunting lodge in Engelhartstetten and has been in the Kunsthistorisches Museum in Vienna for some time. The work in Vienna is the larger one (398 x 223 cm), but there are also smaller versions in Chambéry, Musée d'Art et d'Histoire, and in the Berkeley Art Museum (both approx. 128 x 75 cm). These works can be seen as reminiscences of the large composition for Eugene of Savoy, the success of which is also evidenced by the existence of numerous copies and workshop derivations. The present painting shares typical features of the technique developed by Solimena during the preparation of the sketches, which Bernardo de' Dominici describes in detail, quoting Solimena's instructions. The brown ground, on which the figures are silhouetted, is used to describe the shaded parts of the chiaroscuro painting; the execution is very precise and the choice of colours is already essentially that adopted in the elaboration of the works. We observe this method in various works on canvas by Francesco Solimena, which are conceived as parts of complex compositions and thus intended for technical use, so to speak: "Nicholas and Anthony of Padua" as preparation around 1687 for the corresponding fresco figures in Naples, Church of San Giorgio Maggiore (offered at Sotheby's, London, 1974 1990, resp. New York, now Naples, Lauro Collection); "Apostle Peter in Glory and Angel" in Marlow, Leighton Fine Arts, as preparation for the figure of the same name on the ceiling of the church of San Nicola alla Caritá in Naples (c. 1690); and the small sketch with the Nativity in Naples, De Giovanni Collection, conceived for some figures in the Adoration of the Shepherds in Naples, Santa Maria Donnalbina, which were not used in the final design (c. 1699-1701). Over the course of his long career, Solimena also applied this method to preparatory paintings for works such as the one discussed here, which were created towards the end of the third decade of the 18th century. It is significant that - as far as is known - no other versions of this study are known, which increases its informative value. We are grateful to Riccardo Lattuada for confirming the attribution after examining the present painting on the basis of a high-resolution digital photograph. We are also grateful to Francesco Petrucci, Rome, who has also independently recognised the attribution. Estimated shipping costs for this lot: Arrangement after auction. Explanations to the Catalogue Francesco Solimena 17th/18th C. Old Masters Framed Life of Christ Painting Cross

Scuola napoletana del XVII secolo - Neapolitan school of the 17th century Saint Lucy led to martyrdom Oil on canvas 125 x 163 cm Neapolitan school of the 17th century Saint Lucia Led to Martyrdom Oil on canvas 125 x 163 cm

Fabius BREST (1823-1900) Still Life with Fruit and a Glass of Red Wine Oil on cardboard, signed lower right (Small loss at top right, craquelure). Height 32.6 cm; Width: 26 cm

Scuola veneta del XVI secolo - Venetian school of the 16th century Portrait of Andrea Navagero Oil on canvas 66 x 52 cm Venetian school of the 16th century Portrait of Andrea Navagero Oil on canvas 66 x 52 cm

Harrington MANN (1865-1937) Portrait of MichaelKroyer as a Child Oil on canvas, signed lower left and dated 1924 (Accidents and restorations.) Height Height : 103 cm The model is a son of Sir Michael KROYER KIELBERG (1882-1958). Provenance : - Former collection of Sir Michael KROYER KIELBERG (1882-1958) Danish-born shipping magnate and philanthropist, Sir Michael Kroyer-Kielberg was founding president of United Molasses. Under his leadership, the company played a key role in supporting the Free Denmark Movement during the war. He also served as Danish Ambassador to the Court. An art lover, his collections included important works by Sisley, Corot, Pissarro and Epstein. Between 1928 and 1930, he built Stockgrove Park House in Bedfordshire, a property considered to be the last major castle in England. built in England. During this period, he probably commissioned opulent silverware from the houses of Puiforcat and Garrard (lots 22 to 34 and 37).

Eiri Chôkyôsai (zugeschrieben) - Eiri Chôkyôsai (attributed) (active 1789 - 1801 in Japan) - (Complete set of 13 Oban yoko-e shunga (erotic pictures) from the series Fumi no kiyogaki (models of calligraphy) (Complete set of 13 Oban yoko-e shunga (erotic pictures) from the series Fumi no kiyogaki (models of calligraphy) Nishiki-e (colored woodblock print on Japan). Edo period, 1615-1868, (around 1801). Each approx. 25.9 x 39 cm (sheet size). The series of 13 pictures is attributed to Chôkyôsai Eiri, a pupil of Hosoda Eishi (1756-1829). It contains references to well-known shunga woodcuts (spring pictures) by the famous Kitagawa Utamaro (1753-1806). One scene in the album shows a well-dressed European, who is said to be an elderly Dutch merchant, with a courtesan from Nagasaki. Both are heavily dressed for winter, but she is leaning out of an open Western-style window, suggesting that they are on the East India Company grounds on Dejima Island. - Each with a smoothed centerfold, occasional light spotting as well as a few sheets on the verso with remnants and traces of former mounting. Overall in good condition. Literature: Lane, Richard: Eiri, Love Letters, Love Consummated: fumi no-kiyogaki, no. 9, 1996, illus. pp. 12-37; Buckland, Rosina: "Shunga: Erotic Art in Japan", London 2010, pp. 110-112 Provenance: Kunsthandel Klefisch, auction 84, September 23, 2006, lot 96.Taxation: differential taxation (VAT: Margin Scheme)ne ony lots.

Jacques Hupin - HUPIN, JACQUES active in Rome mid 17th century Title: Still Life with Turkish Rug, Plate with Peaches and Sculpted Vase. Technique: Oil on canvas. Mounting: Relined. Measurement: 81 x 97.5cm. Frame: Framed. Certificate: Gianluca Bocchi, Casalmaggiore, December 2023, available in copy. Provenance: Private ownership, Germany. The present painting is almost certainly the work of French painter Jacques Hupin, an artist not mentioned in art historical sources and whose biographical data is not certain, but whose presence in Italy is documented by a still life preserved at the Musée du Louvre with the inscription "J. Hupin fec. in Rome." The art historian Jacques Bousquet reports, without being able to prove it, that he found traces of the artist's hand in a still life from 1649. This leads him to the conclusion that Hupin was familiar with the works of Francesco Noletti, called "Maltese" - a plausible thesis as the setting of his still lifes is clearly inspired by Noletti (the precise and illusionistic description of imposing Turkish carpets takes centre stage). The meticulous execution with thick threads of colour is underpinned by tactile sensations that can only be found in these two artists to great effect. In order to properly assess the influence of Noletti's paintings on Jacques Hupin and other transalpine artists, one must not overlook the fact that his paintings were very popular on the market and with French collectors before and after his death. Compared to the Maltese painter, Hupin tends to increase the volume of the carpets and let them fall heavily to the ground with wide folds in overlapping layers, thus de-emphasising the decorative effect of the fringes strung together and hanging into the void. In general, Hupin saturates the space of his paintings with objects or leaves an impenetrable darkness in the background, without resorting to curtains, which, when present, have an accessory or irrelevant function. A peculiarity of this painter, which is not found in the works of other artists active in Rome, is the depiction of neatly folded Turkish carpets next to open carpets. Jacques Hupin's stay in Italy probably did not last long and the artist returned to his homeland, as not many significant traces of his stay in Rome have been found. The objects that enrich his compositions, such as vases, amphorae, metal stirrups, glassware and chiselled metal clocks, testify to a pronounced French taste. These are precious artefacts similar to those in the paintings of Meiffren Conte (1630-1705). Estimated shipping costs for this lot: Arrangement after auction. Explanations to the Catalogue Jacques Hupin 17th C. Old Masters Framed Still Life Painting Fruits

Pietro Bellotto o Bellotti (Volciano 1625 - Gargnano 1700) - Pietro Bellotto or Bellotti (Volciano 1625 - Gargnano 1700) Old commoner woman Oil on canvas 89 x 75 cm The painting, of absolute quality, is fully reflected in the exact same figure of an old commoner that we find in the canvas in the Puskin Museum in Moscow titled Two Peasants Eating (photo 957, p. 866 in Venetian Painting of the Seventeenth Century, Volume Two, edited by Rodolfo Pallucchini). According to Orlandi he was a pupil of Girolamo Forabosco, but his naturalism was certainly influenced by the caricatures of Nicolas Lagneau and the popular motifs etched by Jacques Callot. He was renowned for his half-figures drawn with caricatured expressions and minutely investigated. His incisive brushwork and dry subject matter cause his painting technique to be likened to that of some northern Caravaggists. He was most likely influenced by the subjects and pictorial modes of Eberhard Keil, Monsù Bernardo, thanks to whom the pitocchi subjects typical of the Flemish and Dutch came to Venice. Pietro Bellotto or Bellotti (Volciano 1625 - Gargnano 1700) Old Commoner Oil on canvas 89 × 75 cm The painting, of absolute quality, is fully reflected in the identical figure of an old commoner woman that we find in the canvas of the Pushkin Museum in Moscow entitled Two Peasants Eating (photo 957, page 866 in La pittura veneziana del Seicento, Tomo secondo, edited by Rodolfo Pallucchini).

Scuola lombarda del XVIII secolo - Lombard school of the 18th century Portrait of a cardinal Oil on canvas 87 x 72 cm Lombard school of the 18th-century Portrait of a Cardinal Oil on canvas 87 x 72 cm

Charles A. BUCHEL (1872-1950) Portrait of Delmira Marion Kroyer seated in a pink dress Oil on canvas, signed lower right (Accents and restorations.) Height 96 cm; Width: 71 cm The model is a daughter of Sir Michael KROYER KIELBERG (1882-1958). Provenance : - Former collection of Sir Michael KROYER KIELBERG (1882-1958) Danish-born shipping magnate and philanthropist, Sir Michael Kroyer-Kielberg was founding president of United Molasses. Under his leadership, the company played a key role in supporting the Free Denmark Movement during the war. He also served as Danish Ambassador to the Court. An art lover, his collections included important works by Sisley, Corot, Pissarro and Epstein. Between 1928 and 1930, he built Stockgrove Park House in Bedfordshire, a property considered to be the last major castle in England. built in England. During this period, he probably commissioned opulent silverware from the houses of Puiforcat and Garrard (lots 22 to 34 and 37).

Sigismondo Foschi - FOSCHI, SIGISMONDO 1532/36 Faenza Title: Holy Family. Technique: Oil and tempera on wood. Measurement: 70 x 53,5cm. Frame: Framed. Verso: On the panel remains of an old collection stamp. Provenance: Private ownership, Italy. We are grateful to Francesca Baldassari for suggesting the attribution of the present painting on the basis of a high-resolution digital photograph. Estimated shipping costs for this lot: Arrangement after auction. Explanations to the Catalogue Sigismondo Foschi Florentine School 15th/16th C. Old Masters Framed Life of Virgin Mary Altar piece

Michiel o Michael Sweerts (Bruxelles 1618 - Goa 1664) cerchia di - Michiel or Michael Sweerts (Brussels 1618 - Goa 1664) circle of Interior with soldiers Oil on canvas 32 x 41 cm Michiel Sweerts arrived in Rome, where he met the group of Dutch and Flemish artists led by the painter Pieter van Laer known as Il Bamboccio, who were devoted to depicting scenes of popular life in Rome and the Roman countryside. Thanks to van Lear's nickname, the group took the name Bamboccianti. Their painting depicted with theatricality the everyday life of the people, the facts told were not taken from reality, but were true enactments to tell the folklore of the eternal city, which at the time was overcrowded due to the recent agrarian crises in the countryside. The dizzyingly heightened social unrest exacerbated the malaise; the streets were filled with wanderers, beggars, peddlers, peasants, and soldiery. Sweerts is universally held to be on the sidelines of the bamboozlers, in that his popular characters retain a dignity, albeit a melancholy one, given the conditions. Sweerts does not look at the minute people with the hilarity of most of his colleagues, who saw in the scenes he painted an unworthy but entertaining spectacle. After leaving Rome he returned to Flanders, where he opened an art school. He later left as a missionary for China, but was expelled from the country. He reached Goa, India, where he died in 1664. Michiel or Michael Sweerts (Brussels 1618 - Goa 1664) circle of Interior With Soldiers Oil on canvas 32 x 41 cm

Ecole du XVIIIe - Portrait of a woman Pastel 39 x 32 cm (view)

Flämischer Meister des 17. Jahrhunderts - Flemish Master of the 17th century Portrait of a man Oil on canvas (relined). 60 x 51.5 cm. After van Dyck's self-portrait (now National Portrait Gallery, London, c. 1640, inv. no. NPG 6987). Round stamp on stretcher verso, therein handwritten "360".

Scuola fiorentina della seconda metà del XVI secolo - Florentine school of the second half of the 16th century Face of Jesus Oil on canvas 48 x 40 cm The work represents an exemplification of Florentine painting in the second half of the 16th century, marked by the neoclassicism of Vasari, the most influential painter of late Tuscan Mannerism. During this period, there was an important pictorial activity in the capital of the Grand Duchy, which we find summarized in the magnificent Studiolo di Francesco I in the Palazzo Vecchio. In this small, secluded room are gathered the works of the most illustrious Florentine painters who, supervised by Giorgio Vasari and his disciple Giovan Battista Adriani, contributed to the decoration, citing: Alessandro Allori, Andrea del Minga, Domenico Buti, Giovanni Maria Butteri, Vittore Casini, Mirabello Cavalori, Jacopo Coppi, Alessandro Fei, Maso da San Friano, Santi di Tito, the Vasari and others. Florentine school of the second half of the 16th century Face of Jesus Oil on canvas 48 x 40 cm The artwork represents an exemplification of Florentine painting of the second half of the 16th century marked by the neoclassicism of Vasari, the most influential painter of the period in Tuscany.

Albert Flamm - FLAMM, ALBERT 1823 Cologne - 1906 Düsseldorf attributed Title: The Faraglioni Rocks near Naples in the Evening Light. Technique: Oil on canvas. Mounting: Relined. Measurement: 53 x 71,5cm. Frame: Framed. Provenance: Private ownership, Germany. Like his close friend and brother-in-law Oswald Achenbach, Albert Flamm, one of the leading landscape painters of the later Düsseldorf school of painting, specialised in Italian motifs. His views of Rome, the Campagna, Naples and southern Italy, often enlivened with folkloristic staffage, are still very popular today. Last year we were able to celebrate the 200th birthday of the Cologne-born artist and so it is a retroactive tribute that this catalogue is enriched by five works by Flamm. Albert Flamm initially studied architecture at the Düsseldorf Academy of Art, but turned to painting in 1841 and became a pupil of Andreas Achenbach. He quickly became close friends with Achenbach's brother Oswald, who was four years younger than Flamm himself. In 1845, they undertook their first joint study trip to northern Italy. The second trip to Italy, which the friends set off on in 1850, was probably decisive for Flamm. While Oswald Achenbach returned to Düsseldorf after four months, Albert Flamm, who had found his artistic home, stayed in Rome for over three years and also travelled to Naples and Sicily from there. But he, too, eventually returned to Düsseldorf, although he continued to make the gruelling journey south over the following decades. Flamm was deeply rooted in Düsseldorf, he was a founding member of the artists' association "Malkasten" in 1848, he was socially established and married the sister of Oswald Achenbach's wife in 1860. From 1870, Flamm also represented his brother-in-law as a teacher at the academy for a time. Albert Flamm, like Oswald Achenbach, had captured the spirit of the times with his Italian motifs. In the course of the 19th century, the advancing emancipation and economic and social rise of the bourgeoisie was accompanied by the pursuit of classical education and the desire for (its) representation. Anyone who thought highly of themselves wanted to get to know the country that had been the main destination of the aristocracy's "grand tour" through Europe since the Renaissance. For the majority of citizens, however, Italy as a destination of longing was physically (almost) unreachable. Travelling to the south was long, expensive and certainly uncomfortable. The travel impressions brought back from Italy by Albert Flamm therefore sold extremely well on the young, newly organised market with an increasingly institutionalised exhibition system in northern Europe, but also in the USA. The bourgeois salons were given a "window to the south" with views of Rome and its environs, Naples and Venice. The artist's choice of motifs is comparable to today's Instagram selection: Tourist highlights and architectural icons were just as worthy of depiction as picturesque scenes from everyday life. Flamm's great skill lay in the painterly rendering of the mood of the light and the colouring. Two of the paintings represented here, the sweeping view of the Campagna di Roma (lot 1147) and the Via Appia with the Torre di Cecilia Metella (lot 1149), show the landscapes so typical of Flamm in the warm light of the setting sun.The streets draw the viewer's gaze into the paintings, in which the women standing at the fountain or the people with folkloristic details, who appear small next to the ancient landmark, liven up the tranquil landscapes.These signed but undated paintings demonstrate Flamm's masterful use of his painterly skills. Two other of Albert Flamm's paintings presented here depict rural life in front of farmsteads in glistening sunshine. Haze and dust are in the air and turn lot 1148 into a fantastic late Impressionist, hot breath of colour. Despite the fast and confident brushwork, the artist lovingly renders fine details, such as the clergyman looking at the scenery in the open door. Lot 1146 is comparable to the aforementioned painting in terms of the lighting mood and motif, the unloading of a hay cart. Once again, the composition draws the viewer's gaze into the depths, but the shimmering sea in the background (the Gulf of Naples?) absorbs the dynamic and lends the work a stronger sense of calm. The brightness of the scene can be seen from the pleasant shadows. The view of the Faraglioni rocks off the coast of Capri (lot 1150), attributed to Albert Flamm, conveys a sublime calm. From an elevated position on the shore, the viewer's gaze falls down onto the rocks, which stand there in majestic grandeur. It is a rarely observed moment of calm; the sea surface is completely still and reflects the cliffs in total clarity. But this vast seascape is also alive with people. Two small female figures can be seen on the coastal slope. They emphasise the size and vastness of what we see. These five paintings by Albert Flamm give a comprehensiv

ÉCOLE FRANÇAISE, 1854, GAUTIER*** - Portrait of Paul Gautier at age 4 Canvas Signed and dated lower left: Gautier/1854 No frame Height 41 cm - Width 32 cm

Albrecht Dürer - Albrecht Dürer (1471 - Nuremberg - 1528) - The coat of arms with the skull Copper engraving on laid paper with watermark "Hohe Krone" (Meder watermark 20). (1503). 22 x 15.7 cm (sheet size). Bartsch 101; Meder 98 I a (of II d); Schoch/Mende/Scherbaum 37 I a (of II d). Brilliant, deep black and high-contrast early impression with rich burr effect. Before the strong glitters beside the coat of arms and with the early watermark desired for lifetime impressions. Trimmed to the framing line, with a fine margin at the top. Due to its decorative richness, exciting composition and engraving brilliance, the sheet is one of Dürer's main graphic sheets. It shows a young Nuremberg patrician woman in a dancing dress and with a bridal crown, beset by a shaggy-haired, wild man who seems to have forgotten his task as the holder of a coat of arms for the moment. In view of the magnificent helmet, the straps of which she holds firmly in her grip, she puts up with his intrusiveness: Her gaze rests pleasingly on the suitor's coat of arms, but its front with the skull remains hidden from her. In the depiction, various motifs, such as the mismatched couple, death and the girl and the futility of human status symbols, merge into an impressive memento mori. - A few inconspicuous stains, a carefully repaired tiny loss at the upper right edge, otherwise in very good condition. Rarely so beautiful! Exhibition: Mémoires du futur, la collection Olbricht; Maison Rouge-Fondation Antoine de Galbert, Paris, France, October 22, 2011 to January 15, 2012.Provenance: Dr. Edgar Paltzer (1910-1993) and Elisabeth Charlotte Paltzer (1916-1990), Basel and New York, stamped on verso (Lugt 4262); Galerie Kornfeld, Bern, stock catalog 2003. the history of graphic art from 1430 to 1990 in selected works, 23 September to 29 November 2003, lot 18.Taxation: differential taxation (VAT: Margin Scheme)ne ony lots.

French school. 18th-19th century. Portrait of a lady of quality. Oval pastel. Height at sight: 50 cm.

Carl Wilhelm Freiherr von Heideck - HEIDECK, CARL WILHELM FREIHERR VON 1788 Saaralben - 1861 München Title: The Painter's Self Portrait in front of his Portrait as Bavarian Officer. Date: ca. 1820. Technique: Oil on canvas. Mounting: Relined. Measurement: 92 x 80cm. Frame: Framed. Certificate: Helmut Börsch-Supan, Berlin, 28.07.2013. Provenance: Private ownership, Germany. A very unusual self-portrait of a painter with a very unusual career - the painting shown here is a speciality in terms of both art and military history. After his initial training at the art academy in Zurich, Carl Wilhelm von Heideck transferred to the Munich Military Academy. He made a career in the Bavarian army and went to Greece in 1826, where he was later awarded citizenship for his services. In addition to these successes, he always remained active as a painter; a dual role that he also very skilfully expresses in his self-portrait, in which both the painter in civilian clothes and the officer in uniform are looking at us. Estimated shipping costs for this lot: Arrangement after auction. Explanations to the Catalogue Carl Wilhelm Freiherr von Heideck Germany Munich School 1st half of 19th C. Paintings Framed Artist's Portait Painting Military

Pietro Bellotto o Bellotti (Volciano 1625 - Gargnano 1700) attribuito - Pietro Bellotto or Bellotti (Volciano 1625 - Gargnano 1700) attributed. Face of smiling commoner Oil on canvas 49 x 37 cm According to Orlandi he was a pupil of Girolamo Forabosco, but his naturalism was certainly influenced by the caricatures of Nicolas Lagneau and the popular motifs etched by Jacques Callot. He was renowned for his half-figures drawn with caricatured expressions and minutely investigated. His incisive brushwork and dry subject matter cause his painting technique to be likened to that of some northern Caravaggists. He was most likely influenced by the subjects and pictorial modes of Eberhard Keil, Monsù Bernardo, thanks to whom the pitocchi subjects typical of the Flemish and Dutch came to Venice. Pietro Bellotto or Bellotti (Volciano 1625 - Gargnano 1700) attributed. The Face of a Smiling Commoner Oil on canvas 49 x 37 cm

Giacomo Cavedoni - CAVEDONI, GIACOMO 1577 Sassuolo - 1660 Bologna Title: Pietá. Technique: Oil on canvas. Mounting: Relined. Measurement: 33 x 28cm. Frame: Framed. Provenance: Collection Erich Schleier, Berlin. We are grateful to Daniele Benati, Bologna, for confirming the attribution of the present painting on the basis of a high-resolution digital photograph. Estimated shipping costs for this lot: Arrangement after auction. Explanations to the Catalogue Giacomo Cavedoni Baroque 16th/17th C. Old Masters Framed Life of Christ Painting Religious Art

Martin Schongauer - Martin Schongauer (c. 1450 Colmar - Breisach 1491) - The Madonna with the Apple Copper engraving on laid paper with barely recognizable watermark "Profilkopf" (Lehr's watermark 70-73). (c. 1477-1480). 17.8 x 13 cm (sheet size). Bartsch VI, 132, no. 28; Lehrs 39; Falk/Hirthe 39; The New Hollstein 39; Schmitt 39. Brilliant, deep black and in all subtleties concise early impression. With the clearly visible horizontal scratches running through the image at the level of Mary's lower legs, identifying the sheet as an early impression. With a narrow margin around the platemark. Lehrs only knew a total of around 35 copies, of which only 8 were awarded *** stars. This Madonna is the earliest that Schongauer engraved as a standing single figure. She is characterized as youthfully beautiful and graceful. The elegance of her pose and the dominance of the purely ornamental mantle can be traced back to the "Beautiful Madonnas" of the so-called "International Style" around 1400. Unlike all of Schongauer's other Christ children, her son is not naked but dressed in a shirt. In his right hand he holds an apple, the symbol of the sin overcome by his birth through Mary, the "New Eve" (Hirthe, p. 124). - Traces of the platemark probably slightly accentuated later. Verso with tiny stains. A tiny paper loss outside the image at the left and lower edge, otherwise in very good condition. Very rare! Literature: Colmar 1991, Unterlinden Museum, Der hübsche Martin, cat. No. K. 32 Provenance: Galerie Kornfeld und Klipstein, Bern, auction 127, June 12, 1968, lot 218; Private collection, Switzerland; Galerie Kornfeld, Bern, stock catalog 2003, The history of graphic art from 1430 to 1990 in selected works, September 23 to November 29, 2003, lot 11;. Galerie Kornfeld, Bern, auction 256, June 15, 2012, lot 71; Private collection, Germany.Taxation: differential taxation (VAT: Margin Scheme)ne ony lots.

Anton Graff - GRAFF, ANTON 1736 Winterthur - 1813 Dresden Title: Portrait of Johann Gottfried Herder (1744-1803). Date: 1790s. Technique: Oil on canvas. Measurement: 71.5 x 57.5cm. Frame: Framed. Literature: E. Berckenhagen: Anton Graff. Leben und Werk, Berlin 1967, p. 392, nr. 1565. Provenance: Private ownership, Germany. We are grateful to Helmut Börsch-Supan, Berlin, for confirming the attribution of this portrait to Anton Graff on the basis of a high-resolution photograph. Börsch-Supan refers to the portrait of Johann Gottfried Herder from the Gleimhaus in Halberstadt depicted by Berckenhagen and sees the present painting as a new discovery. It is in the nature of things that a portrait depicts the sitter as closely as possible. However, the great skill of the outstanding portraitist lies in visualising not only the outward appearance, but also the nature and character of the model. When this succeeds, a portrait conveys a comprehensive personality that transcends the boundaries of time and lends the person portrayed the immediacy of a contemporary. Swiss-born Anton Graff was the outstanding portraitist in the German-speaking world of the 18th century. During his three-year training at Schellenberg's drawing school in Winterthur, he had already specialised in portraiture. At the age of 20, he moved to southern Germany. He travelled to Augsburg, Ansbach and Regensburg, where he already worked independently but also completed his training. His meeting with the Bavarian court painter Désmarées in Schleißheim was of decisive importance for Graff. As was his access to large collections of paintings, where he was able to study works by leading portraitists such as Pesne, Rigaud and Kupetzky. The young Graff attracted attention and, in 1766, he was offered a permanent position as court painter. This appointment signalled Anton Graff's final breakthrough. Dignitaries and politicians, aristocrats and military officers, great intellectuals and actors wanted to be painted by Anton Graff. And demand was not only high in Dresden. Graff negotiated a limited attendance requirement in his employment contract, which allowed him to travel and paint personalities in other cities as well. In Carlsbad in 1785, he also portrayed Johann Gottfried Herder, the great polymath who had been working in Weimar as a theologian, philosopher, writer, cultural historian, anthropologist and translator since 1776. Together with Goethe, Schiller and Wieland, he formed the intellectual centre of the Weimar court of the muses. The portrait painted by Anton Graff in 1785 (Gleimhaus, Halberstadt) shows the 41-year-old scholar as a bust portrait without a wig. It is known from a letter by Friedrich Schiller that Herder was not entirely happy with this painting. Schiller also criticised the lack of seriousness in this earlier portrait. In the painting presented here, the famous thinker appears several years older. On the basis of various Herder portraits made by Angelika Kaufmann (1789), Johann Heinrich Tischbein (1796/1800), Gerhard von Kügelgen (1799) and Friedrich Rehberg (1800), it can be assumed that it was painted around 10 years after the first portrait, i.e. around 1795. An oval-format chalk drawing attributed to Graff, which may be a preparatory drawing for our portrait, was sold at auction in Bern in 1950 and 1955. "Bust portrait in dark skirt with white jabot, eyes turned to viewer." The treatment of the light in this painting is striking: Herder's body in the black skirt merges almost without contrast into the background, which is kept very dark at the edges. The oval face with its high forehead under the powdered wig is turned towards the viewer in three-quarter profile. The ivory-coloured collar with jabot increases the concentration of light in the centre of the picture. The lighting from the front on these crucial parts of the picture is absorbed by the partial lighting of the background, which Graff has realised in a very painterly manner. The philosopher casts no visible shadow; he appears in front of this bright part of the background with an immense presence. This stylistic detail appears in Graff's oeuvre in other paintings from the early 1790s, which supports the proposed dating of our picture. In his left hand, Herder holds a document that attributively identifies him as a man of the (written) word. It is an interesting detail that only one of the philosopher's hands can be seen. The agreed (high) price for ordering a portrait from Anton Graff was increased if hands were to be shown - with each hand being charged individually. This portrait of Johann Gottfried Herder was hitherto unknown. It shows the scholar, whose insights continue to have an impact even today, as an approachable and friendly character, with a clear, intense gaze from deep, dark eyes. The resulting image is somewhat more austere than Graff's 1785 painting, which presumably pleased the interlocutor. Estimated shipping costs for

Scuola lombarda del XVII/XVIII secolo - Lombard school of the 17th/18th century Basket of flowers Oil on canvas 55 x 72 cm Lombard school of the 17th/18th century Basket of Flowers Oil on canvas 55 x 72 cm

Andrea Vaccaro - VACCARO, ANDREA Neapel 1604 - 1670 Title: Penient Mary Magdalene. Technique: Oil on copper. Measurement: 21,5 x 17cm. Frame: Framed. Provenance: Collection Erich Schleier, Berlin. We are grateful to Riccardo Lattuada, Naples, for confirming the attribution of the present painting on the basis of a high-resolution digital photograph. Estimated shipping costs for this lot: Arrangement after auction. Explanations to the Catalogue Andrea Vaccaro Baroque 17th C. Old Masters Framed Saints Painting

Caroline von der Embde - EMBDE, CAROLINE VON DER 1812 Kassel - 1867 Hamburg Title: Portrait of the Artist Emilie von der Embde (1816-1904), the Painter's Sister. Date: 1830. Technique: Oil on canvas. Measurement: 32 x 24,5cm. Frame: Framed. Verso. Inscribed on the canvas: "Emilie von der Embde / gem. von ihrer Schwester Caroline / Cassel 1830 / 14 Jahre alt". Provenance: Private ownership, Germany. Estimated shipping costs for this lot: Germany: 32,77 Euro plus 6,23 Euro VAT EU: 50,42 Euro plus 9,58 Euro VAT Worldwide: 92,44 Euro plus 17,56 Euro VAT additional shipping insurance Explanations to the Catalogue Caroline von der Embde Germany 1st half of 19th C. Paintings Framed Portrait Painting Artist's Portait

Kurt Kühn - KÜHN, KURT 1880 Dresden - 1957 Waging am See Title: Nude Female Sitting in an Armchair. Technique: Oil on canvas. Measurement: 127 x 95cm. Notation: Illegibly inscribed lower right: Verso: Original estate label with the number 431 including the estate stamp and confirmation of authenticity from Charlotte Kühn. Provenance: From the artist's estate. Estimated shipping costs for this lot: Arrangement after auction. Explanations to the Catalogue Kurt Kühn Germany Paintings Woman Painting Nude

Claude Mellan - Claude Mellan (1598 Abbeville - Paris 1688) - The Shroud of St. Veronica Copperplate engraving on firm laid paper. (1649). 43 x 31.5 cm (sheet size 60.5 x 44.1 cm). Le Blanc III, 3 no. 33 II (of II); Préaud 21; Montaiglon 25. Excellent, fine and clear impression of the famous sheet, engraved in a single spiral line, without any cross-hatching. The rising and falling line forms the face of Jesus in Veronica's sweatcloth; thus, according to the inscription, the "one and only" (Jesus) is created by "a single" (line). Mellan learned this skill from Francesco Villamena, whose pupil he was after his arrival in Rome in 1624. However, the present depiction was not created until 1649, when the artist was living in Paris again. Wide margins. - Few stains, defects to the edges, some with tears. The corners bumped and slightly soiled in the margins, otherwise in good condition. Taxation: taxed by difference plus 7% (VAT: Margin Scheme (non EU))ne ony lots.

Hendrik Gerritsz Pot - POT, HENDRIK GERRITSZ ca. 1585 Haarlem - 1657 Amsterdam Title: Lot and his Daughter. Technique: Oil on wood. Measurement: 33 x 49.5cm. Notation: Monogrammed upper left: "HP (lig.)". Frame: Framed. Verso: On the panel drawing of the panel maker "VY", as well as an illegible old collection stamp. Provenance: Auction Colonel Pierce Taylor et al, London 28.07.1922, Lot 140; Auction of the art dealer H. Jüngeling, The Hague 13./14.1947; Art dealer S. Nystad, The Hague 1973; Auction Lempertz, Cologne 05.06.1975, Lot 201; Private ownership, Germany. The painting has been listed in the databank of the RKD, The Hague since Hofstede de Groot. We are grateful to Angela Jager, RKD The Hague for her kind support. Estimated shipping costs for this lot: Arrangement after auction. Explanations to the Catalogue Hendrik Gerritsz Pot The Netherlands Dutch School 17th C. Old Masters Framed Old Testament Painting Nudes

Scuola ferrarese del XVII secolo - Ferrara school of the 17th century Noli me tangere Oil on canvas 90.5 x 162 cm Ferrarese school of 17th century Noli Me Tangere Oil on canvas 90.5 x 162 cm

Willem van Herp The Elder - HERP THE ELDER, WILLEM VAN Antwerpen 1614 - 1677 Title: Saint Anthony of Padua Proofing Martin von Bullones' Innocence Who Is Charged with Murder. Date: ca. 1660. Technique: Oil on copper. Measurement: 72,5 x 98cm. Frame: Framed. Verso: Collection stamp: "R". Provenance: Private ownership, Germany. Hans Vlieghe associates this painting on copper and with a subject relating to the life of St Anthony of Padua with a painting by Willem van Herp in the National Gallery in London (St Anthony of Padua distributing the bread, oil on copper, 80 x 114.3 cm, inventory number NG203), which is also painted on copper and has similar dimensions and subject matter. Hans Vlieghe surmises that the two works originally belonged to a cycle created around 1660. We are grateful to Hans Vlieghe, Antwerp, for confirming the attribution of the present painting on the basis of a high-resolution digital photograph Estimated shipping costs for this lot: Arrangement after auction. Explanations to the Catalogue Willem van Herp The Elder Flanders Flemish School 17th C. Old Masters Framed Religious Theme Painting Saints

German School - GERMAN SCHOOL 16th / 17th C. Title: Two paintings: Lady and Gentleman Portrait. Technique: Each: oil on copper. Measurement: 24 x 19cm. Frame: Framed. Provenance: Private ownership, Germany. Estimated shipping costs for this lot: Arrangement after auction. Explanations to the Catalogue German School Germany Old Masters Framed Portrait Painting

Christian Stöcklin - STÖCKLIN, CHRISTIAN 1741 Genf - 1795 Frankfurt/Main Title: Architecture Capriccio with View of a Palace. Date: 1788. Technique: Oil on wood. Measurement: 24 x 32,5cm. Notation: Signed and dated lower right: "C. Stöcklin pinxit 1788". Frame: Framed. Provenance: Private ownership, Germany, purchased from the Galerie Dr. Riedl, Munich. Estimated shipping costs for this lot: Arrangement after auction. Explanations to the Catalogue Christian Stöcklin Switzerland German School 18th C. Old Masters Framed Architecture Painting

Jakob Philipp Hackert - HACKERT, JAKOB PHILIPP 1737 Prenzlau - 1807 Florence Title: Goat in front of Cliffs. Date: 1801. Technique: Oil on wood. Measurement: 36 x 27,5cm. Notation: Signed and dated lower left: "Filippo / Hackert / 1801". Frame: Framed. Provenance: Private ownership, Germany. Claudia Nordhoff wrote to us about this work in March 2024: "Jakob Philipp Hackert had also devoted himself to small-format animal portraiture at all times, but it was only after his escape from French-occupied Naples in 1799 and his final settlement in Florence in 1800 that he began to occupy himself with it in greater detail. The decisive factor was his friendship with the Englishwoman Jane Woodburn, wife of Colonel David Woodburn (1745-1804). The couple had acquired a country estate in the small town of Settignano near Florence and allowed Hackert to use the property during her absence. On 28 September 1802, the painter wrote to his friend Count Bogislaus Dönhoff zu Dönhoffstädt (1754-1809) in Berlin on 28 September 1802: "Nahe hier bey der Stadt [Florenz] 4 Milien bey Settimiano hat eine Englische Freundin Mdme Woodburn zwey poteri [gemeint ist ein Landhaus mit zwei Wirtschaftsgebäuden], die Sie mir 17 Monath während ihrer Abwesenheit in England gelaßen hat, um ihr Landhauß zu genißen, da Mahle ich Ziegen, und Esel, Ochsen nach der Natur aber so daß es fertige Bilder werden. Außerdem noch felsen, und vorgründe" ["Not far from the city [Florence] 4 miles from Settimiano, an English friend, Madame Woodburn, has a country house with two farm buildings, which she left me 17 months during her absence in England to enjoy her country house, where I paint goats, donkeys and oxen according to nature, but so that they become finished pictures. Also rocks and foregrounds."] (quoted by Claudia Nordhoff, Jakob Philipp Hackert, Briefe (1761-1806). Göttingen 2012, p. 187). From 1804, Hackert executed his animal portraits on his own estate in Careggi, which he acquired at this time. The small-format pictures share goats, sheep, donkeys and cows in front of a small section of landscape; they are always executed lovingly and with great care. The present portrait of a goat was painted in the first year of Hackert's involvement with animals on Mrs Woodburn's estate and (together with two other goat pictures from 1801) marks the beginning of the series. The importance that the animal pictures had for Hackert can also be seen from the fact that he sent five of them to the Academy exhibition in Berlin in 1806 (see Nordhoff 2012, p. 614)." We are grateful to Claudia Nordhoff, Rome, who confirmed the attribution of the present painting on the basis of a high-resolution digital photograph, for her help in cataloguing it. Estimated shipping costs for this lot: Arrangement after auction. Explanations to the Catalogue Jakob Philipp Hackert Germany Classicism German School 18th C. Old Masters Framed Animal Painting

Gabriel Cornelius von Max - MAX, GABRIEL CORNELIUS VON 1840 Prague - 1915 Munich Title: Girl Looking Up. Date: Ca. 1900. Technique: Oil on canvas. Mounting: Relined. Measurement: 49 x 39.5cm. Notation: Signed upper right: "G. Max". Frame: Framed. Provenance: Private ownership, Germany. Estimated shipping costs for this lot: Germany: 52,94 Euro plus 10,06 Euro VAT EU: 79,83 Euro plus 15,17 Euro VAT Worldwide: 138,66 Euro plus 26,34 Euro VAT additional shipping insurance Explanations to the Catalogue Gabriel Cornelius von Max Germany Munich School Symbolism 2nd half of 19th C. Paintings Framed Portrait Painting Figure / Figures

Marco Cardisco - CARDISCO, MARCO ('Marco Calabrese') ca. 1486 Calabria - 1542 Naples attributed Title: The Deposition from the Cross. Technique: Oil on wood. Mounting: Mounted on wood. Measurement: 24 x 19,5cm. Frame: Framed. Provenance: Collection Erich Schleier, Berlin. We are grateful to Roberto Contini, Berlin, for confirming the attribution of the present painting on the basis of a high-resolution digital photograph. Estimated shipping costs for this lot: Arrangement after auction. Explanations to the Catalogue Marco Cardisco Mannerism 15th/16th C. Old Masters Framed Passion of Christ Painting Religious Art

Louis Douzette - DOUZETTE, LOUIS 1834 Tribsees - 1924 Barth/Baltic Sea Title: Night View over Trave towards Lübeck. Date: Ca. 1900. Technique: Oil on card. Measurement: 66.5 x 100cm. Notation: Signed lower right: "Louis Douzette". Frame: Framed. Provenance: Private ownership, Germany. Estimated shipping costs for this lot: Arrangement after auction. Explanations to the Catalogue Louis Douzette Germany Post Impressionism 2nd half of 19th C. Paintings Framed Cityscape Painting Nocturne