Dreweatts 1759 | Tomasso

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A SET OF FOUR GEORGE III POKERWORK PICTURES BY JOSEPH SMITH

34

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CIRCLE OF BARTOLOMEO PASSEROTTI (1529-1592), PORTRAIT OF A MAN

37

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ATTRIBUTED TO MARY BEALE (ENGLISH 1633-1699), PORTRAIT OF A LADY

58

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FRENCH SCHOOL (19TH CENTURY), PORTRAIT OF A NORTH AFRICAN BOY

84

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AFTER DIEGO VELAZQUEZ (EARLY 19TH CENTURY), A STUDY OF A HORSE'S HEAD

88

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CIRCLE OF GIOVANNI LANFRANCO (ITALIAN 1582-1647), HEAD OF AN APOSTLE

90

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94

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PRAGUE SCHOOL (EARLY 17TH CENTURY), SAINT CECILIA AND A CHOIR OF ANGELS

105

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BARTOLOMEO PASSEROTTI (ITALIAN 1529 - 1592), EMPEROR CLADIUS

106

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λ KALIN THOMAS (AMERICAN B.1986), THE ASSASSINATION OF DIRCE

107

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LOMBARD SCHOOL (CIRCA 1600), PORTRAIT OF A SCHOLAR

111

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MAESTRO DE LA SANTA CRUZ (FL. 1530-1540)

115

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MAESTRO DE LA SANTA CRUZ (FL. 1530-1540) SAINTS THOMAS, JUDE THE APOSTLE, LUKE & JAMES THE LESSER; AND SAINTS BARBARA, AGATHA, URSULA & APOLLONIA Oil on gold ground panel, a pair Each 91 x 156cm (35¾ x 61¼ in.) In carved tabernacle frames (2) We are grateful to Dr Isabel Mateo Gómez for proposing the attribution to Andrés de Melgar, previously identified as the Maestro de la Santa Cruz, on the basis of photographs. The artist referred to as the Maestro de la Santa Cruz was believed to have been active during the first half of the 16th century in Burgos, one of the most important cities in the Iberian Peninsula. His nomenclature derives from paintings in the Cartuja de Miraflores, just outside Burgos, depicting the Story of the True Cross, which compare closely to the present panels. Recently he has been identified with the painter Andrés de Melgar (Sahagún circa 1501 - circa 1555 Santo Domingo de la Calzada), who trained with Alonso Berruguete (circa 1488-1561), son of Pedro Berruguete, who worked in Valladolid, to the southwest of Burgos. Melgar settled in Santo Domingo de la Calzada, just to the east of Burgos, in 1530. His work is characterised not only by Berruguete's style, but also by rather Italianate, mannerist touches, reminiscent of the work of other Spanish artists influenced by Leonardo, such as Fernando Yáñez (1459-1536) and Hernando de los Llanos (1480-1510). The disposition of the saints in these panels strongly suggests that they were once components of a larger altarpiece, most probably forming part of the predella, or perhaps sections of wings. The black borders would originally have been covered by sculpted framework. Condition Report: The panels are both supported on the reverse with horizontal battens. The paint surfaces are slightly dirty and the varnish is slightly discoloured. In both panels vertical splits run the height of the paintings at fairly regular intervals, and these have all been retouched. There are a handful of tiny losses scattered throughout but particularity in the face of Saint Agatha, but otherwise the colours are bright and well-preserved, as is the gold ground. Some underdrawing has become apparent, particularly in the Saints' faces and hands. Inspection under ultraviolet light confirms the retouching along the various splits and further reveals small areas of retouching scattered throughout the figures and to slightly larger areas of the background. The panel depicting the male Saints is in a similar condition with vary light scattered losses and pin holes throughout. both paintings are clearly legible and do not necessarily require further intervention. Condition Report Disclaimer

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A GEORGE III DUMMY BOARD AFTER ANTHONY VAN DYCK 'THE THREE ELDEST CHILDREN OF CHARLES I'

119

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DUTCH SCHOOL (17TH CENTURY), THE THATCHERS

123

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GERMAN SCHOOL (16TH CENTURY), PORTRAIT OF A GENTLEMAN AT A DESK WITH A GOLDFINCH

129

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DUTCH SCHOOL (18TH CENTURY), ALLEGORY OF THE ARTS

149

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CARLE VAN LOO (FRENCH 1705-1765), STUDY OF A MALE NUDE

158

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GILLES- FRANÇOIS-JOSEPH CLOSSON (BELGIAN 1796-1842)

161

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CIRCLE OF CRISTOFANO DELL'ALTISSIMO (ITALIAN 1525-1605), PORTRAIT OF CARIDNAL PIETRO RIARIO

162

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NORTH ITALIAN SCHOOL (CIRCA 1640), PORTRAIT OF A MAN IN ARMOUR

191

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PIERRE-HENRI DE VALENCIENNES (FRENCH 1750-1819), FOREST LANDSCAPE WITH ELEGANT FIGURES

194

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JAMES GODSELL MIDDLETON (BRITISH ACTIVE 1826-1872), PORTRAIT OF HELEN C. BARLOW

211

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ITALIAN SCHOOL (CIRCA 1800), SYBIL HOLDING A BOWL

227

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WILLIAM ETTY (ENGLISH 1787-1849), VENUS DISARMING CUPID

276

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277

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Y A FRAMED CARVED PEAR WOOD RELIEF OF INIGO JONES (1573-1672), AFTER VAN DYCK ENGLISH

278

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FREDERICK GOODALL (BRITISH 1822 - 1904), SARAH AND ISAAC IN THE DESERT

282

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GIOVANNI FRANCESCO BARBIERI, CALLED IL GUERCINO (ITALIAN 1591-1666), YOUNG DAVID

306

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GIOVANNI FRANCESCO BARBIERI, CALLED IL GUERCINO (ITALIAN 1591-1666) YOUNG DAVID Oil on canvas 69 x 56cm (27 x 22 in.) This unpublished canvas may be identified as the ' testa di un davide ' that Guercino painted for his friend Gerolamo Panesi and for which he was paid 30 scudi on 16 October 1649. 1 In her comment to the above entry in her 1997 edition of Guercino's Account Book, Barbara Ghelfi noted that a canvas corresponding to this payment had yet to be identified. In the painting, David holds the sword with which he had beheaded Goliath. Rather than engage the spectator he stares into the distance, as if pondering the consequences of his victory. The velvety paint textures, the attractive colouring, the figure's classical pose and the delicate rendering of selected details fit perfectly with Guercino's mid-Bolognese period. The occasional flourishes of impasto that punctuate the smooth paint surface include the plume on David's cap and the fur of the lining to his cloak, especially where it touches and slightly overlaps his right thumb. The beguiling combinations of a narrow range of forceful secondary colours, mostly of neighbouring hue, may also be seen in the Cleopatra , now in a private collection, which Panesi ordered from Guercino only a few months later. 2 In 1648-1650 Panesi commissioned at least five pictures from Guercino. Panesi was a Genoese nobleman and art dealer and, during the artist's Bolognese period, was one of his more consistent and discerning clients, selling on some of the pictures he had commissioned from the master at a higher price in Rome, where he was mainly resident. 3 Guercino stuck resolutely to his tariffs, yet somehow Panesi was able to persuade the painter to give him a discount, for example by reducing his standard-sized canvases in return for dropping his charge. In the following year, Guercino painted a ' Meza Figura del davide con la Testa di Golia Gigante ' for a Sig. Lodovico Fermi of Piacenza, for which he was paid 75 scudi on 12 October 1650. 4 Fermi's David is known from two versions-the actual-sized sketch in the National Museum of Western Art, Tokyo, and the finished picture, now in a private collection. 5 Both correspond almost exactly in size and are significantly larger than the present picture. 6 In format, a half-length was the next size up from a head-and-shoulders and it generally included extra details, such as, in this instance, Goliath's severed head. Fermi paid Guercino 75 scudi for his picture, as compared to Panesi's 30 scudi , for a picture just over half the size of Fermi's, painted in the previous year. With such a busy practice, Guercino was inevitably asked to paint the same subject several times, especially for his half-lengths and heads. A commission for a subject, perhaps painted previously on other occasions, required a fresh invention. Guercino could avoid repetitions by referencing past drawings, but inevitably one compositional treatment morphed subtly into the next. From the point of view of Guercino's creative method, much may be learned by comparing Panesi's David with Fermi's, since similarities and differences abound, in costume, pose, studio props and facture. Two further works by Guercino, both half-lengths, connect in design with the present picture. The first is a drawing in the Royal Library, Windsor Castle, ascribed to Guercino but clearly by him. Despite the composition's half-length format, it could well have been made as a study for this canvas, with the head of Goliath included as an alternative to David's sword. 7 Notwithstanding these differences, the overall correspondence is close. The second is a painting formerly in the collection of the King of Sardegna, now belonging to the Galleria Sabauda, Turin, presently on show at the Venaria Reale, which is reproduced here from a lithograph by Luigi Poggioli. 8 As here, Goliath's head is absent from the composition of the Turin picture. Its larger size and the introduction of the regal columnar architecture in the background bring it nearer to Fermi's canvas. Strong echoes of the present painting are easily to be found in the Windsor drawing and the Turin picture. But it is the hybrid format of the present canvas that pins it down as the one ordered by Panesi. It is a reduced-sized half-length and is bigger and has more detail than Guercino's normal head-and-shoulders format. This rare exception to the painter's rule was probably the result of Panesi's successful haggling. Notes: 1). B. Ghelﬁ (ed.), Il libro dei conti del Guercino, 1629-1666 , Bologna, 1997, p. 143, no. 413. When the picture was first shown to me, on 17 January 2013, I wrongly attributed it to Guercino's nephew Cesare Gennari. Five years later, following my immersion in Guercino's works in preparation for my monograph on him published last year, the presence of the master's hand is all too clear to me, and I now have no hesitation in giving the picture to him in full. 2). N. Turner, The Paintings of Guercino. A Revised and Expanded Catalogue raisonné , Rome, 2017, p. 662, cat 372 3). N. Turner, 'Mola's Caricature Portrait of the Genoese Collector and Dealer Gerolamo Panesi,' Master Drawings , xlvii, no 4 (2009), pp. 516-9. 4). Ghelfi 1997, p. 149, no. 430. 5). Turner 2017, pp. 667-8, nos 377I and II, respectively. 6). The Tokyo canvas measures 120.5 x 102 cm, the finished version in a private collection 120 x 100 cm. 7). Windsor Castle, Royal Library: inv. 2944 (Mahon and Turner 1989, no. 408): pen and brown ink; 203 x 161 mm. 8). A. Alberghini, Guercino: La collezione di stampe , Cento, 1991, p. 217, no. 435. We are grateful to Nicholas Turner for his expertise and assistance in writing this catalogue entry.

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ITALIAN SCHOOL (18TH CENTURY), ENDYMION SLEEPING WITH HIS DOG BESIDE HIM

317

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ITALIAN SCHOOL (18TH CENTURY) ENDYMION SLEEPING WITH HIS DOG BESIDE HIM Oil on canvas, en grisaille 163 x 112cm (64 x 44 in.) Provenance: Sir John Richardson (1924-2019), New York (photographed in situ in 'The Great Room' for New York Magazine, 18 February 2014) Literature: Apollonius of Rhodes, Argonautica H. S. Jones, A Catalogue of the Ancient Sculptures Preserved in the Municipal Collections of Rome: The Sculptures of the Museo Capitolino, Oxford, 1912 D. E. Robinson, 'A Question of the Imprint of Wedgwood in the Longer Poems of Keats', Keats-Shelley Journal 16, 1967, 23-28 Though several varying myths regarding Endymion survive to us from antiquity, the present scene depicts him as a youthful shepherd asleep on Mount Latmus. One version of the myth sees Jupiter punish the youth for pursuing a romantic interest in Juno, however this present painting likely depicts the latter variant: Selene, Titan goddess of the moon so loved Endymion's beauty, she asked Jupiter to grant him eternal youth. Whatever the case, Jupiter granted Selene's wish, placing Endymion into an eternal sleep so Selene could visit him every night to admire his beauty. This elegantly painted grisaille, a technique that mimics bas-reliefs and sculpture, depicts Endymion sleeping with his dog beside him. It is based on a second-century A.D. Roman bas-relief currently housed in the Capitoline Museum in Rome. Seated on a rock asleep, the figure's long locks of gently curled hair frame his face. Content in his slumber, Endymion's right arm hangs tenderly down, whilst his left arm rests on his bent knee. Over his left arm and covering partially the rock on which he sleeps is an intricately draped chlamys. Appearing as if it could almost spring to life, a dog is depicted upright and animated, attempting to rouse Endymion from his peaceful, dormant state. Whilst for the most part, the painting appears to imitate its ancient counterpart, the facial features here suggest a more tranquil state of sleep when compared to the flat expression of the marble bas-relief. Artists such as the gem engraver Nathaniel Marchant and the ceramicist Josiah Wedgwood both produced Grand Tour artworks depicting the Capitoline Museum bas-relief. This painting reflects the renewed interest in classical art during the late eighteenth and early nineteenth centuries, drawing inspiration from Roman antiquities. It skilfully captures the realism of Imperial Roman sculpture, blending classical ideals with lifelike precision. This lot belonged to Sir John Richardson, art historian and author of the magisterial biography of Pablo Picasso, the first volume of which was published in 1991 and which won the Whitbread book of the year award. Sir John Richardson gave the eulogy at Andy Warhol's funeral. Condition Report: The canvas is lined and the paint surface is slightly dirty with a clear but uneven varnish. The broad weave of the canvas has resulted in a surface that is slightly pock-marked with pinprick losses scattered particularly in the upper half of the painting. There is visible retouching to a repaired horizontal tear in the upper left corner, approx. 17cm. long. There are also fine lines of visible retouching to the network of craquelure in the shadow behind Endymion. Inspection under ultraviolet light confirms the aforementioned retouching and further reveals retouching to a small horizontal tear, just above the centre of the lower margin, approx. 5 cm. long. Otherwise only a handful of spot retouchings are visible, for example above the figure's belly button and in the shoulder of the dog. The painting presents well in its current state and is in overall good condition. Condition Report Disclaimer

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PIERRE SUBLEYRAS (FRENCH 1699-1749), STUDY OF SAINT JEROME

327

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PIERRE-PAUL PRUD'HON (FRENCH 1758-1823), APOLLO AND THE MUSES ON MOUNT PARNASSUS

357

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PIERRE-PAUL PRUD'HON (FRENCH 1758-1823) APOLLO AND THE MUSES ON MOUNT PARNASSUS Oil on canvas 54.5 x 64cm (21¼ x 25 in.) Provenance: Albert Joliet, Dijon Baron d'Olonne, Paris; Matthiesen, Ltd., London, by 1956 Paul Drey Gallery, New York Sale, Sotheby's, New York, 22 May 1986, lot 2 Dr. Claus Virch Collection, New York Exhibited: Paris, Palais des Beaux-Arts, Petite Palais, Pierre Paul Proud'hon , 1922, p. 4, no.9 Literature: Jean Guiffrey: L'oeuvre de Pierre-Paul Prud'hon, in Archives de L'Art Francias . vol. XIII, Paris, 1924 p. 36-38 for a discussion of the drawings related to this picture and the other version now in Dijon; Advertisement supplement, The Burlington Magazine , vol. 98, no. 639, June 1956, reproduced plate VI Prud'hon's talent manifested itself early. As a young boy he was taken under the wing of Devosge, director of the drawing school in Dijon, who recommended him to his first major patron, the baron de Joursanvault. As early as 1780 we can see the young artist applying his delight in allegory and the classical world in his "Apotheosis of Baron Joursanvault" (Dijon, musee des beaux-arts). Joursanvault sponsored Prud'hon's move to Paris and he spent 3 years (1780-83) visiting galleries and churches and enrolling in the Academie Royale although we know from his letters that he much preferred to work alone at home. From 1783-4 he returned to Dijon in order to compete for the Prix de Rome, which he duly won. Rome was to prove pivotal to his development and subsequent success. Between 1784 and 1788 he was able to immerse himself in the art of the Eternal city and indeed to make important contacts, most notably with Canova. In Rome he was to prove assiduous in his study of the Renaissance masters and his overriding admiration of Leonardo is clearly expressed in his correspondence, although his contemporaries were to dub him France's Correggio. This period was certainly to influence the way he viewed allegory and mythology and its lasting effect can be seen throughout his work in the years to come. After his return from Rome his reputation gradually increased despite the political upheavals that were erupting in France. He was much admired as a portraitist, gaining patrons and consequently expanding his oeuvre. Always aspiring to be a history painter, he provided designs for what has been termed the golden age of book illustration, and although relatively unknown he was sought out by the publisher Pierre Didot expressly for this purpose. Finally, during the Empire of Napoleon, Prudh'on would find the greatest favour of all from the Imperial court itself. This was the period of his grand portraits such as "Empress Josephine at Malmaison" and "Charles Maurice de Talleyrand-Perigourd" as well as large scale mythological paintings such as "Psyche carried off by the Zephyrs". He had previously shown a sure eye for decoration in a number of projects but he was now able to create independent works on a large scale. His position was sealed in 1810 when he was appointed drawing master to the new Empress, Marie Louise. The restoration of the Bourbon monarchy did not mark a fall from favour, and indeed Prud'hon was called upon to help create the official representation of the restored monarchy. He produced even more portraits, and at the very end of his life he was commissioned by the state to produce what has become one of his most famous works, "Christ on the Cross" for the cathedral at Strasbourg (Paris, Musee du Louvre). Apollo and the Muses on Mount Parnassus would certainly have appealed to Prud'hon as a subject. In essence the scene encompasses the ideals of classical learning through word and music and as such it became symbolic during the Renaissance of the re birth of knowledge. Prud'hon would have seen many Renaissance interpretations of this, from Raphael in Rome to Mantegna in Paris. The present sketch is remarkable in the vivacity of the figures, the bold under drawing being clear in many passages. Drawings of individual groups of figures for this composition exist in a private collection and were illustrated in Guiffrey's 1924 monograph. Indeed these drawings were then copied by Boilly (1) and were subsequently published as lithographs (2). In terms of Prud'hon's oeuvre, the present work is reminiscent of a number of allegorical and decorative schemes he produced in the period following his return from Rome. The decoration of the Hotel de Lannoy is the most famous of these schemes and was intended as a full cycle representing in essence the liberal arts through classical models. This work was followed by a period in which he expressed the aims and ambitions of the revolution in a series of allegories deeply rooted in the classical past. Dr Christoph Vogtherr, on examining the picture, has proposed that it could be a modello for a theatre curtain. Set designs were certainly produced by major artists and during the Napoleonic period such spectacles were as expected as the lavish court ceremonies that were staged throughout the reign. There is a 19 th century copy of the work in the Musee des Beaux Arts in Dijon, at one time attributed to Prud'hon it was already viewed as a copy in the early years of the last century. 1) J ulien-Leopold Boilly, Terpsichore and Erato , drawing, black and white pencil on paper, Paris, Louvre, inv. no. RF 4637 2) Julien-Leopold Boilly, Apollo and the Muses , lithograph, Washington, National Gallery of Art, inv. no. 2011.139.54 Condition Report: The canvas has been relined, and presents surface dirt and craquelure. Scattered retouching throughout. Rubbing and abrasions to the edges. The paint layer to the trees is starting to wear thin. Condition Report Disclaimer

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PIETER ISAACZS (DANISH 1569 - 1625), MADONNA AND CHILD WITH ADORING SAINTS AND GOD THE FATHER

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DUTCH SCHOOL (17TH CENTURY), SAILING BOATS ON AN ESTUARY

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EMILIAN SCHOOL (EARLY 17TH CENTURY), HOLY FAMILY

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