Null Paul Sandby, RA,
British 1730/31-1809-

View of a village church, with figu…

Description

Paul Sandby, RA, British 1730/31-1809- View of a village church, with figures conversing on the street; pen, black ink, and wash on paper, signed 'P. Sandby' (lower right), 15.7 x 21.8 cm. Provenance: Private Collection, UK. Note: Sandby was a prominent and influential landscape watercolourist who became one of the founding members of the Royal Academy in 1768. The present work is a classic example of Sandby's approach, defined by a simplicity and clarity of line which befits his peaceful compositions depicting quiet, typically rural, surroundings occupied only by a few diminutive figures.

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Paul Sandby, RA, British 1730/31-1809- View of a village church, with figures conversing on the street; pen, black ink, and wash on paper, signed 'P. Sandby' (lower right), 15.7 x 21.8 cm. Provenance: Private Collection, UK. Note: Sandby was a prominent and influential landscape watercolourist who became one of the founding members of the Royal Academy in 1768. The present work is a classic example of Sandby's approach, defined by a simplicity and clarity of line which befits his peaceful compositions depicting quiet, typically rural, surroundings occupied only by a few diminutive figures.

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Estim. 300 - 600 GBP

[Macon] [manuscript] LAPLATTE (Abbé François) : Mémoires pour servir à l'histoire sacrée et profane de Macon - Turpe est Atheniensem preregrinum esse - 1766. One volume. 19 by 25.5 cm. (12)-564 pages, followed by a hundred blank leaves. Contemporary boards bound in marbled paper. Handwritten text on bluish paper, very legible, with a few erasures, and additional notes in the margins. In perfect condition. Attached is a handwritten letter addressed to Abbé LAPLATTE, containing a clarification of a scholarly note on the land of Leyne in 1363. Letter addressed to Monsieur La Platte, former curé de l'hesne, near Saint-Pierre church in Mâcon. A manuscript of the same work is in the Bibliothèque municipale de MACON, and was transcribed in the Hors-série N°2 of Etudes Mâconnaises in September 2017. But the manuscript we present is not an identical copy of the transcribed one. We can assume that it is a first version of the text, later taken up and expanded. As a clue, the manuscript held by the town of MACON is dated 1768, ours 1766. Our manuscript stops at around 1702, with a line at the bottom of the page closing it off, for the elements recounted there, whereas the transcribed manuscript goes right up to the beginning of the Revolution. In the preface, our copy cites Gregory of Tours and the Livre enchainé from the archives of Saint-Vincent. These two sources are ignored by the Macon manuscript, which adds Guillaume Paradin. Our copy is often less detailed than the transcribed text, and this seems to confirm the hypothesis of a first version of the text. Here's an example: "One of the parish priests of the diocese who best fulfilled the pious views of Mr. Leveque was Mr. de Boisfranc parish priest of Bussières: see brochure." says our copy (page 456) "One of the parish priests who best fulfilled the holy views of the bishop was Monsieur de Boisfranc, parish priest of Bussières, who, having been a Calvinist himself, knew better the errors of the party. He blessed God for enlightening his eyes, generously abjured his errors and, like another Paul, sought to defend the truths he had so shamefully opposed. He entered the clergy. His talents were known, and Bussières having been entrusted to him, he brought a large number of Calvinists back into the fold of the church" is the version in the 1768 manuscript (page 196 of his transcription). The text then continues with a paragraph, identical in both manuscripts. Attached is Hors-Série N°2 of Etudes Mâconnaises, in which Abbé LAPLATTE's 1768 copy has been transcribed. A unique and exceptional document.

Estim. 7 000 - 8 000 GBP

JOOST CORNELISZ DROOCHSLOOT (Holland, 1586-1666). "Kermesse". Oil on oak panel. Cradled. Signed in the central area. Measurements: 48,5 x 64 cm. This is a work attributed to the Dutch painter Joost Cornelisz, whose productive corpus echoed the achievements of genre painting during the Dutch Golden Age. It is a theme frequently treated by the artist (a lively village view), achieving here to integrate with masterful naturalness the lively human groups in different levels of depth, through a skillful handling of lights and chromatic sieves, proportions and perspective. The houses, some of them stately, are lined up on both sides of the street to escape towards a cloudy horizon. With descriptive eagerness, peasants and bourgeois are typified, thus distinguishing their different social backgrounds. Liveliness animates gestures and gestures. Joost Cornelisz was a painter of the Dutch Golden Age. It is believed that he was born in Utrecht. It is possible that he spent some years in The Hague. The documentation starts in 1616 when he was enrolled as a master in the guild of St. Luke in Utrecht, of which in 1623, 1641 and 1642 he was elected dean. A respected member of his community, in 1638 he was elected regent of the Sint Jobs hospital, deacon of the Reformed Church in 1642 and officer of the schutterij or urban militia in 1650 and 1651. In addition, from 1665 to 1666 he was a painter at the University of Utrecht. Prolific painter, the first known works, such as the Good Samaritan of the Centraal Museum of Utrecht, signed and dated 1617, in which it is clear the knowledge of the work of Jan van Scorel of the same subject, or The Seven Works of Mercy of the same museum, dated 1618, are great historical compositions of religious subject, a genre that he would never abandon (parables of the useless servant and the guest at the wedding, 1635, Centraal Museum; new version of the Seven Laws of Mercy, 1644, The Hague, Museum Bredius), but what is most repeated in his production are the urban landscapes or those located in small villages, with a wide avenue arranged diagonally and directed towards the depth, serving as a framework for the development of festive and market scenes or, more occasionally, with motifs of current events and battles. In this order, influences of the Flemish masters, both Pieter Brueghel the Elder and Pieter Brueghel the Younger, and his compatriot David Vinckboons, have been pointed out, although the finish of the works of this type of painting is not always the same as that of the Flemish masters.

Estim. 100 - 150 GBP

Thomas Walmsley (1763-1806) British. "View Between Crogen and Llandrillo on the River Dee", Aquatint by Jukes, 12" x 16.75" (30.5 x 42.5cm) together with an aquatint by Walmsley of Brixton Church, Isle of Wight (2)

Estim. 80 - 120 GBP

Circle of Paul Sandby (1731-1809) British. An Italianate Villa, Watercolour, Inscribed on a label verso, 5.25" x 6.75" (13.4 x 17.2cm). Provenance: Collection of John Hewetson Yates; Toovey's, 2009

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