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LAUDON CASTLE - TREASURE AUCTION! - 13TH TIBERIUS AUCTION

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Lot 6 - Francesco Bassano the Younger Bassano del Grappa 1549 - 1592 Venice Market in Venice during Carnival Oil on original canvas 140.5 x 185.5 cm, with frame 182.5 x 207.5 cm Signed lower right Francesco Bassano the Younger was an Italian painter from the famous Bassano family of artists. He was born in Bassano del Grappa and was the eldest son of Jacopo Bassano, a leading figure of the Venetian Renaissance. Francesco was trained in his father's workshop, where he developed his painting skills and adopted his father's penchant for vivid colours and dynamic compositions. The Bassano family was known for their innovative approach to genre scenes and their masterful use of light and shadow, which Francesco skilfully continued. Francesco's works are characterised by their vibrant energy and meticulous attention to detail. He frequently depicted religious subjects, pastoral scenes and lively market scenes, capturing the essence of everyday life with a keen observational eye. His paintings reflect a seamless blend of his father's influence and his own unique style, making him a significant figure of the late Renaissance. This painting captures the bustling and chaotic atmosphere of a market in Venice during the carnival season. The detailed composition reflects the lively atmosphere of the Venetian carnival. In the right foreground, a food vendor is busy attending to her customers, offering the viewer a grounded point of entry. The range of goods on offer immediately attracts the viewer's attention and sets the energetic tone of the scene. In the centre foreground, a masked woman accompanied by a musician and a servant with a dog strides to the left. The masked woman, symbolising the carnival, lends the scene an air of mystery and festivity. The musician and the servant with their respective instruments and pets also contribute to the lively and varied character of the scene. From the left, a bearded man is seen running to the right, possibly in pursuit of something or someone, adding a sense of urgency and movement to the painting. This dynamically gesticulating figure contrasts with the calmly striding lady. In the background, the square is filled with people going about their various activities. The windows of the houses are also full of onlookers, emphasising the communal nature of the event. An ox appears in the midst of the crowd, symbolising the diversity of the market and the mingling of the different facets of life. The bright colours of the figures' clothing, especially the vibrant reds, stand out against the dark blue cloudy sky and the darker tones of the architecture and ground. This contrast creates a dramatic visual effect that emphasises the festive and somewhat disorderly character of the scene. The viewer is drawn into the vibrant life and festivities.

Estim. 8 000 - 16 000 EUR

Lot 7 - Leonello Spada Bologna 1576 - 1622 Parma, attributed Susanna bathing Oil on canvas, relined 161 x 123 cm, with frame 177 x 140 cm Old exhibition label on the reverse Leonello Spada was an Italian painter from Bologna who established himself as a prominent successor to Caravaggio. Spada was initially trained by the Carracci brothers, who had a great influence on the Baroque movement. Spada's encounter with Caravaggio's revolutionary style during his time in Rome had a lasting impact on his artistic direction. Spada's works are often characterised by intense contrasts of light and shadow, dynamic compositions, and a pronounced sense of realism - features that are characteristic of Caravaggio's influence. The painting shows the important subject of Susanna bathing and depicts the biblical story of Susanna from the Book of Daniel. In this story, Susanna, a virtuous and beautiful woman, is bathing in her garden when she is approached by two elderly men who have hidden to watch her. When she rejects their advances, they falsely accuse her of adultery, which leads to her trial. However, the young prophet Daniel intervenes, proves her innocence, and condemns the elders. In Spada's depiction, Susanna is in the foreground, her naked figure partially turned away from the viewer in a gesture of shame and distress. Her dramatic gestures and expressive face convey her shock and fear as she tries to cover herself and escape from the men at the same time. The two older men in the upper left corner of the composition look down at her from behind a fence, their sinister intentions clear in their body language and facial expressions. The setting is a fenced-in garden, symbolising both Susanna's privacy and the invasion of that privacy by the intruding elders. A tree in the background adds depth to the composition and serves as a natural barrier, reinforcing the closed and intimate nature of the scene. The contrast between Susanna's innocence and purity and the depraved, predatory nature of the elders is clearly emphasised by Spada's skilful use of light and shadow, drawing the viewer's attention to the central figures and their interaction. Spada's mastery of Caravaggio's techniques is evident in the naturalism of the figures and the dramatic intensity of the scene. The emotional tension and moral themes of virtue and vice are powerfully conveyed, making this painting a compelling depiction of the biblical story and a testament to Spada's artistic skill.

Estim. 4 000 - 8 000 EUR

Lot 8 - Girolamo Forabosco Venice 1605 - 1679 Padua, attributed Portrait of a Noblewoman Oil on canvas, relined 128 x 101.5 cm, with frame 154 x 128 cm Girolamo Forabosco was an Italian Baroque painter known for his portraits and religious compositions. Born in Venice, Forabosco was influenced by the city's rich artistic traditions as well as the works of famous Venetian painters such as Titian and Tintoretto. He gained a reputation for skilfully capturing the fine features and expressive personalities of his subjects. Forabosco's works are characterised by their attention to detail, the rich use of colour and the dramatic interplay of light and shadow, which are key features of the Baroque style. This portrait shows a noble lady who radiates the elegance and refinement typical of the Venetian aristocracy. Her curly hair is adorned with a pompous hair ornament that lends her appearance a touch of grandeur. Large earrings frame her face, while a bow-like arrangement and a striking red flower in her hair emphasise her aristocratic presence. The lady's dress is a delicate pink colour, contrasted by white lace at the neckline and sleeves and black trims. This shows Forabosco's meticulous attention to the details of fabric and fashion. Golden chains are draped over her dress, adding a touch of opulence. With her left hand, she grasps the voluminous folds of her dress, suggesting both grace and dynamism in her pose. With her right hand, she leans elegantly on a table on which an antique-looking vase with a colourful floral still life stands. The background of the painting is darkened, creating a strong contrast that emphasises the illuminated figure of the sitter. This dark background, which is typical of Baroque portraiture, serves to draw the viewer's attention to the lady's dignified presence and the intricate details of her clothing. A fluted column behind the flowers adds a classical element to the composition, indicating both the aristocratic lineage and cultural sophistication of the sitter. Overall, Forabosco's portrait conveys a sense of the sitter's status and personality through the careful composition and rich, textured details.

Estim. 8 000 - 12 000 EUR

Lot 9 - Nicolas de Largillière Paris 1656 - 1746 Paris, attributed Portrait of the Lieutnant General des Armées DE COURCY with the Order of St Louis ex Coll. DE COURCY Oil on canvas, relined 146.5 x 114 cm, with frame 173.5 x 142 cm Titled lower centre on frame Nicolas de Largillière was an important French painter known for his portraits, in which he captured the elegance and grandeur of the French aristocracy and bourgeoisie. He was born in Paris and spent part of his early life in Antwerp, where he was trained by the Flemish Baroque painter Antoine Goubau. This early influence is clearly visible in Largillière's detailed and colourful compositions. In 1675, Largillière moved to London, where he worked briefly with Sir Peter Lely, another important portrait painter of the time. However, he soon returned to Paris, where he was admitted to the Académie Royale de Peinture et de Sculpture in 1686. Over the course of his career, he became the leading portrait painter of his time in France, renowned for his ability to imbue his works with vivid and luminous colours. His clients included members of the royal court, the nobility and prominent citizens, cementing his reputation as a prominent artist of the French Baroque period. In this important portrait, the Lieutenant General of the Armées de Courcy is depicted with the grandeur and authority befitting his military rank. The general stands in front of a dark background, a classic Largillière technique that emphasises the sitter's presence and highlights his clothing. On the left, a column and a curtain motif lend the composition a touch of classical architecture and theatricality. The lieutenant general wears a high grey curly wig, a fashionable symbol of status and sophistication in 18th-century France. His red robe is richly embroidered with gold, emphasising both his wealth and his position. He wears a cuirass over this splendid garment, which symbolises his military role. Attached to his cuirass is the medal of the Order of St Louis, an honour awarded for exemplary military service. His posture radiates confidence and command: his left hand is planted firmly on his hip, giving him a posture of authority. In his right hand he holds a small cane, which he rests on the base of the column, further emphasising his dignified appearance. The fine details of his clothing and the carefully considered composition reflect Largillière's skill in depicting not only the physical appearance but also the character and status of his subjects.

Estim. 6 000 - 12 000 EUR

Lot 10 - Hyacinthe Rigaud Perpignan 1659 - 1743 Paris Portrait of Cardinal André-Hercule de Fleury Oil on canvas, relined 81.5 x 63.5 cm, with frame 95 x 79.5 cm Hyacinthe Rigaud was an important French painter of the Baroque period. He showed exceptional talent from an early age and received formal training from his father, a modest portraitist. Rigaud's skills soon attracted the attention of influential patrons, establishing him as one of the most sought-after portrait painters in France. Rigaud's style was characterised by meticulous attention to detail, rich colours and magnificent compositions, reflecting the opulence and splendour of the French court. His portraits often depicted aristocrats, clergymen, and other prominent figures, whose stature and personality he captured with remarkable precision. One notable work is the portrait of Cardinal André-Hercule de Fleury (Lodève 1653 - 1743 Paris). He was a French cardinal and prime minister who headed the government of King Louis XV from 1726 to 1743. Against a dark background, Cardinal Fleury is depicted in a white habit decorated with intricate details and complemented by a bright red cloak and headdress. He looks at the viewer with a warm smile that radiates confidence and wisdom and exudes a gentle authority. The voluminous robes worn by the cardinal emphasise his majestic aura and envelop him in an air of stately splendour. The skillful use of light and shadow gives the portrait depth and dimension as well as a sense of dynamism and vitality. This painting, an extremely high quality repetition of Rigaud's earlier work from 1730, now in the Wallace Collection (P130), by his own hand, is an example of the artist's mastery of portraiture and his ability to capture the essence of his subjects with unrivalled finesse. Through his artistry, Rigaud immortalises Cardinal Fleury and invites the viewer to contemplate the enduring legacy of this influential figure in French history.

Estim. 4 000 - 8 000 EUR

Lot 11 - Italian painter 16th/17th century Virgin at a window Oil on canvas, relined 95 x 78 cm, with frame 116 x 97 cm Two labels on the reverse This painting by an Italian painter from around 1600 offers a captivating insight into domestic life during the Baroque period. The scene depicts a tender moment between a mother and her nursing baby. The woman cradles her infant close to her breast; her gaze is filled with maternal affection. Next to the mother and child, a window bathes the room in soft light. An elderly man leans through the window, engrossed in a book, his fingers gently turning the page. This juxtaposition of domestic care and scholarly endeavour creates a rich narrative that suggests the harmonious coexistence of familial love and intellectual curiosity. In the foreground, a still life of fruit and delicious treats adds depth and texture to the composition. This juxtaposition of domesticity and indulgence further enriches the composition and evokes themes of affluence and the pleasures of daily life. In the background, architectural elements such as column motifs and a draped curtain hint at classical influences and lend the scene a sense of timelessness and elegance. These antique ornaments serve as a backdrop for the intimate tableau that unfolds in the foreground, reinforcing the overall impression of harmony and balance in the composition. With skilful brushwork and great attention to detail, the Italian painter captures the essence of domestic life in the Baroque period and invites the viewers to immerse themselves in a world of quiet beauty and understated sophistication.

Estim. 4 000 - 6 000 EUR

Lot 12 - Southern European Master 17th century Saint Daniel Oil on copper 33 x 23.5 cm, with frame 45.5 x 36 cm Labelled "Portugau" on the reverse St Daniel is a prominent figure in the Bible, known for his unwavering faith and his survival in the lions' den. The story from the Book of Daniel tells of Daniel's resistance to King Darius' decree that it was forbidden to pray to any god or man other than the king. For his disobedience, Daniel was thrown into a lion's den. Miraculously, he remained unharmed throughout the night, protected by an angel sent by God. This event emphasises Daniel's piety and God's power and makes him a symbol of faith and divine deliverance. A painting by a southern European master from the 17th century, possibly from Portugal, depicts this miraculous episode in a representative manner using a number of iconographic motifs. The painting shows the young Daniel standing confidently between two lions, which lie submissively at his feet. The background is a picturesque, hilly, and mountainous landscape painted under a sky that fades into shades of pink, yellow and blue, giving the scene a sense of serene twilight. Two small figures - one of them an angel - descend from the top right, their presence signalling divine intervention. Daniel, dressed in a long, elaborately embroidered tunic, a pink cloak and a matching turban-like headdress, looks towards these heavenly beings with a look of calm confidence. A halo surrounds his head and emphasises his holiness. In his right hand, he holds a banderole with the inscription ‘Sanctus Daniel Profecta’, which translates as ‘Saint Daniel the Prophet’. However, the connection between St Daniel and Portugal can be traced back to the cultural and religious integration of biblical figures in Portuguese art. Portugal, with its deep-rooted Catholic tradition, often adopted saints from biblical stories and honoured them for their exemplary faith and the miracles associated with them. The depiction of St Daniel in Portuguese art could reflect the country's admiration for its history and emphasise the themes of divine protection and fidelity that resonated deeply in the Portuguese religious context. This painting not only demonstrates the artistic skill of its creator, but also serves as a testament to the enduring influence of biblical stories across different cultures and eras. It also illustrates how the story of St Daniel continues to inspire and captivate believers.

Estim. 2 000 - 4 000 EUR

Lot 13 - Christ with the Scholars Flemish, 17th century Oil on coffered oak panel 56 x 90 cm, with frame 75 x 105 cm This painting, created by a Flemish painter in the 17th century, vividly depicts the biblical scene of Jesus among the scholars. The composition introduces the viewer to the scene through a clerical figure in dialogue with a nobleman on the far right. This emphasised interaction forms the counterpoint to Christ, who is positioned on the far left in the middle ground. Between these two focal points is a dynamic gathering of seated figures and listeners on horseback, all of whom appear to be listening attentively to Jesus. The scene is set in an idyllic landscape with dark trees in rich shades of green and brown, creating a calm and contemplative atmosphere. The left side of the painting, behind Christ, opens up to a cloudy sky. Christ gestures towards the group surrounding him, emphasising his role as teacher and central figure. What is particularly remarkable about this painting are the bright red colours, which stand out from the otherwise muted colour palette. Christ's cloak and the nobleman's dress, as well as the feathers on his hat, are painted in bright shades of red, which catch the viewer's eye. The use of this colour emphasises the importance of the figures and gives the composition a dynamic contrast. The attention to detail and the artist's ability to tell a story through colour and composition reflect the Flemish Baroque style's emphasis on dramatic realism and emotional engagement. This painting not only captures a moment of profound teaching, but also invites the viewer to immerse themselves in the rich interplay between the figures and the serene landscape.

Estim. 200 - 400 EUR

Lot 38 - Bernard Picart Paris 1673 - 1733 Amsterdam The miraculous fish migration of St Peter 1713 Interpretation after Raphael Urbino 1483 - 1520 Rome Washed pen en grisaille Sheet 32.3 x 43 cm, with frame 48 x 57 cm Inscribed, signed & dated lower right: "dessigné par B. Picart d'après Raphaele d'Urbine 1713" Bernard Picart, an important French engraver and painter of the 18th century, was known for his versatility and his imaginative reinterpretations of classical themes. Picart was trained by his father and later studied under Sébastien Leclerc. He settled in Amsterdam, where he became a leading figure in the world of engraving and illustration, known for his attention to detail and innovative compositions. One of Picart's notable works is a painting depicting the Miraculous Draught of Fishes, inspired by Raphael's famous depiction of the same biblical event in the cartoons for tapestries (Royal Collection Trust, RCIN 912944). The story from the Gospel of Luke tells of the moment when Jesus, after instructing the crowd from Simon Peter's boat, tells Peter to cast his nets into the deep water. Although he has caught nothing all night, Peter obeys and miraculously catches an overwhelming number of fish, symbolising the abundance of divine grace and the calling of the apostles. In Picart's free interpretation, the scene is staged through a rich and dynamic composition. The shore can be seen in the foreground, where a group of men on the left are gesticulating animatedly, possibly discussing the miraculous event unfolding before them. In the centre, women, who appear to have fetched water, sit with children; one woman appears to be asleep and is gently woken by another. This inclusion of everyday life adds a level of humanity and realism to the scene. On the right-hand side, a tree stump is depicted with the surrounding vegetation, giving the composition a natural setting. Picart's signature is skilfully integrated into this element and marks his authorship. The centre ground shows the river with two boats; Christ sits in the boat on the left and gestures towards a kneeling figure, Simon Peter, in front of him. Behind Christ stands a rower, emphasising the divine presence and the human reaction. In the other boat, two men can be seen hauling in the net filled with fish, while another rower sits, symbolising the effort and amazement at the miraculous catch. In the background, a walled city is depicted with several figures in various positions, adding depth and context to the narrative. The sky above is adorned with clouds and flying birds, adding to the naturalism of the scene. Picart's painting captures the essence of the biblical miracle while lending his unique artistic vision, blending the sacred with the everyday and demonstrating his talent for vivid, captivating compositions.

Estim. 200 - 400 EUR

Lot 44 - Nicolas Bernard Lépicié Paris 1735 - 1784 Paris Portrait of a Noblewoman Oil on canvas, relined 61.5 x 50 cm, with frame 76 x 65 cm Nicolas Bernard Lépicié, an important French painter of the 18th century, was born into a family of artists. He followed in the footsteps of his father François Bernard Lépicié, a famous engraver, and showed remarkable talent from a young age. He learnt from leading artists of his time, where he was able to hone his skills and develop his unmistakable style. Lépicié's oeuvre encompasses a variety of genres, including portraits, history paintings and genre scenes. His works are characterised by their delicate brushwork, subtle use of light and shadow, and meticulous attention to detail. They reflect the elegance and refinement of French Rococo. This remarkable portrait is of a young noble lady, demonstrating artistic mastery of the genre. Her black hair in an updo falls in soft waves down to her ears, framing a face with light brown eyes that radiate warmth and intelligence. She is dressed in a sumptuous blue dress, its voluminous pleats and intricate details emphasising her graceful silhouette. A detailed ruffled neckline adorns her décolletage and adds a touch of sophistication to her attire. The lady's coat, embroidered with delicate flowers along the seams, emphasises the richness of her garment and hints at her affluent status and exquisite taste. Against an abstract grey background, the figure stands out with a captivating presence, her gaze calm yet enigmatic, inviting the viewer to ponder the mysteries of her mind. Through his artistry, the artist immortalises the beauty and elegance of the French aristocracy and invites the viewers to immerse themselves in the splendour of the Rococo period.

Estim. 4 000 - 8 000 EUR

Lot 46 - Martin van Meytens Stockholm 1695 – 1770 Wien, attributed Emperor Joseph II as a child Around 1750 Oil on panel 107 x 70 cm, with frame 115 x 76 cm Martin van Meytens, born in Stockholm in 1695, was a renowned Swedish-Austrian painter celebrated for his refined portraiture. After studying in Paris, London, and Italy, Meytens settled in Vienna, where he became the court painter for Empress Maria Theresa. His style evolved from Baroque to Rococo, marked by a meticulous attention to detail and an ability to capture the elegance and personality of his subjects. Meytens' work significantly contributed to the visual documentation of the Habsburg court, making him a pivotal figure in 18th-century European art. This remarkable painting depicts Emperor Joseph II as a child, reflecting the significance of his birth and early years. In this portrait, the young Joseph II stands confidently in a red jacket and radiates regal composure. In his left hand he holds a staff, a symbol of his future authority, while his right hand rests on his hip, suggesting self-confidence and nobility. The luxurious clothing he is wearing, which is executed with meticulous precision, emphasises his royal status. Joseph II, who was born in 1741, was the long-awaited heir to the Habsburg throne, making his birth a momentous occasion. As the eldest son of Maria Theresa and Francis I, Holy Roman Emperor, he was destined to play a decisive role in European politics. His birth was celebrated throughout the Habsburg lands and numerous portraits of him as a child were commissioned to emphasise his importance and promote the continuity of the dynasty. The dissemination of images of Joseph II as a child served several purposes. They underpinned the legitimacy and stability of the Habsburg succession, conveyed the image of a strong and stable dynasty and prepared the public for his later rise to power. The portrait contributed to this narrative with its attention to detail and regal depiction, portraying Joseph II not just as a child but as a future emperor who embodied the values and responsibilities of his line. Joseph II ascended the throne in 1765 and his reign was marked by significant reforms aimed at modernising the empire, promoting the ideals of the Enlightenment and increasing the efficiency of the administration. His importance in European history is underlined by his efforts to centralise the state and his attempts to implement far-reaching changes in education, law and society. This painting is a testament to the painter's ability to capture both the likeness of the sitter and its symbolic meaning, ensuring that the Habsburg legacy was visually celebrated and preserved for posterity.

Estim. 2 000 - 4 000 EUR

Lot 56 - Giovanni Battista Tiepolo Venice 1696 - 1770 Madrid, attributed Bozzetto of the Assumption of the Virgin Fresco in the Oratory of Purity, Udine Watercolour pen and ink drawing on paper 25 x 15.5 cm, with frame 36.7 x 29.5 cm Giovanni Battista Tiepolo was one of the most important Italian painters of the 18th century. Known for his vibrant colour palette, dynamic compositions, and masterful use of light, Tiepolo became a leading figure of the Rococo period. He studied under Gregorio Lazzarini and quickly developed a distinctive style that combined dramatic narrative with a light, airy touch. His works include magnificent frescoes, altarpieces, and numerous drawings that had a significant influence on the art world of his time. This exquisite work is a watercolour ink drawing depicting a bozzetto of the Assumption of Mary. In this preparatory sketch, Mary is depicted in the centre; her figure is gracefully lifted up by a group of flying angels. A larger angel leading her upwards emphasises the divine assistance at her Assumption. Tiepolo's characteristic flowing lines and delicate splashes of colour convey a sense of movement and ethereal lightness, capturing the transcendental moment with finesse. Below Mary sits a man, possibly Christ, who indicates the heavenly goal with an upward gesture. Two putti at his side hold a staff, emphasising the sacred narrative and the heavenly hierarchy of the scene. On the right-hand side, a figure is depicted praying to heaven, perhaps representing the person who commissioned this painting. This inclusion not only personalises the work of art, but also reflects the devotional aspect of the commission. This bozzetto demonstrates the artist's ability to convey complex theological themes with clarity and grace. The composition, characterised by a dynamic interplay of figures and expressive gestures, illustrates the artist's mastery in translating spiritual events into a visual form.

Estim. 1 000 - 2 000 EUR

Lot 76 - Anne-Louis Girodet de Roussy-Trioson Montargis 1767 - 1824 Paris Study sheet for the important painting: Révolte du Caire, 21 Octobre 1798 (1810) Charcoal and chalk on paper, mounted 43 x 50 cm, with cardboard 57 x 63.8 cm Signed & dated 1809 lower left Château du Versailles, MV 1497 Anne-Louis Girodet de Roussy-Trioson was an important Neoclassical painter known for his meticulous attention to detail and his ability to convey dramatic emotion. He trained under the famous artist Jacques-Louis David and quickly gained recognition for his distinctive style, which combined classical ideals with a romantic flair. Girodet's works often included historical and mythological themes, and he was celebrated for his technical skill and innovative compositions. One of Girodet's most important works is ‘Révolte du Caire, 21 October 1798’, an epic painting commemorating the French suppression of an uprising in Cairo during Napoleon's Egyptian campaign (Château du Versailles, MV 1497). More than ten years after this uprising, Girodet was commissioned by Napoleon to depict this episode. Bonaparte wanted to organise the country and, among other things, set up a council of local people to better distribute the land tax. However, this led to an uprising by the inhabitants of Cairo a few months later. The French therefore armed themselves and marched against the rebels. Shown here is the moment in the midst of the tumultuous battle when the French, who had entered the Al-Azhar Mosque, clashed with the rebels. Several hundred French soldiers and several thousand Egyptians lost their lives in this battle. A preparatory study for this monumental work, executed in charcoal and chalk on paper and signed and dated 1809 (one year before the completion of the larger work in 1810), focuses on two of the central figures of this larger composition and captures a moment of intense drama and action. It shows the Moorish slave-servant, a dark-skinned, naked male figure, in a dynamic, diagonal pose, his right hand raised and brandishing a curved sabre in a defensive gesture. The man appears powerful and determined, his muscular body exposed as another figure grabs his coat. His wide eyes and focussed expression convey a sense of urgency and alertness as he looks to his left, where an unknown figure poses a threat. With his left arm, the man holds the unconscious figure of the wounded Mamluk-Bey, an elite member of the Egyptian military class, dressed in luxurious clothes with fur, turban and dagger. The posture and clothing of the unconscious man stand in stark contrast to the attentive and defensive stance of his rescuer and emphasise the tension and chaos of the moment, accentuated by the pyramidal staging of the group of figures. In the original painting, this central group of figures is positioned on the far right, with a French hussar rushing towards them with a sword, further emphasising the scene's overall impression of conflict and urgency. Girodet's preparatory study not only demonstrates his ability to capture human anatomy and emotion, but also provides captivating insights into his meticulous process of planning and composing his larger works. It is known that Girodet was fascinated by costume studies and made numerous studies for this commission, for which he had no documentary materials available, more than for any other commission in his career. This bozzetto is a testament to Girodet's talent for conveying narrative intensity and physical dynamism through his masterful use of charcoal and chalk. The carefully hatched surfaces of the garments are comparable to the charging hussar in another study of the same painting (MET 2011.86). What is remarkable about this study, however, are the white accents that Girodet uses to lend texture and depth to the depiction. It is reported by contemporaries that he painted the painting at night by the light of lamps. The dramatic chiaroscuro effects are expressed in highlights that emphasise the muscles of the struggling figure and add a touch of realism and extravagance to the fabrics of the fainting man's clothing.

Estim. 6 000 - 8 000 EUR

Lot 77 - Giovanni Paolo Pannini Piacenza 1691 - 1765 Rome, attributed Joseph being sold by his brothers Oil on canvas, relined 72.5 x 98 cm, with frame 97 x 112.5 Inscribed on the reverse Giovanni Paolo Pannini was a famous Italian painter and architect of the Baroque period. He was initially trained in his home town before moving to Rome, where he enjoyed great success and became one of the leading figures of the Roman art scene. Pannini's works were characterised by their intricate detail and skilful use of perspective, earning him widespread recognition and the patronage of prominent figures of his time. This painting depicts a scene from the biblical tale of Joseph being sold by his brothers. Set against a backdrop of ancient ruins, the painting captures the dramatic moment with impressive realism and emotional depth. In the foreground, a young Joseph stands in front of a well, his figure characterised by vulnerability and innocence, in stark contrast to the scheming faces of his brothers, who sit on the left. The surrounding ruins in the manner of a capriccio's architectural fantasy, including a monumental arch with fragments of a temple and towering Ionic columns, convey a sense of the transience of human endeavour. On the right-hand side of the painting is a group of people on horseback and with camels, presumably trying to buy Joseph. Their presence lends the scene an aspect of urgency and impending doom, as the boy's fate hangs in the balance. In the distance, a mountainous landscape stretches out, poignantly evoking the vastness of the world beyond the limits of the moment. The masterful composition and his meticulous attention to detail bring the biblical story to life and invite the viewer to reflect on themes such as betrayal, redemption, and the complexity of human nature. Through skilful brushwork and a deep understanding of light and space, the artist creates a timeless masterpiece that continues to captivate audiences centuries after its creation.

Estim. 4 000 - 8 000 EUR

Lot 78 - Unknown painter 18th/19th century Piazza San Marco, Venice Oil on canvas, relined 60 x 80 cm, with frame 74 x 93.5 cm Condition: canvas somewhat dented This painting shows a picturesque depiction of St Mark's Square in Venice, one of the best known and most famous public squares in the world. The scene features several important architectural and cultural landmarks in an idyllic and romantic atmosphere. At the centre of the scene is the Torre dell'Orologio (Clock Tower), an essential part of the Venetian skyline. This Renaissance structure was built at the end of the 15th century and houses a remarkable astronomical clock. The tower is adorned with many details that reflect its historical significance and the meticulous craftsmanship of the time. Right next to the Torre dell'Orologio is the majestic Basilica di San Marco. The basilica is known for its opulent design, stunning mosaics and Byzantine architecture. The artist captures the grandeur of the basilica and adds a touch of historical depth and cultural richness to the painting. In the foreground, small market huts are scattered across the square, indicating a bustling commercial activity that complements the splendour of the surrounding architecture. These huts add a level of everyday life to the scene that contrasts with the permanent and monumental structures. The piazza is also populated with various figures, each engaged in different activities that enliven the scene. Among them are two dogs that leisurely roam the square. These figures further add to the charm of the painting. The colour palette of the painting is dominated by earthy and beige-brown tones, which convey a feeling of warmth and nostalgia. The sky is particularly striking with its romantic yellow clouds against a light blue background. This choice of colour creates an idyllic atmosphere that lends the scene a serene and timeless quality. This painting of St Mark's Square captures the essence of Venetian life and architecture beautifully. Through the careful depiction of the landmarks, the lively figures and the harmonious use of colour, the artist conveys both the splendour and the everyday vibrancy of Venice.

Estim. 2 000 - 4 000 EUR

Lot 80 - Classicist artist View of St. Petersburg Circa 1800/50 Oil on canvas 157 x 158 cm, with frame 182 x 183 cm Titled "St. Petersburg" lower left The 19th-century painting depicts a view of Saint Petersburg and captures the splendour and architectural magnificence of Russia's imperial capital. The scene shows prominent landmarks such as St Isaac's Cathedral, the Iron Horseman, and the Blagoveshchensky Bridge. St Isaac's Cathedral in the background dominates the skyline with its massive dome. As one of the largest cathedrals in the world, it symbolises the architectural ambition and religious significance of the city. The artist immortalised the cathedral's intricate façade, its neoclassical columns and the surrounding square with its hustle and bustle. In the central middle ground is the Horseman of Honour on Senate Square, an iconic statue of Tsar Peter the Great, standing majestically on a granite plinth. Commissioned by Catherine the Great, the monument symbolises the power and vision of the Russian Empire. The dynamic posture of the statue, with Peter on a rearing horse, reflects the spirit of progress and enlightenment that he brought to Russia. The Blagoveshchensky Bridge or Annunciation Bridge in the foreground, the first permanent bridge across the Neva, is intended to illustrate the city's technical prowess. Completed in 1850, the cast-iron bridge connects Vasilievsky Island with the mainland and symbolises the technical progress of the time. The painting reflects the vibrant life of 19th century St Petersburg, with carriages, pedestrians and boats on the Neva, demonstrating the city's status as an important cultural and economic centre. The skilful use of light and shadow against a romantic sky emphasises the opulence and dynamism of the scene and gives an insight into the daily life and monumental architecture of one of the great European cities.

Estim. 4 000 - 8 000 EUR

Lot 82 - Christoph Albert Dies Hanover 1755 - 1822 Vienna Pastoral Landscape Oil on canvas, relined 130.5 x 168 cm, with frame 142 x 179 cm Signature removed & affixed to the reverse Label on the reverse: "At the request of Consul Weiss, the very badly damaged painting by A. C. Dies was trimmed from 300 x 250 cm to 163 x 167 cm in 1803. The signature was previously located at the lower right edge of the large painting and has now been transplanted to the reverse of the stretcher. 20. VI. 1962" Albert Christoph Dies was a German painter and engraver known for his pastoral landscapes and classical compositions. Born in Hanover, Germany, Dies studied under the well-known artist Jakob Philipp Hackert. His early career was influenced by his travels through Italy, particularly Rome, where he explored the traditions of landscape painting. He eventually settled in Vienna, where he became a member of the Academy of Fine Arts. He gained great renown for his landscape paintings, which often depicted serene and idyllic scenes. These were inspired by the beauty of nature that he had encountered on his travels. In addition to his work as a painter, Dies was also a skilful engraver, demonstrating his versatility and artistic depth. This painting by Albert Christoph Dies shows an idyllic pastoral landscape that demonstrates his attention to detail. A majestic tree rises in the left foreground, its branches spreading out and providing shade for the shepherd family below. This tree introduces the viewer to the landscape and simultaneously conveys a sense of grandeur and depth. The shepherd family depicted with their flock appears relaxed and epitomises the harmonious relationship between people and nature, a hallmark of pastoral scenes. The shepherd and his dogs are tending the flock while the mother looks after her children. In the middle ground, the roofs and church tower of a picturesque village protrude from the landscape, adding a human element to the otherwise natural surroundings. The church tower in particular serves as a focal point, directing the viewer's gaze to the heart of the village and conveying a sense of community. Behind the village, the sky is reflected in a lake whose calm waters seem to stretch to the horizon. The background is dominated by majestic mountains whose peaks rise into the sky and lend the scene an air of grandeur. The interplay of light and shadow on the mountains creates a dynamic contrast that enhances the overall composition. The use of colour and light in this painting is particularly remarkable. The earthy, warm colour tones evoke a sense of peace and timelessness, while the careful rendering of the natural elements, from the texture of the tree bark to the snow-capped mountain peaks, demonstrates his technical skill and powers of observation.

Estim. 4 000 - 8 000 EUR
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