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Auction Description for Bibliopathos: Old Master Paintings, Drawings and Engravings
Viewing Notes:
From 30 June 2014 to 4 July 2014, from 9 am to 6 pm, by appointment only.

Old Master Paintings, Drawings and Engravings

(59 Lots)

by Bibliopathos


59 lots with images

July 9, 2014

Live Auction

via Enrico Toti, 1

Verona, 37129 Italy

Phone: +39 (0)45 592917

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Backhuysen, A young lady playing the Lute, 1705

Lot 1: Backhuysen, A young lady playing the Lute, 1705

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Description: A SIGNED, DATED AND PUBLISHED BACKHUYSENLUDOLF BACKHUYSEN (Emden 1631-1708 Amsterdam) A young Lady playing the LuteSigned and dated in the lower left quadrant 'LBAKH 1705'Oil on canvas, 13½ x 10¼ inches (34.3 x 26 cm), gilt frameLudolf Bakhuisen (or Backhuyzen) (1630-1708) was a German-born Dutch Golden Age painter who was the leading Dutch painter of maritime subjects after the two Willem van de Veldes (father and son) left for England in 1672.He was born in Emden, East Frisia, and came to Amsterdam in about 1650, working as a merchant's clerk and a calligrapher. He discovered so strong a genius for painting that he relinquished the business and devoted himself to art from the late 1650s, initially in pen drawings. He studied first under Allart van Everdingen and then under Hendrik Dubbels, two eminent masters of the time, and soon became celebrated for his sea-pieces, which often had rough seas.He was an ardent student of nature, and frequently exposed himself on the sea in an open boat in order to study the effects of storms. His compositions, which are numerous, are nearly all variations of one subject, the sea, and in a style peculiarly his own, marked by intense realism or faithful imitation of nature. In his later years Bakhuizen employed his skills in etching; he also painted a few examples each of several other genres of painting, such as portraits, landscapes and genre paintings.During his life Bakhuizen was visited by Cosimo III de' Medici, Peter the Great and also worked for various German princes. In 1699 he opened a gallery on the top floor of the famous Amsterdam townhall.

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Bassano, Lamentation over the Dead Christ, 1580-82

Lot 2: Bassano, Lamentation over the Dead Christ, 1580-82

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Description: PUBLISHED IN THE COLLECTION OF KING PHILIP V AND ISABELLA OF SPAINFRANCESCO DA PONTE, CALLED IL BASSANO(Bassano del Grappa, 1559 - Venice, 1592) Lamentation over the Dead ChristOil on canvas, 24 x 29,5 inches (61 x 75 cm); 17th century frame called Salvadora, gilt with plain groovesThe Light on the Redeemer's Body is that of a single, modest candle. The glow of silent radiance illuminates both the death of Christ and the exigent life in Magdalen's uncovered bosom and golden hair. The scene is enshrouded in silence, with the possible exception of the lips of the Virgin: slightly opened in astonished sorrow rather than lamentation, as her open arms confirm on inspection of her son's mangled body. Christ's figure is in transition, abandoning itself to a death resembling sleep - a calm, somewhat childish sleep - as if Bassano, behind the tragedy, wishes to inform us of the forthcoming resurrection. Maybe it is in this thoughtful silence and quiet repose that the novelty of this speechless lamentation lies. Francesco da Ponte, the favourite son of Jacopo, often cooperated with him, and learned to imitate his work brilliantly. During the 1570s they carried out together a series of important works like the valuable altar piece with St. Paul's Sermon in the church of Saint Anthony in Marostica (1574) - the first of the paintings they made together, through which Francesco attained his father's artistic status. See also four altarpieces and three altar platforms for the church of Civezzano, and the Circumcision of the Civic Museum of Bassano (1577). Both the Bassano painters collaborated on this subject which, due to its extraordinary pietas, enjoyed great repute among its purchasers and was recreated more than once by Jacopo and Francesco. The most renowned version of this subject is in the Louvre, that Arslan dates to c.1580-82. Our version, not inferior to the Parisian, can be placed in the same couple of years. Besides, the presence in the prestigious collection of the Kings of Spain guarantees its superlative quality. Literature: Published in A. Aterido, J. Martinez Cuesta, J. J. Pérez Preciado, Colecciones de pinturas de Felipe V e Isabel de Farnesio, vol. I, Madrid 2004, with a photograph of the painting at p. 280, fig. 204, and in vol. II, p. 355, no. 38 bis: «Entre ellas, posiblemente estaría el Entierro de Cristo de colección particular madrileña, que presenta marcas ostensibles de su periplopor las pinacotecas de los primeros Borbones españoles: junto a la flor de lis y su número correspondiente en blanco, figuran en rojo una letra B y otra numeración. Esta última señal evidencia que fue inventariada posteriormente en el palacio de Bohadilla del Monte, de ahí la inicial, donde se reuniría con los Teniers y Brueghel que el mismo Ponz describe en el edificio proyectado por Ventura Rodríguez». E. Arslan, I Bassano, vol. I, Milan 1960, p. 361 (Louvre version); A. Ponz, Viage de España, Madrid, Ibarra, 1772-94, vol. 17, II, p. 302.

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Klöcker von Ehrenstrahl, Allegory of Music

Lot 3: Klöcker von Ehrenstrahl, Allegory of Music

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Description: THE FATHER OF MODERN SWEDISH PAINTINGDAVID KLÖCKER VON EHRENSTRAHL (attributed)(Hamburg, 1629-Stockholm, 1698) Allegory of MusicOil on canvas, 41,7 x 29,3 inches (106 x 74,5 cm), carved and gilt frame.Bearing on the reverse an inscription in sepia with artist's full name.The soft and sensual treatment of the skin is certainly derived from Pietro da Cortona. The milky and velvety texture is obtained through a wise combination of light and shades. In particular, he seems to have learnt from Pietro's allegories and mastery of compositional devices, movement, color, and use of light.The latter can be observed at work with great skill in the chest, face and the right arm where the bodily presence seems dissolved and the edges of the figure gently blend into the dark background. At the same time, however, the oeuvre reveals the influence of French academic classicism. Such a reference not only explains the choice of the subject, but also Ehrenstrahl's ability to infuse a sense of transcendent grace in order to reduce the blatant impact with the woman's physical presence. This is especially evident when observing the figure's face, and it is likely that Ehrenstrahl read Le Brun's posthumously published treatise Méthode pour apprendre à dessiner les passions (1698) in which the author, following Nicolas Poussin's theories, purported to codify the visual ex- pression of the emotions in painting. David Klöcker von Ehrenstrahl, considered the father and the initiator of Swedish modern painting, was born in Hamburg and educated in Holland (his master was Jurian Jacobsz from Amsterdam, an artist specializing in depicting animals). He moved to Sweden in 1652 invited by the Count (and Field-Marshal) Carl Gustav Wrangel. Fortunate to have made such an important connection, he was soon introduced to the Swedish Royal Court. In particular, the Queen Dowager Hedvid Eleanora personally contributed to his artistic development, sending him first to Rome and Venice, then to London and Paris. Being in contact with the most up-to- date pictorial trends at that time, Ehrenstrahl rapidly improved his technique and discovered the typical Baroque style adopted by the great European courts. Soon after his return to Sweden (1661), the young King Charles XI proclaimed Ehrenstrahl as his personal painter and portraitist and he was so enthusiastic of the artist's work that awarded him the title of gentleman and aristocrat (the 'Von', in fact, refers to his new social status). The journeys to Italy and France allowed Ehrenstrahl to examine the work of two of the most important European artists in the 17th century: Pietro da Cortona (1596-1669) and the Parisian Charles Le Brun (1619-1690).This painting owes several peculiar characteristics to both of them and therefore critics tend to date it after 1661, immediately after Ehrenstrahl's return to Sweden.

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Carlo Maratta (and workshop), Madonna at prayer, 1670

Lot 4: Carlo Maratta (and workshop), Madonna at prayer, 1670

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Description: CARLO MARATTA (and workshop) (Camerano, 1625-Rome, 1713) Madonna at prayerOil on canvas, 28,9 x 24,4 inches (73,5 x 62 cm). Gilt frameThis serene Madonna at prayer was painted in the 1670s or 1680s, and is attributed to Carlo Maratta and one skilled assistant.This may have been Niccolò Berrettoni, creator of paintings whose iconography closely resembles Maratta's own. Among Maratta's works, many paintings can be found to be compared with the present Madonna: the most obvious being such examples as La Vergine col Bambino in the Vatican Museum and the Louvre's Il sonno di Gesù con angeli musicanti (Jesus' Sleep with Angelic Minstrels, 1697). In Maratta's Visitazione, displayed at the church of Cura di Vetralla, the Virgin's expression prefigures the canons of Neoclassicism, the new artistic taste that manifested itself at the end of the 18th century and that this work already reveals. In the archive of the Fondazione Federico Zeri there is a record of another almost identical (but perhaps lost) version of this painting (under the inventory number 59628, indicated as 'School of Carlo Maratta'). We can exclude that the painting quoted by Zeri is the present painting before the res- toration, because in the above composition there are some elements which do not appear anymore in the offered painting (i.e. the different vest of the Holy Virgin). A figure of exceptional elegance, this is a notable example of Maratta's interest in the classical tradition of sculpture. Maratta's classicism represents the culmination of a long stylistic tradition that began with Raphael and was later reinvigorated by the expressive naturalism of Annibale Carracci, the compositional and dramatic clarity of Domenichino, and the refined under- statement of Andrea Sacchi. Carlo Maratta was native of the central Italy and studied in Rome under the painter Andrea Sacchi.The education he received induced him to continue the tradition of the classical Grand Manner, heir of Raphael's style, though the rethorical splendour of his paintings is completely Baroque. In 1650 he started to work for the papacy, realizing important paintings as the Constantine destroying the idols now housed in the baptisery of the church of Saint John in Lateran and many altarpieces for Roman churches. Due to his skill in cleaning and repairing frescoes, Clement XI employed him to restore Raphael's work in the Vatican palaces and the same pope, in 1704, made him Knight of the Order of Christ. His numerous Madonnas and his canvases of religious subject were among the representations of the Counter-Reformation's dogmas most appreciated by his contemporaries. He was also architect and etcher, in confirmation of his versatile talent.

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Moskow School, The Archangel Gabriel, 17th century

Lot 5: Moskow School, The Archangel Gabriel, 17th century

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Description: SCHOOL OF MOSKOWMoskow, 17th centuryThe Archangel Gabriel12,4 x 10,2 Inches (31,5 x 26 cm) The Archangel Gabriel is a typical character in Russian Icon, representing the power of heaven; he is usually represented with the cloak in a cold color and the chiton in blue.In 16th century, icon paintings suffered of a structural crisis. The tendency to the general regulation touched also icons that tended to become standardized without moving away to known models. The School of Moskow developed at the end of the century and also during the entire 17th century a reaction to the crisis, incorporating Western models. The artists of this new tendency ameliorated the old tradition of popular paintings adding a great attention not only to the meaning and the energy of the saints faces, but also to the quality of the drawing.

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Neapolitan School, Still Life with Falcons

Lot 6: Neapolitan School, Still Life with Falcons

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Description: NEAPOLITAN SCHOOL(Naples,17th century) Still life with falconsOil on canvas, 30,7 x 25,6 inches (78 x 65 cm), marbled and gilt frameThe presence of falcons at leisure with their kill after a night of hunting, places this work among venatorial scenes, typical of Northern European painting in the 17th and 18th centuries. The birds, positioned so as to stare down the observer, replace men in the role of predators, declaring their pre-eminence among nocturnal animals and their privileged position as man's partners in the hunt.The roseate air of the dawn provides illumination and balance, softening the stark subject and giving the viewer an impression of having chanced upon, for a brief moment, the secret world of nature. Ascribed to giuseppe recco (1634-1695), an intimate of the renowned Neapolitan painter Giovan Battista Ruoppolo, this canvas is surely a product of the Neapolitan late Baroque.The Neapolitan school of still-life painting developed at the beginning of the 17th century under the influence of Caravaggio's last phase and of Jan Brueghel, who resided in the city in around 1590. It was Giacomo Recco, followed shortly afterwards by Luca Forte and Paolo Porpora, who inaugurated the genre in Naples as far as floral and nature compositions go, while in second part of the century, Recco's descendants and the Ruoppolo painters extended the range of subjects and generic interpretations.

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Palamedesz, Elegant company merrymaking, 17th century

Lot 7: Palamedesz, Elegant company merrymaking, 17th century

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Description: CIRCLE OF ANTHONIE PALAMEDESZ(17th century)Elegant company merrymakingOil on canvas, 20 1/8 x 25 1/8 inches (51.1 x 63.8 cm), gilt and carved frameA warm, feeble light surrounds the participants to this pleasant banquet and outlines the shapes of the furniture in the back: both the decors and the opulent clothings situate the happening in a middle class context, so often represented in Palamedesz' paintings. The artist arranged the scene as a dramatic setting, so that every character has his precise role: the official on the right, for example, warms himself near the fireplace, while speaking to the seated woman manifestly entranced by his words, the other two men, one of them playing, follow the discussion as well and the woman on the left, finally, gives instructions to the servant without losing her place on the book she was probably reading. The richness and extravagance of the foods on the table, moreover, inserts a still life motif of Dutch influence within this genre painting.Born in 1601 in the Dutch town of Delft, Anthonie Palamedesz also called Stevaerts, or Steven was the son of a semi-precious stone-engraver and elder brother to the battles' painter Palamedes Palamedesz (1607-1638). In his production a strong influence of the style of Pieter Codde (1599-1678) and Willem Cornelisz Duyster (1599-1635) can be found, especially for what concerns the selection of the subjects, that oscillates between indoors with soldiers or merrymaking companies, military skirmishes and bivouac scenes. During his career, Palamedesz realized portraits as well, particularly valuable for the nuances and soft outcome of the textiles. He died in Amsterdam, in 1673. References: G. I. Hoogewerff, Palamedesz in «Enciclopedia Italiana di Scienze, Lettere ed Arti», Roma, Istituto della Enciclopedia Italiana Treccani, ed. 1949, vol. XXV, pp. 944.

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Polidoro da Lanciano, The Madonna and the Child

Lot 8: Polidoro da Lanciano, The Madonna and the Child

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Description: ATTRIBUTED TO POLIDORO DA LANCIANOPOLIDORO DA LANCIANO(1515-1565)The Madonna and Child with the Young Saint John the BaptistAttributed to Polidoro by Calore (expertise dated 17 November 1988).Oil on panel, 23,6 x 31,5 inches (60 x 80 cm), ancient carved and gilt frameAlthough he was never an official pupil of Titian, Polidoro da Lanciano got much of his inspiration from the celebrated Venetian painter, and his works are often listed with that attribution. His work is characterized mainly by religious works, like the present Holy Family, that enjoyed a significant degree of popularity in 16th-century Venice. Indeed, Polidoro is described in Lodovico Dolce's «Dialogue on Painting», which first appeared in Venice in 1557, as among the twelve outstanding painters in Italy.

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Gregorio Preti, The incredulity of St. Thomas

Lot 9: Gregorio Preti, The incredulity of St. Thomas

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Description: GREGORIO PRETI AND WORKSHOP (attributed)(Taverna, 1603-Rome, 1672) The Incredulity of Saint ThomasOil on canvas, 49,6 x 39,7 inches (126 x 101 cm), recent frame in antique style, carved and gilt.Here it is the cold glow of a candle, rather than the oblique light of Caravaggio's paintings, that takes the characters out of the darkness.This seems to be the main feature of Gregorio Preti's personal Caravaggism, shown in this work as also in two other of Preti's canvases: Christ and theTribute Money and the Lamentation over the dead Christ. The dramatic use of the light is refined: the artist allows Christ and the Apostles to appear from the near-black background as figures emerging from dark water, their faces and bodies caressed by an impenetrable obscurity. Jesus, on the left, stares at Saint Thomas as a patient father looks at his stubborn child, while he touches the wound in his side. On the faces of the other Apostles are featured differing degrees of doubt, astonishment and curiosity.The dark nuances of Preti's palette lead us to place this painting in the early years of the artist's career, presumably before the 1640s, when he had been combining Neapolitan and Roman Caravaggism with interesting results. Moreover, no influence of the work of Mattia Preti, Gregorio's younger, but more famous brother, can be detected here, whereas it is a constant in his later paintings. Certain facial identifications connect this canvas to Gregorio's works of the early 17th century. Christ's face in the Tribute Money's painting (sold at Christie's Rome, sale of the 4th december 2002 lot 475), for example, has very similar features to this very one, and the bald-headed apostle appears in several other works, such as the Christ disputing with the Doctors (National Gallery, London) and the canvas Susannah and the Elders (Vibo Valentia, private collection, see photo no.). Gregorio Preti went to Rome from the South of Italy when he was very young in order to become a painter. His style was deeply influenced by the radical works of Caravaggio, both realistic and dramatic.Thus we can locate his early works half-way between Neapolitan Caravaggism and Roman Classicism. At some point in the 1630s, his younger brother Mattia joined him Rome and in a few years subsumed Gregorio's art. He became Mattia's best imitator and assistant until the end of his life. Gregorio's artistic importance and his strong relation with his brother have been recently researched and described in essays by John Spike.

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Giulio Cesare Procaccini, Sacrifice of Isaac

Lot 10: Giulio Cesare Procaccini, Sacrifice of Isaac

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Description: A SIGNED AND PUBLISHED PROCACCINI'S MASTERPIECEGIULIO CESARE PROCACCINI(Bologna, 1574-Milan, 1625) Sacrifice of IsaacOil on canvas, 46,8 x 34,6 inches (119 x 88 cm), ancient elaborated gilt and carved frame "a cartocci", with coloured compartments Initialed in the right lower corner GCPF (Giulio Cesare Procaccini Fecit) This Sacrifice of Isaac, among the few known works signed by the artist (a dozen, more or less), has the painful grace of a farewell to painting: it is probably one of Giulio Cesare's last works, when he was already one of the most successful painters in the lively Milanese market. It has the wavering beauty of the senile work of an artist that, although prematurely aged, does not give up testing, mixing the manners yet crowding into his style with his youth's abandoned vocation. About this painting, Prof. Ugo Ruggeri wrote that «the work places itself among the Giulio Cesare's most interesting signed paintings, also due to the clear links with the formal world of Camillo Procaccini, the artist's elder brother, with whom he reaches Milan in 1585, from Bologna. Compared with Camillo's manner, though, still essentially related with the Bolognese high maniera's world with just some mention of the naturalism of Passerotti and Carracci, this Sacrifice of Isaac presents some new hints combining Giulio Cesare's cultural background with his new Lombard experiences, influenced by Cerano and Morazzone. The emphatic scheme of the composition shows Giulio Cesare's spatial mastery and can conveniently be compared with other works of his, like the large Pietà of the church of Gavardo and that of the Kunsthistorisches Museum of Vienna, but also The angels Michael and Raphael taking Mary Magdalene to the sky with Christ blessing on a copper foll, belonging to the Herlitzka Collection of Buenos Aires, presumably dated back to the second decade of the 17th century.There are more analogies, however, between this painting and later works as the Relics of the Passion shown to Constantine in the pinacoteque of the Castello Sforzesco of Milan, signed and dated 1620, while the complex spatial chiasmus of the figures is typical of Giulio Cesare's paintings of the last period of his life as the Cain and Abel of the Accademia Albertina of Turin, signed and dated 1623, and the version of the same theme displayed at the Archiepiscopal Gallery of Milan, presumably coeval. The landscape background on the left, with the sacrifical goat half-hidden in the brumble bush, brings to the attention the alignment with the naturalistic interests of Tanzio da Varallo, already clear in the Saint John the Baptist in the desert of the Philbrook Museum of Tulsa, datable 1627-1629, and in some other works with similar formal conception.This circumstance contextualizes in the latest phase of Giulio Cesare Procaccini's activity this painting that, with its extraordinary dramatic power, combines the Correggio's style beauty of Isaac and the angel's faces with the wrathful force of Abraham's expression, in a mixture of languor and rage typical of the great Lombard artist».In spite of being son and brother to painters, who arrived in Milan in order to take part to the decoration of the huge cathedral dome, Giulio Cesare starts his artistic career as a sculptor and just around 1600 devotes himself to painting: at the end of his life, however, reviewing his path, he seems to come back to his early vocation as if, after meeting Rubens in Genoa, he would like to create painted sculpture. This new masterpiece, positively attributed to Giulio Cesare after the cleaning that revealed his acronym, was definitely made during the last five years of the artist's life and it is a clear evidence of this coming back to a massive conception of pictorial space, to a formal congestion to be seen in other Procaccini's late works as Abraham welcoming the three angels, store at Palazzo Madama in Turin (see photo below). Besides Abraham's reverent solemnity, the Turinese canvas shares with the present one the morphology of the childish faces resembling Parmigianino and Correggio's style, already used by Giulio Cesare in the Annunciation of the Acerbi chapel in the church of Saint Anthony Abbot in Milan,and in the almost contemporary Annunciation of the Koelliker Collection.As for its power and dramatic impact, the painting is comparable to another late Procaccini once belonging to the Corsini Collection of New York, the Arrest of Jesus (signed as well and sold at Sotheby's NewYork 29 january 2009, lot 58, price realized $ 962,500) with whom it shares the interplay between victim and executioner not just in the literary choice of the subject, but rather in its pictorial expression: the moderate tension of Abraham and the executioners' muscle mass, easy to guess under the clothes, and the innocent resignation of Isaac and Christ both lifting their eyes to the sky.

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Guido Reni (workshop), Ecce Homo, ca. 1630

Lot 11: Guido Reni (workshop), Ecce Homo, ca. 1630

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Description: FROM HUME COLLECTIONGUIDO RENI (and workshop) (Bologna, 1575-1642) Ecce HomoOil on canvas, 24,8 x 18,5 inches (63 x 47 cm), carved and gilt frameThis painting was in the renowned collection of Sir Abraham Hume and belongs to the wide series by Reni (or by his workshop) portraying Christ crowned with thorns. It is a subject that Guido started elaborating and developing in various ways from the 1620s onwards. Jesus' face, suffering and raising the eyes to the sky, captures the viewer's attention with the utmost degree of drama, enhanced by the close framing and by the nature of the subject itself, based on the public exhibition of the scourged body of the Messiah to the Judaeans. The pathos of Christ's countenance later became Reni's most characteristic trademark, often imitated by numerous followers and pupils, that made of it the conventional representation of the mystical pain. As to its date, critics have proposed the third decade of the 17th century. Their evidence rests on the stylistic proximity with a canvas now kept at the Detroit Institute of Arts, dated c. 1630. The two works are, in fact, very similar. In both cases, light fills Christ's eyes, which are completely absorbed by celestial energy. Grace, a typical characteristic of Reni's style, is here sublimated into rapture. A key feature of Reni's work is light, which he used to create shapes and figures. He was able to produce the effect of contours fragmenting, delicately softening the textures in his pictures. Reni based all his production on the idea of 'truth', as this canvas demonstrates: the viewer faces a version of Christ who is incredibly human in his sorrows, a man standing 'naked' in front of us, literally divested, left without dignity, humiliated. Guido Reni is indubitably one of the most prominent figures of 17th century Italian art. Following in his renowned father Daniele's footsteps, Guido studied and practised music in his youth but in 1584 he entered the workshop of the famous Flemish artist Denijs Calvaert in Bologna. After a few years, he joined the Accademia del Naturale, the city art academy founded by the Carracci brothers in 1582, later known as Accademia degli Incamminati (1592).Venerated by his contemporaries, Reni fell suddenly into a prolonged obscurity, especially in the 18th and 19th centuries when critics, including John Ruskin, went so far as to condemn his style. Only in the 20th century, would he be re-established as an Old Master, supported by the publications of critics such as Hermann Voss and Roberto Longhi.

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Guido Reni (circle), Saint Sebastian

Lot 12: Guido Reni (circle), Saint Sebastian

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Description: CIRCLE OF GUIDO RENI(17th century) Saint Sebastian38,2x29,2 inches (97x74 cm), Oil on canvas, gilt and black wood frameThe martyrdom and extasis of St. Sebastian, bound to a tree and pierced by the arrows, after one of the very famous versions by the Italian master Guido Reni (1575-1642). The scene, with its suspended atmosphere and clean wounds, is full of edonistic pleasure, rather than of religious pathos. This feature is clearly taken from the original painings, as confirmed by the French writer Stendhal, that related that Reni's St. Sebastians were removed from the Roman churches because they caused sexual upset to the churchy women.

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Vincent Sellaer, Leda and the Swan

Lot 13: Vincent Sellaer, Leda and the Swan

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Description: VINCENT SELLAER (attributed)(active in Mechelen in 1538) Leda and the SwanOil on panel, 30,2 x 42,6 inches (76,8 x 108,2 cm), ancient carved and gilt frameIn this wonderful panel, Leda is represented in a moment of domestic rest, while speaking lied down on soft pillows with the swan caressing her hair and almost using its wing as a cushion for her. Castor and Pollux, born from Leda's union with Jupiter in form of a swan, are resting on their mother's lying body: from the same intercourse, getting out of an egg like the Dioscuri, also Helen of Troy and Clytemnestra were born. In respect of its childlike figures, it is also comparable to Sellaer's Jupiter, Satyr, Antiope and their Children in the Musées royaux des Beaux-Arts de Belgique, Bruxelles. The iconography comes from Leonardo's famous lost composition which influenced and inspired many Dutch artists of the time, including Joos and Cornelis van Cleve, both of them painting numerous versions of the same subject.The influence of Leonardo's is clearly recognizable in the faces and the hair of the children. Vincent Sellaer (now convincingly identified as Vincent Geldersman) was, with Michiel Coxcie, the leading artist in Malines (now Mechelen), a city that had become the cultural centre of the Netherlands during the reign of Margaret of Austria. He painted several different versions of Leda and the Swan, as well as a Susannah and the Elders, a Cleopatra and a Descent from the Cross for the cathedral of his own city. Sellaer would have absorbed this stylistic innovation during his sojourn in Italian (1522-24), during which he probably worked with Moretto of Brescia (Alessandro Bonvicino). Sellaer's style is characterized by an ability to combine seamlessly Northern European and Italian sources and create paintings notable for their power and monumental quality.

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Sebastian Stoskopff, Still Life with Cat and Fishes

Lot 14: Sebastian Stoskopff, Still Life with Cat and Fishes

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Description: CIRCLE OF SEBASTIAN STOSKOPFF Still Life with Cat and FishesOil on canvas13 x 15 3/8 inches (34 x 39 cm), gilt frameSebastian (or Sébastien) Stoskopff (1597-1657) was an Alsatian painter. He is considered one of the most important German still life painters of his time. His works, which were rediscovered after 1930, portray goblets, cups and especially glasses. The reduction to a few objects, which is characteristic of early still life painting, can again be recognized in Stoskopff's painting. His chief works hang in Strasbourg and in Saarbrücken.His still lifes forged an interesting blend of influences from the Hanau/Frankfurt schools (notably the work of Georg Flegel) and from Paris, where he had lived and worked from 1622 to 1639. Stoskopff's paintings are characterized by a strongly geometric ordering of space, in which objects are arranged with great clarity, often against rich, dark backgrounds.

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St. Petersburg School, Mother of God of Vladimir

Lot 15: St. Petersburg School, Mother of God of Vladimir

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Description: School of Saint Petersburg16th century Mother of God of Vladimir(«Theotokos of Vladimir»)11 x 9,4 inches (28 x 24 cm)The icon of the Mother of God of Vladimir is among the best known in the Western World. It's one of the oldest icons of the type Eleousa, to which also belong the «Virgin of Tenderness», the «Tender Mercy», the «Merciful Love», and the «Loving Kindness». The icon can be recognized by the arm of the Child around the neck of the mother. The face of the Virgin that is looking towards us is full of warmth and human comprehension, but also with deep sadness. The icon of the Holy Virgin of Vladimir is known in Russia since 1131 when she was taken from Constantinople to Kiev. In 1155, prince Andrei Bogolioubski took off to the North to found a new capital, Vladimir, and he took with him the icon from Kiev, captivated by its splendor. It was in that period that the icon started to work miracles and attracted large numbers of faithful. In 1395, the icon was transported to Moscow. Up to three times when threatened by an invasion from the East, according to the legend, Moscow was saved by a miraculous intervention involving the icon. References: Maria Donadeo, Icônes mariales russes, 1990, p. 11. Egon Sendler S.J., Les icônes byzantines de la Mère de Dieu, 1992, pp. 83-164.

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Circle of David Teniers II, Musicians in an interior

Lot 16: Circle of David Teniers II, Musicians in an interior

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Description: FOLLOWER OF DAVIDE TENIERS II(17th century)Musicians in an interiorOil on canvas, 15½ x 22¼ inches (39.4 x 56.5 cm.), gilt and carved frameDavid Teniers the Young (1610-1690) is usually considered the most important Flemish personality in genre painting of the second half of the XVII century. He began painting in the workshop of his father in Antwerp and, in 1632-33 ca. he entered the town guild as a master. His first works included canvases of religious subject, such as the Prodigal son (ca. 1640, Minneapolis Institute of Arts), while the majority of his production regards genre scenes representing farmers or middle class merry companies, in or outdoor, playing, cooking or having lunch.The presence in the settings of kitchen tools, musical instruments, crockery and pieces of food, gave him the opportunity of inserting some still life painting in his works, sign of the keen interest he had towards the Dutch trends. Another important contribution to his style comes from the works by Adriaen Brouwer (1605-1638), Flemish genre painter afterwards appreciated by Rubens and Rembrandt: the foolishness and the senses's impressions that characterize his paintings can be found in Teniers' scenes, even if less vividly and in lighter tones. Teniers the Younger was married twice, the first time with Anna Brueghel, niece of Pieter Brueghel the Elder; in 1651, the Archduke Leopold Wilhelm, governor of the Spanish Netherlands and art lover, asked Teniers of becoming his official painter and keeper of the great collection of works of art he was forming. As a consequence, he and his family moved to Bruxelles, where he devoted himself to the selection of the masterpieces that now form part of the nucleus of Vienna's Kunsthistorisches Museum and many of which are immortalized in Teniers' famous canvases representing the collection. When he came back to Antwerp, in 1663, he founded the Antwerp Royal Accademy of Fine Arts: by then, Teniers was highly regarded painter, requested and esteemed by the aristocrats of all Europe and the commissions for his works, that included both genre scenes and mythological, literary or satirical subjects, were so many that he could hardly afford all of them. After 1680 until his death, already old-aged, he half quit his painting activity and rather acted as an art dealer. References: C. Virdis Limentani, Introduzione alla pittura neerlandese (1400-1675), Padova, Liviana Editrice, 1978.

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Francesco Trevisani, Madonna nursing

Lot 17: Francesco Trevisani, Madonna nursing

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Description: FRANCESCO TREVISANI (circle)(1646-1756)Madonna nursingOil on canvas, 32¾ x 25 in. (83.2 x 63.5 cm), carved and gilded frameThis tender Madonna can be attributed to the circle of the Italian Baroque painter Francesco Trevisani. The subject of the nursing Holy Virgin, represented as a young girl showing his breast, is one of Trevisani's favourite subjects. The Madonna is here a giver of eternal life and merciful consoler. The girl used as a model for this painting is the same of many other works by the Trevisani, as for example Le sommeil de l'enfant Jésus, where the Child as well is represented in the same attitude, with the tiny head reclined slightly towards the left of the scene.Francesco Trevisani was an Italian painter, active in the period called either early Rococo or late Baroque (barochetto). Born in Capodistria (modern Koper, then part of the Republic of Venice), he was the son of Antonio Trevisani, an architect, by whom he was instructed in the first rudiments of design. He then studied in Venice under Antonio Zanchi. He moved to Rome, where he remained until his death, in 1678. His brother, Angelo Trevisani remained a prominent painter in Venice.In Rome, he was supported by Cardinal Pietro Ottoboni. He was strongly influenced by Carlo Maratta, as it is manifest in his masterpiece, the frescoes in San Silvestro in Capite (1695-1696). In Rome, he was favored with the patronage of Cardinal Chigi, who employed him in several considerable works, and recommended him to the protection of Pope Clement XI, who engaged him to decorate the cupola of the cathedral in Urbino. There he represented, in fresco, allegories of the four Quarters of the World, in which he displayed much invention and ingenuity. He was employed by the Duke of Modena, in copying the works of Correggio and Parmigianino, and also painted in Brunswick, Madrid, Munich, Stockholm, and Vienna.References: F.R. Di Federico, Francesco Trevisani: Eighteenth-Century Painter in Rome , Washington DC, 1977. F. H. Dowley, Review of Francesco Trevisani: Eighteenth-Century Painter in Rome, 1979, in «The Art Bulletin», pp. 146-151.

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Richard Van Orley the Younger, Madonna and the Child

Lot 18: Richard Van Orley the Younger, Madonna and the Child

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Description: A SIGNED VAN ORLEY'S MADONNARICHARD VAN ORLEY THE YOUNGER(Brussels, 1663-1732) Madonna and the ChildOil on panel, 26,2 x 21,6 inches (65,5 x 55 cm), carved and gilt ancient frame, signed R. v Orley at right higher corner.The sacred theme of the Madonna and Child here is reproduced in a secular, realistic version. The Virgin is just an ordinary woman, maybe a poor one. She is in three-quarter profile, half- length, holding the baby in her arms and breast-feeding him. The scene is immediate and spare, with the Mother at the centre. Her hair is blonde, curly and slightly ruffled, framing an attractive, oval face, while a striped veil (hinting at a dishcloth) partly covers the head. A dark tunic is thrown around her, and, covering the right shoulder is a bright pink garment which seems to melt into the cloth enveloping the Child, whose face, unusually, is out of sight.There is little to characterize the scene, no frills or furniture to contextualize the space surrounding the pair. The picture's strength lies in the contrast of the woman's sweet yet fearful gaze, addressed to the observer. She captures his attention in order to make him feel involved in the intimacy of that moment, acquainted with the mystery of the Nativity. In these details it clearly recalls the Flemish practice that turned religious subjects into popular, everyday scenes: so the Madonna and the Child is at once a genre piece and a holy treatment, transcending time and space.This painting distinguishes itself by its sobriety and essentiality, as if the artist had preferred to focus on a deep psychological study, supported by a careful use of colours, rather than to linger on voyeuristic details. Richard Van OrLey was a member of a bona fide artistic dynasty, the profession handed down from father to son over the centuries. Bernard (1488-1541) was the most famous of the family; Richard was pupil of his father, Pieter (1638-1708), and during his life he collaborated with his brother Jan (1665-1735) depicting mainly religious and mythological subjects. Schuckmann said of the two brothers' work that «[it] marks the transition between the 17th century Baroque style and the classicism of the 18th century». Painter, draughtsman and engraver, like most of his contemporaries Richard travelled to Italy to complete his studies, as is suggested by a series of 67 drawings representing the Development of Rome (Brussels, Bibliothèque Royale Albert 1er). Other works by him are located in Ghent (drawings with Life of Charles V, Stadtbibliothek), in Antwerp (the only painting of the series with Life of St Norbert, created for the Abbey of Tongerlo, now in Koninklijk Museum voor Schone Kunsten) and in Brussels: these are mainly drawings, gouaches, tapestry cartoons or drawings for prints that he personally engraved (Ruins of Brussels, 1695). Less well-known are his paintings (for instance Les pierides changées en pies or Junon placant les yeux d'argus sur la queue de son paon in Ghent's Museum voor Schone Kunsten). An example of the latter is this work, which sheds valuable new light on his painting, and which shows us how the artist, probably at the beginning of his career, was influenced by the Naturalism of Utrecht's Caravaggisti and byVeermer's portraiture.

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Venetian School, The Holy Graal

Lot 19: Venetian School, The Holy Graal

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Description: VENETIAN SCHOOL(18th century) The Angel collecting Christ's blood into the GraalOil on canvas, cm 32,2 x 20,4 inches (82 x 52 cm), gilt and carved wood frame in form of aediculeThe rose-colored light of the dawn illuminates gently the Angel supporting Christ and reaching out the arm with the goblet towards the rising sun. The goblet is presumably the Graal, the chalice where, according to the legend, the Holy Blood of Jesus was collected and preserved. Christ, at the point of death, is leaning against the angel's body, pale and worn-out, on his knees. Behind him, the boyish angel looks at him with a peaceful expression, almost a secret smile as prefiguring the glory and salvation that would come thanks to Jesus' sacrifice. The blood kept in the goblet, in fact, guarantees the spread of Christianity all over the centuries and recalls the Holy Ritual of Eucharist. The painting is to be related to the Venetian picturesque style, with elements typical of Piazzetta's manner. In particular, the head and the coloured wing of the main angel and the winged head of the profile angel in the lower part of the canvas shows a very high degree of refinement, due to the sinuous hand and the learned use of colour's shades.

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Vigée Le Brun (after), Portrait of the Artist

Lot 20: Vigée Le Brun (after), Portrait of the Artist

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Description: ÉLISABETH VIGÉE LE BRUN (after)Portrait of the artistOil on canvas, 13 7/8 x 11 in. (35.3 x 27.9 cm.), 19th Century Florentine carved and gilded frameA pleasant, later version of Vigée Le Brun's renowned self-portrait, while she paints the Queen Marie Antoinette.Louise Élisabeth Vigée Le Brun (1755-1842) also known as Madame Lebrun, was a French painter, and is recognized as the most important female painter of the 18th century.Her style is generally considered Rococo and shows interest in the subject of neoclassical painting. Vigée Le Brun cannot be considered a pure Neoclassist, however, in that she creates mostly portraits in Neoclassical dress rather than the History painting. In her choice of color and style while serving as the portrait painter to Marie Antoinette, Vigée Le Brun is purely Rococo.Vigée-Le Brun painted portraits of many of the nobility of the day and as her career blossomed, she was invited to the Palace of Versailles to paint Marie Antoinette. So pleased was the queen that during a period of six years, Vigée Le Brun would paint more than thirty portraits of the queen and her family, leading to her being commonly viewed as the official portraitist of Marie Antoinette.After the arrest of the royal family during the French Revolution, Vigée Le Brun fled France with her young daughter Julie. She lived and worked for some years in Italy, Austria, and Russia, where her experience in dealing with an aristocratic clientele was still useful. In Rome, her paintings met with great critical acclaim and she was elected to the Roman Accademia di San Luca. A version of this self-portrait is preserved at Palazzo Pitti, Florence.References: Angelica Goodden, The Sweetness of Life: A Biography of Elisabeth Louise Vigée Le Brun, Andrea Deutsch Limited, London, 1997. Gita May, Elisabeth Vigée Le Brun: The Odyssey of an Artist in an Age of Revolution, Yale University Press, New Haven, 2005.

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North-Italian School, St. Cajetan Thiene, 17th century

Lot 21: North-Italian School, St. Cajetan Thiene, 17th century

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Description: NORTH-ITALIAN SCHOOL(17th century) Saint Cajetan ThieneOil on canvas, 30,3 x 19,2 inches (77x49 cm), gilt and carved wood frameIn the left upper corner of the painting, a contemporary handwritten note painted in gold states the identity of the subject: Gaetanus Thiene ...fund.r ...indulg... Contemplative and elegant in his profile portrait, the saint is represented half face, staring in meditation towards the right side of the canvas where a feeble light expands touching lightly his front and his cheek. The painter decided to let filter just the face and the hands through the surrounding darkeness, in order to draw attention to St. Cajetan's spirituality and action both directed to the accomplishment of the Divine Will. A faint halo around the saint's head, in addition, marks in a sober, refined way his status in the ecclesiastic devotion. St. Cajetan (1480-1547), born Gaetano dei Conti di Tiene is a saint of the Catholic Church is the founder of the Regular Clerks of the Divine Providence, called the Order of the Theatines, and one of the most prominent saints in Argentina and Malta. Considered the patron of Providence, Labour and gamblers, St. Cajetan is the calm and merciful figure to whom thousends of people in the world address their prayers in hard times. These exact qualities are the features conveyed by this portrait, that derives its style from the Venetian chasteness and from the use of light initiated by Caravaggio in the first half of the 17th century.

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French School, Roses Lilies, pinks, painsies, 19th cent

Lot 22: French School, Roses Lilies, pinks, painsies, 19th cent

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Description: FRENCH SCHOOL(19th Century)Roses, lilies, pinks, pansies and other flowers Oil on panel laid down on panel, 4½ x 6¾ in. (11.4 x 17.2 cm), wooden frameVery delicate composition by an anonymous French artist of the Romantic age.

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RUBENS (after), Holy Trinity

Lot 23: RUBENS (after), Holy Trinity

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Description: SIR PETER PAUL RUBENS (after)The Holy TrinityOil on canvas, 24¾ x 20 in. (62.8 x 50.8 cm), carved and gilded frame A contemporary version, of high quality, of Rubens masterpiece probably made by some of his followers.

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VELAZQUEZ (after), Self Portrait

Lot 24: VELAZQUEZ (after), Self Portrait

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Description: AFTER DIEGO RODRIGUEZ DE SILVA Y VELAZQUEZ Self portrait Oil on canvas, 9 5/8 x 8 1/8 in. (24.4 x 20.6 cm.), black wooden frame

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Anonymous, Tobias and the Angel, 16-17th century

Lot 25: Anonymous, Tobias and the Angel, 16-17th century

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Description: ANONYMOUSEnd of 16th century-beginning of 17th centuryTobias and the AngelDrawing, black pen on paper (oxidized), 6,9x11,6 inches (175x295 mm)A wonderful, not identified drawing of high quality, depicting the scene in which Tobias, son of Tobit, meets an angel without realising he is an angel (Book of Tobit, 5.5-6) and is then instructed by the angel what to do with a giant fish he catches (Book of Tobit, 6.2-9).This specific iconography, with the angel carrying the fish (a large carp), apparently does not correspond to any Renaissance or Baroque paintings.

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Bartolozzi, Music Lesson

Lot 26: Bartolozzi, Music Lesson

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Description: FRANCESCO BARTOLOZZI (1728-1815)The Music LessonSepia etching on folio reale, 16,4x11,6 inches (418x295 mm) (plate)Scarce and very fine impression.Francesco Bartolozzi born in Firenze, was a famous engraver active in Venice, Rome and in London where he spent almost 40 years of his career before retiring in Lisbon where he died. In almost all the more than 2500 engravings that Bartolozzi realized, and Di Vesme grouped in 21 subject in his catalogue printed in 1928, the musical iconology represent a recurring and favorite subject.During his permanence in London he produces also a great deal of concert tickets, that represent a mirror of the musical life in London in the XVIII century.References: M. Ch. Le Blanc, Manuel de l'amateur d'estampes, vol. I, p. 167, no. 262. B. Brumana, Francesco Bartolozzi incisore della musica, in «Esercizi, Musica e Spettacolo», 20, nuova serie 11, 2006-2007, Perugia, Morlacchi, 2008.

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Brusaferro, Diana ascending to Mount Olympus

Lot 27: Brusaferro, Diana ascending to Mount Olympus

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Description: GIROLAMO BRUSAFERRO (attributed)(1684-1760) Diana ascending to Mount Olympus surrounded by putti and nymphsDrawing, pen and brown ink, sanguine, 6,5x10,4 inches (165x265 mm)Girolamo Brusaferro (1684-c.a. 1760) was an Italian painter active in his native Venice. He was a pupil of Niccolo Bambini and Sebastiano Ricci. One of his first works, painted around 1700, is the S. Giovanni in estasi cui appare Gesù, now in the curch of S. Teresa in Mantua but his paintings are present in various churches in Venice including the Carmini. He collaborated by painting figures in the landscapes and backgrounds of Antonio Marini's works. One of this paintings is now in the Chiesa delle Grazie of Padua. In Brusaferro's work is quite common to find the coexistence of typical elements of the XVIII century paintings with some other more late baroque, probably inspired by Bambini.

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Canaletto, Landscape with woman at the well, 1740

Lot 28: Canaletto, Landscape with woman at the well, 1740

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Description: ANTONIO CANAL called CANALETTO (Venezia 1697-1768)Landscape with woman at the wellEtching, circa 1740, 5,3x8 inches (135x205 mm)Very fine condition.Canaletto was a highly influential Venetian landscape painter, during the 18th century. Inspired by the work of the Italian Vedutisti, Paolo Giovanni Pannini, and by the study with Luca Carlevarijs, he worked in printmaking and etching as well, producing in Venice and England. He captured sweeping scenes of Venice's canals and also the city's palaces. These were highly sought after pieces for art collectors of the time, including The Grand Canal and the Church of the Salute from 1730 and Return of the Bucintoro to the Molo on Ascension Day from 1732. Among his works, Palazzo Ducale in Venice and View of the Grand Canal, now on display at the Uffizi Gallery. He also painted pieces that show the city's pageantry in ceremonies and festivals, using an almost Impressionist style, much ahead of its time.References: Succi, 1. Bromberg, 29. De Vesme, 26 Montecuccoli degli Erri, 25.

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Castelli, Transfiguration of Christ

Lot 29: Castelli, Transfiguration of Christ

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Description: ANNIBALE CASTELLI(Bologna, 1573-dopo il 1623)Transfiguration of Christ Black ink pen watercolored and white lead on brown prepared paper, 13x9,2 inches (331 x 233 mm) Inscription Annibale Castelli in brown ink on the passepartout.Definitely well preserved, this drawing represents, with unusual closeness to the Evangelic event, the episode in which Jesus Christ revealed his Holy Nature to his disciples Peter, James and John (Matthew, 17, 1-13; Mark, 9, 2-13; Luke, 9, 28-36). After having led them to the top of Mount Tabor, the Savior face became shining as the sun, and his clothes got a dazzling glimmer; at his side appeared Moses and Elijah, that started to talk with him, while a shining cloud surrounded them and a voice from the sky said "this is my favorite son". The rediscovery of Annibale Castelli is due to some recent studies (Roio 1994, pp 99-1106; id., 1996; id., 1997, pp. 67-70, Cat. nn. 35-38).First pupil of Carracci's and then, because of the quarrels started in their school, faithful pupil of the rival "Accademia" created by the talented Pietro Faccini, Annibale was then a talented painter, with great technical and stylistic capabilities, author of masterpieces of refined late-manneristic elegance, as well as trusted collaborator of the master Faccini, whose unfinished work he completed.Notwithstanding Castelli had not much support from the official art criticism, he should have had a good glamour among the artist of his age, being part of the Painter Council in Bologna, close to important masters as Ludovico Carracci and Giacomo Cavedone.Only in the last period the Castelli's catalogue has been enriched with new paintings and some drawings: the last are quite easily recognizable because, in the graphic style, they are very close to his peculiar modus pingendi, luminous and vivid.This stylistic peculiarity, besides the old inscription on the passepartout, made it easy to attribute in a convincing manner the Christ Transfiguration to Castelli, and also to reconnect to it some other papers that presented almost identical typological characteristics.

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De La Hire, Lamentation of the Virgin on Dead Christ

Lot 30: De La Hire, Lamentation of the Virgin on Dead Christ

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Description: LAURENT DE LA HYRE(1606-1656)Lamentation of the Virgin on Dead ChristDrawing in red pencil, 11,3x8 inches (28,9 x 20,4 mm)Signed 'La Hire' at lower left part, in red pencil.Attributed to de la Hyre by Prof. Pierre Rosenberg (email dated January 23, 2014): «Je dis bien attribué à La Hyre et non pas de la main de».According to the opinion of Prof. Laing, it could be the final drawing made by the artist after his sketch (now in Darmstadt Museum).Laurent de La Hyre (1606-1656) was a French baroque painter greatly influenced by the work of Italian artists who came to Paris. He became a pupil of Georges Lallemand and studied the works of Primaticcio at Fontainebleau. He produced many portraits and historical paintings, a few romantic landscapes, important decorative works for Richelieu, Pierre Séguier, and others, and tapestry designs for the Gobelins. His paintings reflect the influence of Vouet, Poussin, and Claude. His Pope Nicolas V before St. Francis (1630) and St. Peter Healing the Sick are both in the Louvre.Provenance: 1. Collection Achille Ryhiner-Delon, Basel (Lugt 2164). 2. Collection Karl Ewald Hasse (Lugt 860). 3. Heinrich Füssli Collection. 4. Auction C. G. Boerner, Leipzig, 9-10. May 1930, lot 553.

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Fiamminghino, Madonna with the Child and Saints

Lot 31: Fiamminghino, Madonna with the Child and Saints

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Description: GIOVANNI BATTISTA DELLA ROVERE called FIAMMINGHINO (1561-1633)Madonna with the Child and SaintsDrawing, pen and brown ink, white lead and watercolor, 15,3x10,2 inches (390x260 mm)Giovanni Battista della Rovere (1575 - 1630) and hi brother Giovanni Mauro were known as Fiamminghini due to the Flemish origin of their father, Riccardo, a native of Antwerp. They possessed an easy decorative style and worked extensively on canvas and in fresco in Lombardy, Emilia and Piedmont, almost always in collaboration. In 1586 Giovanni Battista frescoed, with Giuseppe Meda (d 1599), the scenes from the Life of John the Baptist in the left transept of Monza Cathedral. Between 1602 and 1604 painted, with the partial collaboration of his brother, five large canvases depicting scenes from the Life of St Carlo Borromeo for Milan Cathedral.The owners thank Prof. Giulio Bora for his oral attribution.

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Géricault, Knights

Lot 32: Géricault, Knights

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Description: THÉODORE GÉRICAULT (1791-1824) KnightsDrawing, black and red pen, 19,6x29,5 inches (50x75 mm)Attributed to Géricault by Prof. Pierre Rosenberg.Theodore Gericault (179-1824), was a French painter. He began his training in Paris under the direction of Carle Vernet and later Pierre-Narcisse Guerin, in a neoclassical temperament. In 1810, Géricault furthered his studies at the Louvre, imitating works by masters such as Titian and Rembrandt van Rijn to develop his own specific a style, making a distinct effort to avoid Neoclassicism, the dominant movement of the time becoming a forerunner of Romanticism, a movement endorsing emotion over reason. In 1819, Theodore Géricault exhibited his most acclaimed work, The Raft of the Medusa, depicting the ghastly aftermath of a shipwreck. Disappointed by the reception of The Raft of the Medusa, Géricault took the painting to England in 1820, where it was received as a sensational success. He remained there for two years, enjoying the equine culture and producing a body of lithographs, watercolors, and oils of jockeys and horses. Upon his return to France Géricault became enthralled in the visual representation of human emotion on the face, creating several portraits of detached, yet psychologically piercing portraits of the insane who were committed at the psychiatric institution of the artist's friend, Dr. Etienne-Jean Georget.

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Goya, Desgraciada Muerte de Pepe Hilo, 1816

Lot 33: Goya, Desgraciada Muerte de Pepe Hilo, 1816

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Description: FRANCISCO GOYA(1746-1828)Desgraciada muerte de Pepe Hillo en la plaza de MadridEtching and aquatint, 1816, first state (of 7), Serie: Tauromaquia [estampa], 33, 9,6x13 inches (245x353 mm). The Tauromaquia («Bullfighting») is a series of 33 prints created by Spanish painter and printmaker Francisco Goya, which was published in 1816. The works of the series depict bullfighting scenes.Goya created Tauromaquia between 1815 and 1816, at the age of 60, during a break from his famous series «The Disasters of War». The «Disasters of War» and the Caprichos, the series created previously, served as visual criticism on subjects concerning war, superstition, and contemporary Spanish society generally, including anticlerical scenes. Because of their sensitive subjects, few people had seen these works during Goya's lifetime. Goya used mainly the techniques of etching and aquatint in this series. The artist focuses on the violent scenes that take place in the bullring and the daring movements of the bullfighters. The events are not presented as they are viewed by a viewer, but in a direct way. Reference: Gassier-Wilson, 1217. Harris, 236.III.1

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Goya, ¿Por qué esconderlos?

Lot 34: Goya, ¿Por qué esconderlos?

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Description: FRANCISCO GOYA(1746-1828)¿Por qué esconderlos?(«Why to hide them»?»)Aquatint, Serie: Los Caprichos (fifth edition), no. 30, 8,6x6 inches (218x153 mm)A miser but very respectable clergyman, hides his bags with the money, but his young nephews and several sextons are looking for them.Why to hyde them? The answer is simple: because for a miser is painful to leave his money. Even in old age, and almost at the end of the life, still the greed wins.Los Caprichos are a set of 80 aquatint prints created by the Spanish artist Francisco Goya in 1797 and 1798, and published as an album in 1799. The prints were an artistic experiment: a medium for Goya's condemnation of the universal follies and foolishness in the Spanish society in which he lived.

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Goya, Al Conde Palatino

Lot 35: Goya, Al Conde Palatino

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Description: FRANCISCO GOYA(1746-1828)Al Conde Palatino(«The Count Palatine»)Aquatint, Serie: Los Caprichos (fifth edition), no. 33, 8,6x6 inches (219x152 mm)In all sciences there are charlatans, who have not studied a single word and still they know everything, and for all find a remedy. Do not trust what they advertise. The truly wise man always distrusts the certain. Few promises and a lot fulfils, but the Count Palatine doesn't meet anything that promises.Los Caprichos are a set of 80 aquatint prints created by the Spanish artist Francisco Goya in 1797 and 1798, and published as an album in 1799. The prints were an artistic experiment: a medium for Goya's condemnation of the universal follies and foolishness in the Spanish society in which he lived.

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Goya, El vergonzoso

Lot 36: Goya, El vergonzoso

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Description: FRANCISCO GOYA(1746-1828)El Vergonzoso(«The indecent man»)Aquatint, Serie: Los Caprichos (fifth edition), no. 54, 8,5x6 inches (217x152 mm)There are men whose face is the most indecent part of all their body, and it would better, for those who are so miserable and ridiculous, to hide it in their panties.Los Caprichos are a set of 80 aquatint prints created by the Spanish artist Francisco Goya in 1797 and 1798, and published as an album in 1799. The prints were an artistic experiment: a medium for Goya's condemnation of the universal follies and foolishness in the Spanish society in which he lived.

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Goya, Duendecitos

Lot 37: Goya, Duendecitos

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Description: FRANCISCO GOYA(1746-1828)Duendecitos(«Trolls»)Aquatint, Serie: Los Caprichos (fifth edition), no. 49, 8,5x6 inches (217 x152 mm)True trolls of this world are the priests and monks who eat and drink at our expense. Clergymen have sharp teeth and a long monstrous right hand to grasp; the friars take part to the banquet.Los Caprichos are a set of 80 aquatint prints created by the Spanish artist Francisco Goya in 1797 and 1798, and published as an album in 1799. The prints were an artistic experiment: a medium for Goya's condemnation of the universal follies and foolishness in the Spanish society in which he lived.

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Goya, Ensayos

Lot 38: Goya, Ensayos

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Description: FRANCISCO GOYA(1746-1828)Ensayos(«The Proofs»)Aquatint, Serie: Los Caprichos (second edition), no. 60, 8,2x6,53 inches (210x166 mm)From a Goya's autograph manuscript explaining this etching: Dejar las labores del sexo; regañar continuamente los casados; robar y estar siempre como gatos, son ensayos y principios de cabronería. («To forget the pleasure of the sex, to scold married people, to steal and stay as cats, are the proofs and the principles of the cabronería». Cabronería is a common Spanish term for «stupidity»; the translation of cabron is «goat», but in Spanish means «asshole»).This imprint is one of the few signed by the author.Los Caprichos are a set of 80 aquatint prints created by the Spanish artist Francisco Goya in 1797 and 1798, and published as an album in 1799. The prints were an artistic experiment: a medium for Goya's condemnation of the universal follies and foolishness in the Spanish society in which he lived.

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Goya, Aguarda que te unten

Lot 39: Goya, Aguarda que te unten

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Description: FRANCISCO GOYA(1746-1828) Aguarda que te unten(«Wait till they anoint you»)Aquatint, Serie: Los Caprichos (fifth edition), no. 67, 8,6x6 inches (218x153 mm)In the manuscript of Ayala, Goya calls this etching La Extrema Unciòn («The Extreme Unction»). The meaining is that with the unction of ignorance and stupidity, men finally become cabrones («goats», that in Spanish means «assholes»).Los Caprichos are a set of 80 aquatint prints created by the Spanish artist Francisco Goya in 1797 and 1798, and published as an album in 1799. The prints were an artistic experiment: a medium for Goya's condemnation of the universal follies and foolishness in the Spanish society in which he lived.

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Goya, Está v(uestra) m(erced)... pues, como digo...

Lot 40: Goya, Está v(uestra) m(erced)... pues, como digo...

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Description: FRANCISCO GOYA(1746-1828) Está v(uestra) m(erced)... pues, como digo... ¡eh! ¡cuidado! si no... («It is your worship... well, like I say... eh! Care! if not...»)Aquatint, Serie: Los Caprichos (fifth edition), no. 76, 8,6x6 inches (217x152 mm)The cockane and the cane make this fool believe he is of a higher rank: he abuses of his power against those he believes weaker; arrogant and insolent, he is vile towards the stronger.Los Caprichos are a set of 80 aquatint prints created by the Spanish artist Francisco Goya in 1797 and 1798, and published as an album in 1799. The prints were an artistic experiment: a medium for Goya's condemnation of the universal follies and foolishness in the Spanish society in which he lived.

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Goya, Unos á otros

Lot 41: Goya, Unos á otros

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Description: FRANCISCO GOYA(1746-1828) Unos á otros(«Each other»)Aquatint, Serie: Los Caprichos (fifth edition), no. 77, 8,6x6 inches (218x152 mm)Goya observes that «the old crocks still jerk around and fight each other».Los Caprichos are a set of 80 aquatint prints created by the Spanish artist Francisco Goya in 1797 and 1798, and published as an album in 1799. The prints were an artistic experiment: a medium for Goya's condemnation of the universal follies and foolishness in the Spanish society in which he lived.

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Goya, Despacha, que dispiertan

Lot 42: Goya, Despacha, que dispiertan

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Description: FRANCISCO GOYA(1746-1828) Despacha, que dispiertan(«Serve, that they wake up»)Aquatint, Serie: Los Caprichos (fifth edition), no. 78, 8,6x6 inches (218x152 mm)According to the manuscript at Biblioteca nacional (Madrid), Goya explains in this way the etching: «The monks have their binges alone at night with the nuns; they rub the dishes and the nuns blow on the the fire».Los Caprichos are a set of 80 aquatint prints created by the Spanish artist Francisco Goya in 1797 and 1798, and published as an album in 1799. The prints were an artistic experiment: a medium for Goya's condemnation of the universal follies and foolishness in the Spanish society in which he lived.

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Lapi, Knight

Lot 43: Lapi, Knight

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Description: EMILIO LAPI(1814-1898)KnightSigned by the authorDrawing, sanguine, 280 x 215 mm A tear in the lower right corner.Emilio Lapi studied in "Accademia di Belle Arti" of Florence.At the starting of his career, he received from Prince Demidoff a commission to paint some big dimension devotional paintings. At that time he also painted, as a study or for commercial reasons, copies in the Florence main art galleries. During the '40 his style moved toward more bright and tiny Nordic forms. Since 1841 he exposed, mainly work of genre and also painted a genre subject (a fisherman) on Caffè Michelangiolo walls. In 1861 he participated to the first Esposizione Nazionale Italiana with an elaborate subject, that was really appreciated: La Battaglia di Palestro («Palestro Battle») now in Galleria d'Arte Moderna (Palazzo Pitti, Florence).

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Lucas van Leyden, The idolatry of Solomon, 1514

Lot 44: Lucas van Leyden, The idolatry of Solomon, 1514

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Description: LUCAS VAN LEYDEN(1494-1533)The idolatry of SolomonCopper engraving, printed on the paper with the watermark of the crowned shield, typical of the best issues.Scarce engraving, realized by Lucas van Leyden 1514, 6,6x5 inches (169x128 mm), in perfect conditions (with margins of 3 mm). References: Bartsch-Hollstein, 30. Lucas van Leyden (1494-1533), born and mainly active in Leiden , was a Dutch engraver and painter, son of the artist Hugo Jacobsz. He was apprenticed first in his father's studio, and later to the painter Cornelis Engebrechtsz. Van Leyden's artistic development was quick and he soon emerged as a successful painter and engraver.In 1521, Van Leyden met Albrecht Dürer, whose compositions and use of chiaroscuro had a deep effect on his work. He was also fascinated by prints based on Rafael's work. From these, he learned his technique in depicting human physique with anatomical accuracy and in all kinds of positions and developed a completely individual style, characterized by the distinctiveness of his faces. He is nowadays generally regarded as one of the finest engravers in the history of art.

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Marieschi, Campo dei Frari, 1741

Lot 45: Marieschi, Campo dei Frari, 1741

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Description: MiCHELE GIOVANNI MARIESCHI (1710-1743)Campo dei FrariEtching, 1741, first state (of four) 12.4 x 18.4 inches (31.6 x 46.7 cm)Wonderful imprint, in excellent condition.Michele Marieschi was a Venetian painter, whose views, as opposed to the works of his contemporaries Canaletto and Bellotto, were always marked by a distinct theatrical nature and sometimes enriched with imaginary, scenographic architectural studies in the style of Piranesi. His main work was probably a collection of eighteen etchings with views of Venetian sights published in 1741 ("Magnificentiores selectioresque Urbis Venetiarum prospectus"), to which belongs also this plate.References: Succi, 303.

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Matham (circle), Allegory of Hope

Lot 46: Matham (circle), Allegory of Hope

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Description: CIRCLE OF JACOB MATHAM(1571-1631)Allegory of HopeDrawing, red pencil, 6,4x4,1 inches (162x105 mm)Jacob Matham (1571 - 1631), of Haarlem, was a famous engraver and drawer, stepson and pupil of painter Hendrik Goltzius, from which he engraved the series of the Virtues. He made several engravings after the paintings of Peter Paul Rubens from 1611-1615, and also a series after the work of Pieter Aertsen.

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Piranesi, Square & Basilica of Saint John Lateran, 1775

Lot 47: Piranesi, Square & Basilica of Saint John Lateran, 1775

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Description: GIAMBATTISTA PIRANESI(Mogliano Veneto 1720 - Roma 1778) Square, and Basilica of St. John Lateran.Etching, 1775, second state (of four), 19x27,7 inches (485x705 mm) (plate)Printed on Roman laid paper (with watermark of Lily into double circle).The etching belongs to Vedute di Roma, one of the four devoted to the Archbasilica of St. John Lateran: the present is the only one with the view of bapstistery. The etching also comprises the Egyptian obelisk and the Scala Santa.Good impression.References: Hind, 117.

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Piranesi, Colosseo, 1757

Lot 48: Piranesi, Colosseo, 1757

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Description: GIAMBATTISTA PIRANESI(Mogliano Veneto 1720 - Roma 1778) View of Anfiteatro Flavio, called Colosseo.Etching, burin and drypoint, 1757, first state (of four), 17,3x27,3 inches - 440x695 (510x745)Printed on Roman laid paper (without watermark) and signed by the author in the lower right corner.The etching belongs to Vedute di Roma, the most famous work of Piranesi.Good impression with a small tear in the upper right corner and a light halo of dust at margins, usual central ply and a small ply at the upper left corner.References: Hind 57/I. Focillon, 758.

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Piranesi, Ponte Cestio, 1757

Lot 49: Piranesi, Ponte Cestio, 1757

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Description: GIAMBATTISTA PIRANESI(Mogliano Veneto 1720 - Roma 1778) View of Ponte Ferrato, called CestioEtching, burin and drypoint, 1757, first edition (third issue), 15,8x24 inches (402x608 mmm)Printed on Roman laid paper (with watermark of Lily into double circle).The etching belongs to Antichità Romane, printed in 1756 by Rotili, Bouchard e Gravier in four volumes and in three different issues (with small variants only at title-page of the first volume). This work was prepared in a very long period by the author, and probably already conceived since 1745: besides its importance in the history of etching and engraving, it represents a new way to approach the study of architecture with a non-academic eye and also a fundamental witness of the archeology of the ancient Rome.Very good impression, with wide margins.References:

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Piranesi, Sepulcher of Plauzia Family, 1757

Lot 50: Piranesi, Sepulcher of Plauzia Family, 1757

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Description: GIAMBATTISTA PIRANESI(Mogliano Veneto 1720 - Roma 1778) Sepulcher of Plauzia Family and Ponte Lugano on the road to TivoliEtching, burin and drypoint, 1757, first edition (third issue), 15,8x24 inches (402x608 mm)Printed on Roman laid paper (with watermark of Lily into double circle).The etching belongs to Antichità Romane, printed in 1756 by Rotili, Bouchard e Gravier in four volumes and in three different issues (with small variants only at title-page of the first volume). This work was prepared in a very long period by the author, and probably already conceived since 1745: besides its importance in the history of etching and engraving, it represents a new way to approach the study of architecture with a non-academic eye and also a fundamental witness of the archeology of the ancient Rome.Very good impression, with wide margins.References: Hind, 68. Focillon, 773.

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