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1 Manner of Willem van de Velde the Younger, (Dutch, 1633-1707) "Dutch Shipping Boats Colliding in a Heavy Sea", first quarter 19th century oil on wood panel faintly signed lower right, reverse stenciled "99KJ" in black with an early 20th-century auction label attributing the work to Jan van de Capelle. Presented in an early 19th-century giltwood frame. 16-1/2" x 24" Provenance: The collector Wayne Francis Palmer (1895-1983), Springlake Plantation, Mobile, Alabama; Thence by descent.
Estimate: 5000 - 8000
2 Circle of Jakob Bogdani, (Hungarian, 1660-1724) "Still Life with Cockatoo, Bird and Spaniel" oil on canvas unsigned. Framed. 29-5/8" x 52-1/2" Notes: Jakob Bogdani, a native of Presov, Hungary, moved to Amsterdam in 1684 where he was trained in the Dutch Golden Age tradition of the masters Melchior de Hondecoeter (1636-1695) and Willem van Aelst (1627-1683) - who specialized in still lifes with wild game and flowers. In 1688 Bogdani traveled to London, where he would remain for the rest of his life, seeking employment first with William III, Prince of Orange, before being appointed court painter to Queen Anne. Under the tutelage of the court, Bogdani achieved great success, earning commissions from some of the most esteemed aristocrats, such as Queen Mary II and Admiral George Churchill, brother of the Duke of Marlborough. Churchill, one of his chief patrons, owned the famous aviary at Windsor Park, affording Bogdani ample access to the many exotic birds he depicted like the cockatoo in the painting offered here. Bogdani's superb still lifes typically featured the imported goods of London's rich maritime trade; foreign species of birds and flowers crowded his paintings with white and scarlet highlights in the plume and foliage accentuated by dark backgrounds. Examples of his work are conserved in the Royal Collection and Fitzwilliam Museum in London and in Magyar Nemzeti Galeria in Budapest.
Estimate: 10000 - 15000
3 Manner of Leonard Bramer, (Dutch, 1596-1674) "Peasants Dancing" oil on wood panel unsigned, frame backing affixed with two labels annotating an Art Sales Index reference and a sale at Christie's East as lot 95. Framed. 10" x 15" Provenance: Christie's East, March 30, 1982, as lot 95; Private collection.
Estimate: 1500 - 2500
4 After Gaspar de Crayer, (Flemish, 1584-1669) "Le Cardinal-Infant Ferdinand d'Autriche (1609-1641)" oil on canvas unsigned. Presented in a late 18th-/early 19th-century carved pine frame affixed with a brass artist plaque. 73-1/4" x 47-5/8" Provenance: Herbie Oakes Collection, Houston, Texas. Notes: The imposing portrait offered here is a celebration of the Habsburg Dynasty and 17th-century portraiture. Ferdinand of Austria, the third son of Philip III, King of Spain, and Margaret of Austria, sister of Ferdinand II, the Holy Roman Emperor, had an equally illustrious ecclesiastical and political career. Ferdinand was ordained Arch Duke of Toledo at the age of 19-20, and Cardinal shortly thereafter. As a prince of both the Roman Catholic order and of Spain (hence the double title Cardinal-Infant), Ferdinand was appointed Governor of the Spanish Netherlands in 1630 and military commander during the Thirty Years' War (1633-1641). In 1634 Ferdinand moved to Brussels, the capital of the Spanish provinces, and appointed Gaspar de Crayer, a native of Antwerp, his first court painter, preferring his portraits over his Flemish rival Peter Paul Rubens. In the 1630s, de Crayer was considered the equal of Rubens in painting commissions. According to Edward Wamsley's 1822 biography on de Crayer, following his court appointment, Rubens impressed by his success visited him in his studio, and upon seeing his works in progress decried: "Crayer, Crayer, one will not surpass you!" Between 1634 and Ferdinand's premature death in 1641, de Crayer painted multiple portraits of Ferdinand, the most famous of them, an equestrian portrait, painted in concert with the one depicted here commemorates the Prince's victory at the Battle of Nordlingen, 1634, which ended Swedish Protestant resistance in Southern Germany. While the former painting was presented to Ferdinand's brother King Philip IV, the latter one of Ferdinand in his vestments, now conserved in the Prado, was likely commissioned by the church for his religious victory as a Prince of the Holy Roman Empire. Given the scale of the work offered here, its finesse, and close mastery of composition and detail as the original, it is likely that it was commissioned ca. 1800 for a church or building in one of the Belgian/French provinces Ferdinand of Austria patronized. References: Blanc, Charles. Histoire des Peintres de Toutes Les Ecoles: Ecole Flemande, vol. 13. Paris: Jules Renouard Libraire-Editeur, 1864. pp. 62-64; Walmsley, Edward. Physiognomical Portraits, 100 Characters from Originals, Engr. by British Artists. London: John Major, Robert Jennings & Robert Triphook, 1822.
Estimate: 5000 - 8000
5 Circle of Giovanni Bernardo Carbone, (Italian, 1614-1683) "Portrait of a Gentle Lady in Mourning, Seated in a Bargello Chair" oil on canvas unsigned. Presented in a 19th-century giltwood frame. 47-7/8" x 39" Provenance: Herbie Oakes Collection, Houston, Texas. Notes: Giovanni Bernardo Carbone (sometimes spelled Carboni) was an Italian painter from Genoa, who studied under Giovanni Andrea de Ferrari, a pupil of Anthony van Dyck. While Ferrari preferred religious scenes, which he perfected in the form of altarpieces, Carbone's forte was portraiture - of all the Genoese artists, his work is the most closely allied to van Dyck's portraits from the 1630s, which were strongly influenced by the Venetian colorists. After a year-long sojourn in Venice, van Dyck established himself as a prolific portraitist in Genoa from 1621-1627, painting the wealthy with a grandeur that combined the Flemish penchant for detailed refinery and expressive hand and facial gestures/expressions with the color and subtle modeling of Titian. Van Dyck's presence in Genoa opened a tremendous door of opportunity in the decades that followed for the young Carbone; there was abundant demand for the growing mercantile class to ennoble themselves since the city was both the capital and center of maritime trade in the Liguria region. The painting offered here is strongly suggestive of the portraiture Carbone executed in the manner of van Dyck for the Genoese gentry, and closely resembles the physiognomy, dress and execution of two well-known portraits by van Dyck - "Dorothy, Lady Dacre" (1633) in the British Burger Collection (now housed in the Denver Art Museum), and "Lady with a Rose" in the Isabella Stewart Gardner Museum in Boston. Like the aforementioned portraits, the imposing presence of the sitter is depicted in three-quarters view from below, so that the viewer is forced to look upward in admiration at the social position she wields. Even in mourning, she is larger than life, occupying two-thirds of the picture plane with the same voluminous black taffeta gown and diaphanous silk hair-piece as the other two portraits. In all three works, the fabric cascades downward onto the viewer with the weight of their prestige. In Carbone's portrait, the fine modeling of the face, detailed lace rebato - a lighter version of the ruff collar - black pearls and elongated expressive hands (another van Dyckian convention) that touch the breast and finger the embroidered handkerchief all bespeak of the sitter's position within a prominent family. In addition to the rich, imported fabrics and pearls, perhaps the most telling example of her mercantile wealth is the stunning Bargello patterned chair in which she sits with its prominently displayed gilt brass/bronze floral rivets and architectonic finials. The fine Bargello needlepoint, characterized by colorful geometric patterns, is believed to have originated in Hungary, and was imported into Italy in the 17th century. One of the earliest known examples of the Hungarian point, a set of upholstered armchairs conserved at the Bargello Museum in Florence, bears a striking resemblance to the chair pictured here. The "Lady in Mourning's" identity, though unknown, is very much embedded in the fabric of Genoese portraiture tradition.
Estimate: 5000 - 8000
6 Attributed to Frederik de Moucheron, (Dutch, 1633-1686) "Palace Gardens with a Fountain" oil on canvas Framed. 33" x 48" Provenance: Stockholms Auktionsverk, Stockholm, Sweden, May 30, 2007, lot 2406.
Estimate: 4000 - 7000
7 Italian School, (18th Century) "Rest on the Flight into Egypt with Archangel Gabriel" oil on canvas Presented in a carved and pierced giltwood frame. 28-1/8" x 34-3/8" Provenance: Waddington's Auction, December 13, 2011, lot 239; Private collection, Canada.
Estimate: 1000 - 1500
8 Manner of Alexandre Francois Desportes, (French, 1661-1743) "Self-Portrait as a Hunter" oil on canvas Presented in an early 20th-century giltwood frame. 63-5/8" x 51-1/4" Provenance: Palladin Inc., Houston, Texas; Herbie Oakes Collection, Houston, Texas.
Estimate: 3000 - 5000
9 Manner of Jean-Baptiste Oudry, (French, 1686-1755) "La Chasse au Loup en Foret" oil on canvas unsigned. Presented in a thin metal gallery frame. 80" x 69-5/8" Provenance: Animal Art Antiques, New Orleans, Louisiana; Private collection, New Orleans, Louisiana.
Estimate: 8000 - 12000
10 British School, (First Quarter 18th Century) "Portrait of a Girl with a Basket" and "Portrait of a Boy with His Dog" pair of oils on canvas both unsigned, former with a "Caelt Gallery, London, UK" gallery label en verso. Presented in matching oval frames. former 29-1/2" x 24-1/2", latter 31" x 24-1/4" Provenance: Caelt Gallery, London, England; Private collection.
Estimate: 1500 - 2500
11 Louis Gabriel Moreau, (French, 1740-1805) "Paysage avec Chateau et Cours d'Eau (Landscape with Castle and Stream)", 1787 gouache on paper signed and dated lower right, frame backing with period handwritten inscription largely effaced and various labels including a 1907 auction label, exhibition/inventory sticker, "Paulin & Detres, Paris" shipping label and "Livingston Galleries, New York" label (ca. 1943-1965). Glazed and framed. 19" x 26-1/8" Provenance: Devaux Sale, Paris, November 27-28, 1907, lot 86; Richard Owen Collection, Paris, France, 1907- ; Private collection. Notes: Louis Gabriel Moreau, a gifted draughtsman, etcher and painter of landscapes, had a prodigious career. After studying with Pierre-Antoine de Machy, who specialized in painting Grand Tour themes - landscapes redolent with Classical ruins and tromp-l'oeil architectural scenes, he went on to become a member of the Academie de St. Luc, artist to Comte d'Artois (later King Charles X), and curator of the National Museum in Paris. Moreau, a master of watercolors and gouaches, combined the picturesque architectures of his master de Machy with naturalistically, almost plein-air-rendered, topographical landscapes in the Ile-de-France region just outside of Paris. Moreau's fascination with the effects of light at different times of the day precipitated his use of a lighter palette, characterized by warm yellows and verdant foliage punctuated by deep ultramarine blues instead of browns. Moreau's predilection for natural light made him equally successful following the French Revolution, in which the Third Estate toppled the landed gentry and their royal established academies. Before 1789, French castles and estates in lush settings of abundance were Moreau's preferred subject; the painting offered exemplifies this style - a style upon which he established himself as an artist for nearly twenty-five years exhibiting annually at the Academie de St. Luc. Following the Revolution, Moreau's, bright palette and light drenched compositions with voluminous clouds and ruins dotting the low horizon remained; his subjects, on the other hand, became distinctly more humble, showcasing the daily life of farmers, fishermen, modest structures and gardens. Both Moreau's pre- and post-Revolutionary paintings are equally desired by collectors and institutions. Richard Owen (1873-1946), a prominent British art dealer of French art in the early-to-mid 1900s, who purchased this lot for 950 Francs at the Devaux Sale in 1907, owned a few Moreaus that he exhibited widely in Boston and New York in 1933 in the "Richard Owen Collection of 18th Century French Drawings and Watercolors" at the Worcester Art Museum, The Fogg Art Museum, Carnegie Hall Art Gallery, and Brummer Gallery, New York. Additional numbered labels on the back of this Moreau suggest that it too may have been exhibited as part of the Richard Owen Collection. References: Beaux-Arts: Chronique des Arts et de la Curiosite 9 (1939): 93; Hughes, Katherine. "New Worcester Art Museum Formally Opened to Public". Boston Herald. 9 Jan.,1993: 11; "Coordination". Springfield Republican. 1 Jan. 1933: 44; "Master Drawings." Arts Magazine 8:28 (1933): 28; "Louis-Gabriel Moreau". Oxford Art Online. 2007-2016. Web. 31 July 2016.
Estimate: 7000 - 10000
12 Leon Herbo, (French/Belgian, 1850-1907) "Feeding the Starlings" oil on canvas signed lower left. Presented in a period deeply molded and carved giltwood and gesso frame. 29-1/2" x 38-3/4"
Estimate: 7000 - 10000
13 Emanuel Oberhauser, (Austrian, 1854-1919) "At the Roman Bath" oil on canvas signed lower left. Presented in a period giltwood and gesso frame. 26-3/4" x 41-3/4"
Estimate: 20000 - 40000
14 Italian Carved Carrara Marble Figure of a Bathing Beauty, ca. 1900 the figure elegantly perched on a rock, with applied metal and stone bracelets and girdle. h. 20", w. 9", d. 9-1/2"
Estimate: 2000 - 4000
15 Frank Howland, (American, 19th Century) "Pleasures of the East" oil on wood panel signed lower left. Presented in a period giltwood and gesso frame. 11" x 23-1/2"
Estimate: 3000 - 5000
16 Frederick William MacMonnies, (American, 1863-1937) "Pan of Rohallion", first quarter 20th century bronze cast signature and date at back edge of sphere, marked "RBW" along back edge of self-base for the Roman Bronze Works Foundry, New York, New York, on a black marble plinth. h. 11", w. 4-1/2", d. 4-1/2" Notes: The large-scale original of this sculpture was commissioned by the American businessman Edward Dean Adams (1846-1931) for the garden fountain of his New Jersey estate, Rohallion. This startlingly elegant depiction of the Greek nature god was to prove immediately popular, and pantographic reductions (a technique made popular by the Frenchman Achille Collas working through the Barbedienne Foundry) were produced well into the 1920s.
Estimate: 1000 - 1500
17 After Jean-Baptiste Le Prince, (French, 1734-1781) "The Docile Beasts Under the Spell of Circe" oil on canvas after the original by Giovanni Benedetto Castiglione (1609-1664), unsigned, verso with early 20th-century inventory/exhibition label attributing the work to Le Prince. Framed. 25-1/2" x 31-5/8" Notes: Jean-Baptiste Le Prince was a prominent French artist, who had an illustrious career as a court painter to Catherine the Great at the Imperial Palace, St. Petersburg. A native of Metz, France, he entered the studio of the esteemed academic painter Francois Boucher (1703-1770) , becoming one of his most accomplished students, perfecting pastoral and genre scenes through his studies as a copyist and etcher and later through his travails in Russia where it is believed that he developed the aquatint process. Le Prince was likely exposed to the works of Castiglione (1609-1664) through Boucher, who was an admirer of Venetian eighteenth century painting, particularly Castiglione's virtuoso execution of rustic caravans and animals. The work offered here, likely painted before Le Prince left for Russia in 1757, was a favored subject Castiglione painted many times- the story of Circe from Book X of the Odyssey. In Homer's epic poem, Odysseus and his men encounter Circe- a sorceress with an enchanting mansion in the woods surrounded by her companions- tamed wild beasts . After inviting Odysseus' men into her home for a feast, she drugs them with a magic potion before transforming them, at the wave of a wand, into swine to accompany her other metamorphosized guests. Instead of swine proper, Castiglione took several artistic liberties, depicting a multitude of animals to showcase the extraordinary bravura of his talent.
Estimate: 4000 - 7000
18 Pierre Guillaume, (Dutch, b. 1954) "The Hunt" oil on canvas signed and titled en verso. Framed. 30" x 42"
Estimate: 3000 - 5000
19 After Antoine-Louis Barye, (French, 1795-1875) "Cavaliere Arabe", 20th century patinated plaster h. 25-1/2", w. 16", d. 9"
Estimate: 1000 - 1500
20 Victor Pierson, (British, Active New Orleans, 1865-1873) "French Cavalry in a Moorish Landscape" oil on canvas signed lower right. Framed. 24" x 20" Provenance: Belle Alliance Plantation, Lafourche Bayou, Louisiana. Notes: Pierson came to New Orleans via Mexico. He was a noted animal painter particularly fond of horses. While in New Orleans, Pierson worked on some grand-scale paintings with Paul Poincy and Theodore Sidney Moise, which hang in the Louisiana State Museum.
Estimate: 1200 - 1800
21 After Pierre-Jules Mene, (French 1810-1879) "Cheval Libre", first quarter 20th century patinated bronze cast signature at edge of self-base. h. 16", w. 19", d. 9-1/2".
Estimate: 1000 - 1500
22 Adolf (Constantin) Baumgartner-Stoiloff, (German/Austrian, 1850-1924) "Siberian Treasure Train" oil on canvas signed lower right. Framed. 32" x 51" Provenance: Private collection, Canada; Waddington's Auctions, June 12, 2007, lot 31; Ex-collection of Col. Sam McLaughlin, Oshawa; Gifted to C. H. Carlisle, Toronto, in 1920; By descent.
Estimate: 4000 - 7000
23 After Ganu Gantcheff, (Hungarian/Paris, 20th Century) "L'Archer", ca. 1930 patinated bronze cast signature at edge of self-base, on a rectangular marble plinth. h. 16", w. 14-3/4", d. 7-1/2"
Estimate: 1500 - 2500
24 Italian Grand Tour Patinated Bronze of "The Borghese Gladiator", first quarter 20th century, now believed to represent a warrior, after the ca. 100 BCE sculpture by Agasias of Ephesus excavated in the 17th century at the ruins of Nero's palace at Antium (present day Anzio) and now conserved at the Musee de Louvre, Paris, on a black marble plinth. overall h. 18-1/2", w. 18", d. 7"
Estimate: 1500 - 2500
25 Eugenio Battiglia, (Italian/Florence, 19th/20th Century) "Calliope", ca. 1900 carved marble of various types with incised patterns and designs the muse of epic poetry presented with her attributes of a lyre in one hand and bay leaf laurel in the other, signed and inscribed "E. Battiglia/Firenze" at back of integral marble base. h. 44-1/2", w. 18", d. 15" Other Notes: Working in marble and alabaster, Battiglia created accomplished decorative sculptures and copies of antique statuary for the tourist market from his studio in Florence. Reference: Frederick J. V. Skiff. Official Catalogue of Exhibitors, Panama Pacific International Exposition, San Francisco, California, 1915. The Wahlgreen Company: San Francisco, 1915. p. 43.
Estimate: 3000 - 5000
26 Exceptional Italian Carved Marble Bust of the Roman Philosopher and Statesman Marcus Tullius Cicero (106 BCE-43 BCE), 19th century, various marbles and stone including Cararra, griotte rouge, and Sienna marble and striated onyx; presented on a later marble columnar plinth. h. 38", w. 25", d. 14"; with plinth overall h. 73" Provenance: M. S. Rau, New Orleans, Louisiana; Private collection. Notes: In the 19th century, representations of ancient Roman dignitaries were highly desired as symbols of wealth, prestige and worldliness. Often acquired during the "Grand Tour", the European excursion undertaken by the upper-classes as a rite of passage, these works were prominently displayed in places of honor. The fine example presented here is somewhat unusual in its slightly larger-than-life size, the deep carving, and, especially, the variety and richness of the marbles used. Though unsigned, it is clearly by the hand of a master trained in the Italian sculpture workshops. These artists and artisans were internationally admired for their ability to work in the unforgiving and daunting media of marble and stone. This is evident in the deep modeling of the features of this bust, creating the deep shadowed furrows which suggest intense thought and concentration. Cicero, the subject of this bust, was considered one of the greatest orators of the ancient world.
Estimate: 25000 - 40000
27 Frederic Soulacroix, (French, 1858-1933) "Afternoon Tea for Three" oil on canvas signed lower right. Presented in a gilded frame. 39-1/2" x 30" Provenance: Private collection, Birmingham, Alabama; Thence by descent. Notes: Frederic (Joseph, Pierre, Timothee) Soulacroix was born into a prominent artistic family. His father, a talented French sculptor and painter, married Italian fresco painter Giancinta Diofebo, with whom he collaborated on several fresco commissions. The talented young Soulacroix entered the Accademia di Belle Arti in Florence in 1873 and was later accepted into its prestigious School of Painting where he was exposed to romantic genre painting. The painting offered here is a fine example of his mature work that from the late 1870s represents a unique mixture of Rococo subject matter (courting couples and frivolous tea parties in gardens and parlors) and Neo-Classical draftsmanship within Empire-style settings. The sumptuous parlor and the three young debutantes engaged in teatime chatter are formed through strong compositional outlines and polished surfaces. The verisimilitude of the silk and satin gowns, the crisp lines of the curtained door, and upholstered fabrics are a testament to Soulacroix's virtuoso in depicting the fineries of late 18th-/early 19th-century costume pieces and decor. Soulacroix had a prodigious career with well-to-do patrons seeking portraits and genre scenes that aggrandized their wealth, moreover material possessions. In 1924 he was appointed an officer of the French Academy and member of the Committee to the French Alliance in Florence. His commitment to working with French artists in Italy was awarded posthumously in 1945 by the French government with the Legion of Honor. Though quite distinctive, Soulacroix's works are often confounded with those of his father's Charles Frederic Joseph Soulacroix. Many art database references (even Benezit) and Google images attribute his elegant paintings of ladies in refined domestic spaces to his father, who specialized in religious subject matter in two very different mediums - marble and frescos.
Estimate: 20000 - 40000
28 Continental School, (Fourth Quarter 19th Century) "May Festival, Spain" oil on canvas signed indistinctly lower right. Presented in a period giltwood and gesso exhibition frame. 26" x 42"
Estimate: 2000 - 4000
29 Pasquale Ruggiero, (Italian, 1851-1916) "Christening in the Courtyard" oil on canvas signed lower right. Framed. 20" x 30"
Estimate: 2000 - 4000
30 Addison Thomas Millar, (American, 1860-1913) "Playtime" oil on canvas signed lower left. Presented in a handsome, period giltwood and gesso frame. 24" x 18"
Estimate: 1500 - 2500
31 Lammert Leire van der Tonge, (Danish, 1871-1937) "Mother and a Sleeping Child" oil on canvas laid on board signed lower left. Framed. 18" x 14-1/2"
Estimate: 1400 - 1800
32 Louis Laurent, (Belgian, b. 1840-?) "Clam Diggers" oil on canvas signed lower left. Presented in a period giltwood and gesso frame. 25-1/2" x 36"
Estimate: 2000 - 4000
33 Circle of Eugene Delacroix, (French, 1798-1863) "Shipwreck" oil on canvas unsigned. Presented in an impressive giltwood frame. 19" x 42" Provenance: By repute, William Hearst, Hearst Castle; Marion Davies, Los Angeles, California, ca. 1938; Private collection, Los Angeles; Thence by descent. Notes: This shipwreck scene bears the keen influence of Eugene Delacroix, the leader of the French Romantic School, whose optical studies of color and expressive brushstroke profoundly shaped future Impressionist works. Though he was trained in the Neoclassical style of Jacques-Louis David by Pierre-Narcisse Guerin, he rejected the academic traditions, privileging emotive expressions of color through bold brush strokes over controlled lines and carefully modeled forms. Though beautifully rendered, classical depictions of historical and mythological scenes invoked a sense of stasis, in which the turmoil of the battle or deluge was lost on the viewer. Inspired by Peter Paul Rubens and the Venetian colorists, Delacroix created a new genre of painting, capturing the primacy of the moment through the rapid application of deep warm colors and exaggerated lighting to convey movement. "The Storm on the Sea of Galilee", a biblical tale from the Gospel of Mark that multiple artists depicted throughout the 18th and 19th century, was a subject Delacroix visited many times from 1822-1855, as the drama of the miracle performed amid a tempest showcased his bravura of color and movement. In addition to multiple drawings, there are six known paintings of this subject executed between 1850 and 1855 with the attendant focus in the earlier ones on the swells of the sea before Christ awakens and calms them. Three fine examples are the ones conserved in the Metropolitan Museum, New York, New York, the Walters Museum, Baltimore, Maryland and the Nelson Atkins Museum of Art, Kansas City, Missouri. Created through swirling greys and greens with white capped sprays, the momentum of the sea as it threatens to swallow the fishing vessel borders on the sublime- the unbounded synergy drawn from the cataclysmic forces of nature. This "Shipwreck" was likely modeled after these paintings; it captures the same emotion of movement through heavy brush strokes executed in the same lurid green-gray palette. The juxtaposition of the crimson red of the survivor's dress, burnt sienna of the mast the figure clings to, and the swatch of a torn blue sail, also mimics the color schema of Delacroix's depictions of the apostles, which are rendered in a rich palette of red, sienna and ultramarine blue suffused with light. This palette and composition is characteristic of Delacroix's "Sea of Galilee" and shipwreck scenes, including "The Shipwreck of Don Juan" in the Louvre Museum in Paris.
Estimate: 6000 - 9000
34 Fritz Wagner, (German, 1902-1976) "Planning an Expedition" oil on canvas signed lower right. Framed. 25-3/4" x 32"
Estimate: 3500 - 5000
35 Johann Zahnd, (Swiss, 1854-1934) "La Rentree du Betail" oil on canvas signed lower right "J. Zahnd, Roma". Framed. 24-5/8" x 44-5/8"
Estimate: 3000 - 5000
36 After Rosa Bonheur, (French, 1822-1899) "Taureau Marchant" patinated bronze cast signature "Rosa B" at side of base. h. 5", w. 7-3/4", d. 3-3/4"
Estimate: 1500 - 2500
37 Conradyn Cunaeus, (Dutch, 1828-1895) "Waiting for Mistress" oil on canvas signed lower right, verso with a label inscribed in pen "Leeuwhondje, C. Cunaeus...". Presented in a 20th-century giltwood frame. 34-1/2" x 27-3/4" Provenance: Sara Davenport Paintings, London, U.K., 1994.
Estimate: 8000 - 12000
38 After Pierre-Jules Mene, French (French, 1810-1879) "Chasseur et son Chien", first quarter 20th century patinated bronze cast signature on edge of self-base, now on a marble plinth. overall h. 19-1/2" w. 9", d. 15"
Estimate: 1500 - 2500
39 Anton Karssen, (Dutch, b. 1945) "On the Alert" oil on canvas signed lower left. Framed. 13" x 20"
Estimate: 1500 - 2500
40 Anton Karssen, (Dutch, b. 1945) "Alert Before the Chase" oil on wood panel signed lower left. Framed. 19-3/4" x 39-7/8"
Estimate: 2500 - 4000
41 Alois Heinrich Priechenfried, (German/Austrian, 1867-1953) "Portrait of a Lady Holding a Rose, Seated in an Elegant Interior" oil on canvas signed lower left. Presented in a contemporary giltwood frame. 21-1/4" x 16-3/4"
Estimate: 3000 - 5000
42 Randolph Rogers, (American, 1825-1892) "Portrait Bust of a Woman" marble signed and inscribed "Rome" at rear. h. 28", w. 17", d. 8-1/2" Notes: The Neoclassical sculptor Randolph Rogers was a member of the American expatriate community which flourished in Rome in the mid-19th century. Sponsored by his former employers in New York, who saw the potential of their artistically precocious but untrained young clerk, Rogers studied with Lorenzo Bartolini (1777-1850) at the Accademia di Belle Arti in Florence. By 1851, he had opened his own studio where he created popular allegorical, religious, and literary sculptures, many of which were reproduced in smaller scale, and completed portrait commissions from tourists and his fellow expats. Rogers was the first American to be elected an academician of the Accademia di San Luca (now the Accademia Nazionale di San Luca), where he held the position of sculpture master. In 1884 he was made a Cavaliere dell'Ordine della Corona d'Italia by King Umberto I.
Estimate: 3000 - 5000
43 A. Gilbert, (British, 19th Century) "Leisure Hours" oil on canvas signed lower right. Presented in a giltwood exhibition frame. 27" x 31" Provenance: Sotheby's, London, November 11, 1998, lot 135, Victorian Pictures including Works by Burne-Jones and his Circle, offered as a work by Albert Thomas Jarvis Gilbert (British, 1877-1927); Private collection, New Orleans, Louisiana.
Estimate: 5000 - 8000
44 Attributed to Gainsborough Dupont, (British, 1754-1797) "Portrait of a Young Boy in Red Silk" oil on canvas Presented in a giltwood and gesso frame. 24" x 19-3/4"
Estimate: 2000 - 4000
45 Adrien Etienne Gaudez, (French, 1845-1902) "Jean-Baptiste Poquelin (Moliere), Tapissier", ca. 1900 patinated bronze incised signature at edge of self-base, a "Susse Freres" foundry mark at back, and fitted on its original bronze rotating socle base set on a marble plinth. h. 13-3/4", w. 11", d. 8-1/2" Notes: The great French dramatist Moliere - born Jean Baptiste Poquelin - was the son of a valet de chambre tapissier, one of several furniture restorers and upholsterers to the King of France, responsible for maintaining the furnishings of the Royal residences. This was a prestigious and often hereditary position, and the younger Poquelin was apprenticed in anticipation of following in his father's footsteps. Unfortunately for his father's ambitions, Moliere was more interested in the theater and literature. The sculpture offered here has the young Moliere engrossed in a book, seated on an unfinished chair with an awl in one hand and the discarded cloth under the seat.
Estimate: 1500 - 2500
46 After Albert Ernest Carrier-Belleuse, (French, 1824-1887) "Venus Desarmant l'Amour", fourth quarter 19th century patinated bronze cast signature and inscribed "Thiebaut Freres 32 Avenue de l'Opera Paris" along edges of self-base. h. 32", w. 19", d. 17" Notes: This gracefully composed figural group depicts a scene from Book X of Ovid's great narrative poem, Metamorphoses, wherein a playful and deviously mischievous Cupid accidentally pricks his mother Venus with one of his arrows, causing her to fall in love with Adonis. Venus, angered at having to experience the agonies of love, retaliates by disarming her son. Carrier-Belleuse, one of the most successful sculptors of his time, began his career as an apprentice to a goldsmith before briefly attending the Ecole des Beaux-Arts and the Petite Ecole. His elegant classical and mythological sculptures, often rendered in a rococo style, earned him the reputation as the heir to Clodion (1738-1814). Carrier-Belleuse was the artistic director at the Manufacture Nationale de Sevres, a founding member of the Societe Nationale des Beaux-Arts, and was named an officer of the Legion d'Honneur in 1885.
Estimate: 7000 - 10000
47 Thomas Cooper Gotch, R.B.A., (British, 1854-1931) "Rex Magnificus" oil on canvas signed lower right, remnant of old gallery label en verso stretcher. Presented in an antique gilt-washed carved wood frame. 15-1/2" x 19" Notes: Gotch was one of the few 19th-century painters of children capable of merging an idealized version of childhood with the personality of the individual sitter. While his earliest work was naturalistic in style, a trip to Italy in the 1890s drastically altered his approach. His work became more allegorical, with attention given to decorative elements and the overall design. The portrait presented here is a wonderful example of the success of this approach. Even with such a small, specific work, Gotch has not neglected any design element, from the delicately rendered wallpaper, to the various patterns of the child's clothing. References: Charles Caffin, "A Painter of Childhood and Girlhood", Harper's Monthly Magazine, vol. 59, May 1910, pp. 922-932.; A. L. Baldry, "The Work of T. C. Gotch", The Studio International, 1898, pp. 73-82.
Estimate: 5000 - 8000
48 Wright Barker, (British, 1864-1941) "Winter Twilight Landscape with Shepherd and Flock on a Snow-Covered Path" oil on canvas signed lower left. Presented in a giltwood frame affixed with an artist plaque. 28" x 36"
Estimate: 10000 - 15000
49 Louis van der Pol, (Dutch, 1896-1982) "In the Park" oil on canvas signed lower right. Handsomely framed. 30" x 44"
Estimate: 3000 - 5000
50 Herman Jean-Joseph Richir, (Belgian, 1866-1942) "Elegie", ca. 1932 oil on canvas signed lower center, signed and titled en verso, with numerous exhibition and auction labels. Framed. 54-1/4" x 42-1/2" Provenance: M. Teichman, Brussels, Belgium; Christie's, New York, February 25, 1988, lot 56; Christie's, New York, May 20, 1996, lot 232. Exhibited: "Salon (Societe Nationale des Beaux-Arts)", Paris, 1932; "Towarzystwo Przyjaciot Sztuk Pieknyci w Krakowie", Krakow, 1935; "Cercle Royal Artistique et Litteraire", Brussels, 1947. Notes: "He often paints his nudes from the back and succeeds in a surprising way in introducing not only a richness of nuances of colors but also the suggestion of life and action. In this field, Richir's art remains unmatched." - Joost de Geest, art historian As de Geest's comment illustrates, Richir approached his female subjects, particularly unclothed, with an unparalleled psychological depth seldom seen in nude depictions at the time. Beauty for Richir was a faithful reproduction of the sitter that resided as much in the flesh as it did in the mood and expression of the figure, earning Richir the distinction as one of the best Belgian painters of women in the early 20th century. Influenced by the academic traditions of the Neo-classical school, his paintings elucidate depth through their fine attention to the nuances of color and line harmony, especially in his expert handling of rare fabrics and draperies. "Elegie", the work offered here, exemplifies Richir's mastery. Depicted with reverse light from behind and silhouetted in strong lines before the veiled window, "Elegie", in her contemplative pose, evokes the poetic sorrow of her name; the pile of flowing drapery on the bed beneath her spills outward in a symphony of tertiary blues. Georges Bierand, in his critique of Richir's nudes, poignantly summarizes the artist's virtuoso: "Is it necessary to admire the perfection of drawing more than the translucent brilliance of color? Under the pearly epidermis, a young blood circulates because it is a precious gift of the painter to know, through the magic of color, to recreate on the canvas this internal flow that makes palpitate the flesh". In addition to nudes, Richir had a prodigious career as a portraitist and painter of allegorical and mythological scenes, earning the second Prize of Rome in 1885 and exhibiting at the Paris Salon and Triennial fair in Ghent from 1888-1892. After studying under the direction of Jean-Francois Portaels at the Royal Academy of Fine Arts in Brussels from 1884-1888, the Academy appointed him professor of drawing and painting respectively in 1900 and 1905 positions. Richir maintained his position at the Academy until 1927, often times acting as its director, while developing a lucrative portraiture business among the Belgium royalty that included King Albert I of Belgium and his wife Queen Elizabeth, King Leopold II of Belgium and the Count of Flanders.
Estimate: 7000 - 10000
               
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