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Auction Description for Doyle New York: Important English & Continental Furniture & Decorations/Old Master Paintings
Viewing Notes:
Saturday, May 17, 10am-5pm Sunday, May 18, Noon-5pm Monday, May 19, 10am-6pm Tuesday, May 20, 10am-2pm

Important English & Continental Furniture & Decorations/Old Master Paintings

by Doyle New York

Platinum House

440 lots | 439 with images

May 21, 2014

Live Auction

175 East 87th Street

New York, NY, 10128 USA

Phone: 212.427.2730

Fax: 212.427.7526

Email: BidLive@DoyleNewYork.com

440 Lots
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Follower of Leonardo da Vinci Madonna and Child with Saint Catherine

Lot 1: Follower of Leonardo da Vinci Madonna and Child with Saint Catherine

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Description: Follower of Leonardo da Vinci Madonna and Child with Saint Catherine Oil on canvas, tondo Diameter 34 1/2 inches (87.5 cm) Unframed C 

Condition Report: Glue relined. Dense varnish revealing no restoration under UV light. To the naked eye the surface is somewhat mottled, suggesting scattered areas of restoration. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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School of Giovanni Battista Moroni Portrait of a Young Gentleman Standing Beside a Window

Lot 2: School of Giovanni Battista Moroni Portrait of a Young Gentleman Standing Beside a Window

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Description: School of Giovanni Battista Moroni Portrait of a Young Gentleman Standing Beside a Window Oil on canvas 53 1/2 x 39 1/4 inches (134.5 x 99.5 cm) Provenance: Private collection C 

Condition Report: Glue relined. Dense varnish layer revealing little under UV light. Scattered abrasion and touches of restoration, especially one area (1 x 2 1/2 inches) on the gentleman's doublet. Repaired L-shaped tear at lower right, next to and crossing the sitter's left leg. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Central Italian School 16th/17th Century The Mystic Marriage of Saint Catherine

Lot 3: Central Italian School 16th/17th Century The Mystic Marriage of Saint Catherine

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Description: Central Italian School 16th/17th Century The Mystic Marriage of Saint Catherine Oil on copper 18 x 14 1/2 inches (46 x 37 cm) C 

Condition Report: Some dents in the surface of the copper. Some nail holes around the edges. Frame rubbing with losses around the edges. Scattered losses throughout with some touches of old restoration. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Central Italian School 17th Century The Holy Family with St. John the Baptist

Lot 4: Central Italian School 17th Century The Holy Family with St. John the Baptist

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Description: Central Italian School 17th Century The Holy Family with St. John the Baptist Oil on canvas 36 3/4 x 29 inches (93.4 x 73.7 cm) Provenance: Private collection, New York By inheritance to the present owner C 

Condition Report: Glue relined, some considerable time ago; original canvas coming loose from this very old relining. Dense varnish in most areas, revealing no restoration under UV light. Selectively cleaned, revealing some scattered old restoration to the faces and body parts, and some strengthening of shadows and contours. Many areas of paint lifting, with tiny losses, especially in the upper left quadrant. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Florentine School Circa 1500 Saint Catherine of Alexandria

Lot 5: Florentine School Circa 1500 Saint Catherine of Alexandria

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Description: Florentine School Circa 1500 Saint Catherine of Alexandria Oil on tempera with tooled gold leaf on panel 45 1/2 x 21 1/8 inches (115.5 x 53.5 cm) C 

Condition Report: A number of vertical cracks in the panel. Scattered small losses. Some breakage of surface in the two lower corners. Scattered areas of paint cracking and low-level buckling. Some inpainting along the cracks, especially at the very center. With inpaint on the saints hand and in her clothing. Some contours and shadows reinforced. Gold leaf is worn in a number of places. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Manner of Alessandro di Mariano di Vanni Filipepi, called Sandro Botticelli Madonna and Child

Lot 6: Manner of Alessandro di Mariano di Vanni Filipepi, called Sandro Botticelli Madonna and Child

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Description: Manner of Alessandro di Mariano di Vanni Filipepi, called Sandro Botticelli Madonna and Child Oil with tooled metal leaf on panel 18 1/2 x 12 3/8 inches (47 x 31.5 cm) C 

Condition Report: Panel slightly bowed. Frame rubbing with corresponding losses around the edges, especially at the center right margin. Scattered small holes and losses. Surface grime. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Flemish School 17th Century The Wedding at Cana

Lot 7: Flemish School 17th Century The Wedding at Cana

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Description: Flemish School 17th Century The Wedding at Cana Oil on copper 8 3/4 x 6 1/4 inches (22.2 x 15.9 cm) Provenance: Private collection, CT By inheritance to the present owner C 

Condition Report: Some dents in the copper support. There is an inch-long triangular area of surface loss just below the center of the upper margin. Some surface losses around the edges. Dense varnish layer; difficult to read under UV light. The piece is sealed into a wooden box, making it impossible to see the back . Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Attributed to Jacopo da Ponte, called Bassano A Figure Climbing a Staircase

Lot 8: Attributed to Jacopo da Ponte, called Bassano A Figure Climbing a Staircase

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Description: Attributed to Jacopo da Ponte, called Bassano A Figure Climbing a Staircase Black chalk and stumping on brown paper 15 x 9 1/4 inches (38 x 23.5 cm) Provenance: Sale: Sotheby's, London, Mar. 30, 1997, lot 138 C 

Condition Report: Sheet hinged to the backing with two pieces of white tape at upper left and upper right. Some staining near the upper left corner. Minor staining elsewhere. There are traces of a sketch on the verso. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Follower of Alessandro Magnasco The Annuciation to the Shepherds

Lot 9: Follower of Alessandro Magnasco The Annuciation to the Shepherds

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Description: Follower of Alessandro Magnasco The Annuciation to the Shepherds Oil on canvas 13 3/4 x 10 1/4 inches (35 x 26 cm) Unframed C 

Condition Report: Patched in six places. Repaired hole in the upper center, roughly 1 inch long. Several repaired holes to the left of center. Frame rubbing with corresponding touches of restoratio, especially in the lower left quadrant. Scattered touches of restoration elsewhere. Gold paint from a previous framing is running along the lower margin. Visible stretcher marks. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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School of Annibale Carracci The Entombment of Christ

Lot 10: School of Annibale Carracci The Entombment of Christ

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Description: School of Annibale Carracci The Entombment of Christ Oil on canvas 18 1/2 x 14 1/4 inches (47 x 36.2 cm) The original composition after which this work is modeled, now in the Metropolitan Museum of art, was painted on copper for Astorre di Vincenzo Sampieri, a canon of the cathedral of San Pietro in Bologna. Although the picture was intended as a gift for an important figure in Rome, Sampieri kept it, sending a copy of it by Guido Reni in its place. With its unusual perspective from within the tomb, Annibale's painting was much admired in its day. C The Spanierman Gallery, LLC

Condition Report: Glue relined. Visible stretcher marks on all sides. Scattered touches of restoraton on the body of Christ; on the left wrist of Mary Magdalene; on the forehead of the bald-headed man to Christ's left; and on the red tunic of the young man at lower left. The shadows at the lower right appear to have been reinforced. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Manner of Pietro Longhi Ladies Dressed for Carnival

Lot 11: Manner of Pietro Longhi Ladies Dressed for Carnival

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Description: Manner of Pietro Longhi Ladies Dressed for Carnival Oil on canvas 17 x 12 7/8 inches (43 x 32.5 cm) C 

Condition Report: Glue relined. Small losses in the upper left and lower left corners. Scattered abrasion and touches of restoration throughout. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Manner of Giovanni Antonio Canal, called Canaletto The Piazza di San Marco, Venice

Lot 12: Manner of Giovanni Antonio Canal, called Canaletto The Piazza di San Marco, Venice

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Description: Manner of Giovanni Antonio Canal, called Canaletto The Piazza di San Marco, Venice Oil on canvas 19 x 23 inches (48.3 x 56 cm) C 

Condition Report: Probably a late 19th or earlty 20th century work. Some frame rubbing with possible touches of restoration around the edges. Dense varnish showing little under UV light. A touch of restoration on the cornice of the bulding at right; possible touches in the sky. Surface grime. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Venetian School 18th Century Alexander the Great on his Sick Bed with his Physician, Philip

Lot 13: Venetian School 18th Century Alexander the Great on his Sick Bed with his Physician, Philip

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Description: Venetian School 18th Century Alexander the Great on his Sick Bed with his Physician, Philip Red chalk, ink and wash on paper 11 1/4 x 16 1/2 inches (28.5 x 42 cm) Provenance: Sale: Sotheby's, New York, Jan. 10, 1995, lot 126 C 

Condition Report: Attached to the front mat at two places along the upper margin with paper tape. Some minor nicks and tears around the edges; very slight staining along the upper edge and in the upper left quadrant; some few very small losses along the lower right edge. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Attributed to Giovanni Battista Salvi, called il Sassoferrato Madonna and Child with a Carmelite Scapular

Lot 14: Attributed to Giovanni Battista Salvi, called il Sassoferrato Madonna and Child with a Carmelite Scapular

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Description: Attributed to Giovanni Battista Salvi, called il Sassoferrato Madonna and Child with a Carmelite Scapular Oil on canvas 35 1/2 x 28 3/4 inches (90.2 x 73 cm) Provenance: Sale: Christie's, London, Jun. 1953, lot 169 (as Sassoferrato) C 

Condition Report: Glue relined. Frame rubbing. The relined canvas is slightly larger than the original, with an area of added inpaint to fit the present frame. Losses around the edges from frame rubbing. Dense varnish, there is no further restoration visible under Uv light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Attributed to Giovanni Francesco Costa Landscape with a Palace beside a Lake

Lot 16: Attributed to Giovanni Francesco Costa Landscape with a Palace beside a Lake

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Description: Attributed to Giovanni Francesco Costa Landscape with a Palace beside a Lake Brown ink with gray wash over black chalk on paper 6 3/4 x 9 inches (17 x 23 cm) Unframed Provenance: Sale: Sotheby's, London, Oct. 30, 1981, lot 265 Please note that there is a design for a ceiling in black chalk and inscribed extensively on the verso C 

Condition Report: Hinged to the front mat with two pieces of paper tape at upper right and upper left. The mat then pressed between two pieces of Plexglas. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Circle of Salvator Rosa Drover in a Rocky Landscape

Lot 17: Circle of Salvator Rosa Drover in a Rocky Landscape

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Description: Circle of Salvator Rosa Drover in a Rocky Landscape Oil on canvas 19 x14 5/8 inches (48.3 x 37.1 cm) Unframed C 

Condition Report: Glue relined. Frame rubbing with some losses. Long diagonal mended tear, 10 inches long, in the upper left quadrant. Visible stretcher mark along the right margin. 13 inch diagonal repaired tear, running from the upper left to the uppe right margin. Scattered losses elsewhere. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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School of Sir Joshua Reynolds Young Man Holding a Book

Lot 18: School of Sir Joshua Reynolds Young Man Holding a Book

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Description: School of Sir Joshua Reynolds Young Man Holding a Book Oil on canvas 37 x 29 1/2 inches (94 x 75 cm) C 

Condition Report: Glue relined. Scattered abrasion. Some strengthening of contours and shadows, especially on the clothing. Scattered inpaint on the face and hand. Restoration in the hair. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Attributed to Sir Martin Archer Shee Portrait of a Young Beauty in a Pink Hat and Shawl

Lot 19: Attributed to Sir Martin Archer Shee Portrait of a Young Beauty in a Pink Hat and Shawl

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Description: Attributed to Sir Martin Archer Shee Portrait of a Young Beauty in a Pink Hat and Shawl Oil on canvas 24 x 20 inches (61 x 50.8 cm) C 

Condition Report: Glue relined; impaso somewhat flattened; a few scuffs. Dense old varnish layer showing no restoration under UV light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Attributed to William Etty The Dream of a Knight

Lot 20: Attributed to William Etty The Dream of a Knight

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Description: Attributed to William Etty The Dream of a Knight Oil on canvas 15 3/4 x 22 inches (40 x 56 cm) Unframed C 

Condition Report: Frame rubbing. Glue relined. Small losses around the edges. 4 inch vertical repaired tear through the left-most flying figure in the upper left quadrant. Below this, a 1/2-inch repaired tear in the background. Dense varnish revealilng no other restoration udre UV light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Emma Walter British, 19th Century Still Life with Grapes and Lilies

Lot 21: Emma Walter British, 19th Century Still Life with Grapes and Lilies

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Description: Emma Walter British, 19th Century Still Life with Grapes and Lilies Signed E. Walter and dated indistinctly (lr) Watercolor on cardboard 17 3/8 x 21 7/8 inches (44 x 53 cm) C 

Condition Report: Mounted on a second, slightly larger sheet of cartdboard. Frame rubbing with small losses around the edges. Toned. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Thomas Rowlandson British, 1756-1827 A Game of Whist

Lot 22: Thomas Rowlandson British, 1756-1827 A Game of Whist

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Description: Thomas Rowlandson British, 1756-1827 A Game of Whist Signed T. Rowlandson. (ll); inscribed as titled on the verso Ink, wash and watercolor on paper 5 3/4 x 8 1/4 (14.5 x 21 cm) Provenance: Thomas Agnew & Sons, London Private collection, New York C 

Condition Report: Lightly toned to pale brown. Glued around the edges to a passe-partout. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Workshop of Sir Peter Lely Portrait of Charles II of England Wearing the Regalia of the Order of the Garter

Lot 23: Workshop of Sir Peter Lely Portrait of Charles II of England Wearing the Regalia of the Order of the Garter

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Description: Workshop of Sir Peter Lely Portrait of Charles II of England Wearing the Regalia of the Order of the Garter Oil on canvas 36 x 28 inches (91.5 x 71 cm) Provenance: Thomas Agnew & Sons, London Private collection C 

Condition Report: Glue relined; stamped in block letters on the reverse: Portrait of Charles the Second /King of Great Britain/and Ireland. Thomas Agnew & Sons label on the stretcher. Dense old varnish layer revealing nothing under UV light. Where selectively cleaned, some strengthening of contours and shadows and the pupils of the king's eyes. Three small repaired holes in the hair falling over the king's chest. The beige area of the sleeve of the king's left hand visible at the lower center has been restored. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Attributed to Sir Godfrey Kneller Portrait of Ellis Cunliffe

Lot 24: Attributed to Sir Godfrey Kneller Portrait of Ellis Cunliffe

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Description: Attributed to Sir Godfrey Kneller Portrait of Ellis Cunliffe Inscribed A Painting by Sir Godfrey Kneller of Ellis Cunliffe 17../...Alderman of the City of London/.../...in the background on an old label affixed to the stretcher Oil on canvas 35 x 28 inches (89 x 71 cm) Provenance: Bobby Langston Antiques, Inc., Wilson, NC Private collection C 

Condition Report: Glue relined. Dense varnish layer reveals little under UV light. Some restoraton to the face; some contours reinforced, particularly the back of the jacket, the edge of the hair, the cuff of the sleeve at the lower right, and some of the lines of the castle in the background. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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English School  17th Century Portrait of a Gentleman in a Gray Cloak

Lot 25: English School 17th Century Portrait of a Gentleman in a Gray Cloak

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Description: English School 17th Century Portrait of a Gentleman in a Gray Cloak Oil on canvas 50 x 41 inches (127 x 104 cm) C Carl Eric Holmstrom, Formerly of Rose Cummings Design

Condition Report: Glue relined. Frame rubbing around the edges with some corresponding touches of restoration. Dense varnish showing little under UV light. Repaired and inpainted hole in the background 2 1/2 inches to the left of the sitter's forehead. Area of restoration approximately 1 x 1 inch on the left cheek.; another of similar size on the right thumb. Unrepaired L-shaped tear (3 x 2 ") in the upper right quadrant. Another area of restoration on the clothing at the lower center, close to the lower edge. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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British School 18th Century Portrait of a Lady in a Blue Dress and Gray Shawl

Lot 26: British School 18th Century Portrait of a Lady in a Blue Dress and Gray Shawl

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Description: British School 18th Century Portrait of a Lady in a Blue Dress and Gray Shawl Oil on canvas, within a painted oval 29 1/4 x 24 3/4 inches (74.3 x 63 cm) C 

Condition Report: Wax relined; mended 1 1/2 inch tear in background in the upper right quadrant; several repaired holes in upper the left background; areas of restoration to the face, chest and dress. Some contours reinforced. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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John James Masquerier British, 1778-1855 Portrait of a Lady in White

Lot 27: John James Masquerier British, 1778-1855 Portrait of a Lady in White

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Description: John James Masquerier British, 1778-1855 Portrait of a Lady in White Oil on canvas 30 x 25 inches (76.2 x 63.5 cm) Provenance: Private collection C 

Condition Report: Glue relined. Large repaired T-shaped tear on the chest and upper bodice (6 inches vertical; 5 inches horizontal); another small (1-in) tear in the lower lect quadrant. Scattered touches of restoration on the face and chest; shadows in the hair reinforced. Scattered areas of in-painted cracks. All of these restorations have been carried out to a high prodfessional standard. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Nicolas Bertin French, 1668-1736 The Building of Noah's Ark

Lot 28: Nicolas Bertin French, 1668-1736 The Building of Noah's Ark

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Description: Nicolas Bertin French, 1668-1736 The Building of Noah's Ark Oil on canvas 37 1/2 x 50 7/8 inches (95.2 x 129.2 cm) Literature: A.-J. Dezalier d'Argenville, Abrege de la vie des plus fameux peintres,1762, II, 346 J.-D. Fiorillo, Geschichte der Zeichnenden Kunste von ihrer Wiederauflebung bis aur die neuesten Zeiten, Gottingen, 1805, 287 L. Dussieux et al., Memoirs inedits sur les vies et les ouvrages des members de l'Academie royale de peinture et de sculpture, Paris, 1854, II, 321 M.A. Duvivier, Liste des eleves de l'Ancienne ecole academique et de l'ecole des beaux-arts qui ont remporte les grands prix de peinture, Archives de l'Art Francais, 1858, Serie I, 279-80 A. Jal, Dictionnaire critique de biographie et d'histoire, Paris, 1867; 2nd ed., 1872, 212 E. Bellier de Chevignerie and L. Auvray, Dictionnaire generale des artistes de l'ecole francaise depuis l'origine des arts du dessin jusqu'a nos jours, I, Paris, 1882, 81 G. Janneau, La peinture francaise au XVIIe siecle, Geneva, 1965, 265 Thierry Lefrancois, Nicolas Bertin, Neuilly-sur-Seine, 1981, 16, 79, 101, 182 and 188, no. 1 and fig. 6 Thierry Lefrancois identifies the present painting as that which Bertin submitted for the annual grand concours of the Academie, which won first prize for painting in 1685. He further identifies a black chalk drawing in a Paris collection as the premiere pensee for the composition and reproduces a study for the workman in the right foreground in the Orleans Musee des Beaux Arts, which is inscribed Etude de N. Bertin pour son prix de Rome de 1686 (sic). C 

Condition Report: Glue relined. Frame rubbing, with corresponding touches of restoration around the edges, and one large area just below the figure of the young man at lower right. There is an 8-inch vertical line of restoration descending from the large jug in the center middle-distance through the papers held by the young man to Noah's right. Scattered touches of restoration elsewhere. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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French School Circa 1700 Marie-Adelaide, Duchess of Burgundy, presented with a Letter by Cupid

Lot 29: French School Circa 1700 Marie-Adelaide, Duchess of Burgundy, presented with a Letter by Cupid

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Description: French School Circa 1700 Marie-Adelaide, Duchess of Burgundy, presented with a Letter by Cupid Inscribed in ink on the panel to which the piece is mounted: Miniature of La Duchesse de Bourgogne/Petitot Landscape by Largelliere Gouache with gilding on vellum laid to wood panel 9 1/4 x 12 1/4 inches (23.5 x 31.1 cm) Provenance: Captain Bertram Currie, Dingley Hall, Market Harborough, sale, 1953 In 1697 the twelve-year-old Marie-Adelaide of Savoy married the fifteen-year-old Duke of Burgundy, grandson of Louis XIV. Her gaiety and animation made her a great favorite of the king. In 1711, an outbreak of smallpox brought about her and her husband's death, leaving the elderly King with only one great-grandson, the future Louis XV, as his heir. C 

Condition Report: The vellum support is mounted on a piece of heavy paper, which is in turn mounted on the backing panel. So abrasion around the edges; a few miniscule spots, possibly tiny ink spatters. Colors extremely fresh and bright. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Nicolas Arnoult French, Late 17th Century The Dress Maker and His Client

Lot 30: Nicolas Arnoult French, Late 17th Century The Dress Maker and His Client

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Description: Nicolas Arnoult French, Late 17th Century The Dress Maker and His Client Ink with gray wash over red chalk on paper 8 3/8 x 6 3/4 inches (23.8 x 17.1 cm) This is a preparatory drawing for an engraving published in 1691. C 

Condition Report: Hinged to the mount at the upper left and the upper right with white (Apparently acid-free) tape. the lower 3/4 inch of the sheet has been restored. There is a heavily abrated, illegible drawing on the verso. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Attributed to Jean Baptiste Lallemand River Landscape with Figures on a Boat

Lot 31: Attributed to Jean Baptiste Lallemand River Landscape with Figures on a Boat

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Description: Attributed to Jean Baptiste Lallemand River Landscape with Figures on a Boat Black chalk on paper 6 3/4 x 10 inches (17.1 x 25.4 cm) C 

Condition Report: Paper toned; laid down to a 19th-century French mount, which is concealed behind a black-and-gold glass mat. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Circle of Pierre Mignard Portrait of a Noble Woman in a Blue Cloak

Lot 32: Circle of Pierre Mignard Portrait of a Noble Woman in a Blue Cloak

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Description: Circle of Pierre Mignard Portrait of a Noble Woman in a Blue Cloak Oil on canvas, oval 35 x 28 1/4 inches (89 x 71.7 cm) C 

Condition Report: Glue relined. Light surface scratch on the lady's chest. There 3 x 1/2 inch loss in the blue cloak just above the sitter's right wrist. 3/4 inch tear in the cloak above her right index finger. These have been filled in with blue paint, but are not properly restored. Dense varnish, unable to detect further restoration under UV light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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French School 18th Century Travelers on a Mountain Road, a Shepherd in the Foreground

Lot 33: French School 18th Century Travelers on a Mountain Road, a Shepherd in the Foreground

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Description: French School 18th Century Travelers on a Mountain Road, a Shepherd in the Foreground Inscribed Richaume in brown ink (ll) Black ink with brown wash heightened with white on cream paper laid to a second sheet 13 1/4 x 19 inches (33.6 x 48.3 cm) C 

Condition Report: The sheet on which the drawing is mounted is hinged to the back mat with white tape along the upper margin. Some light toning; faint creasing and staining . Inscribed on the reverse: MS (brown ink); A (black ink); 25 mes. (graphite pencil); Rechaume (graphite pencil); n. 75 (brown ink) surrounded by a wreath in black ink Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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After Jean Marc Nattier Madame Sophie de France

Lot 34: After Jean Marc Nattier Madame Sophie de France

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Description: After Jean Marc Nattier Madame Sophie de France Pastel on paper 31 1/4 x 24 3/4 inches (79.5 x 63 cm) Provenance: Private collection, New York By descent to the present owner The original work, dated 1748, is in the collection of the Palace of Versailles. C 

Condition Report: Sheet pressed between two sheets of glass. Some abrasion, soiling and light foxing. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Charles Norbert Roettiers French, 1720­1772 Neptune and a French Warrior Approaching Shore on a Shell Vessel: Design for a Medal

Lot 35: Charles Norbert Roettiers French, 1720­1772 Neptune and a French Warrior Approaching Shore on a Shell Vessel: Design for a Medal

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Description: Charles Norbert Roettiers French, 1720­1772 Neptune and a French Warrior Approaching Shore on a Shell Vessel: Design for a Medal Signed and dated  C. N. Roettiers filius in. et f. 1756 (lc); inscribed PARAT ULTIMA TERRA TRIUMPHOS around the upper edge and COL.FRANC./DE L'AMERIQUE/1757.  below the image Red chalk on paper, within a drawn tondo Octagonal sheet 11 1/2 x 9 5/8 inches (29.2 x 24.5 cm); image diameter 8 3/4 inches (22.3 cm) C.N. Roettiers became a member of the French Royal Academy in 1764 and worked at the Paris mint from 1753 into the 1770s. This design commemorates the French and Indian War (1754­1763) with England over colonies in North America. Although France lost Canada and disputed lands east of the Mississippi, she retained the vast Louisiana territory, which was purchased by the United States in 1803. C 

Condition Report: Sheet hinged to the back mat at upper left, center and right with white (apparently acid-free) tape. Some abrasion of the image. The 18th century gilded wood frame is probably original to this drawing. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Francois-Joseph Bellanger French, 1744-1818 Design for a ceiling with figures from Herculaneum

Lot 36: Francois-Joseph Bellanger French, 1744-1818 Design for a ceiling with figures from Herculaneum

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Description: Francois-Joseph Bellanger French, 1744-1818 Design for a ceiling with figures from Herculaneum Watercolor, gouache, red and black ink and pencil on paper 13 3/4 x 11 3/8 inches (35 x 29 cm) Provenance: Michel-Victor Crucher by decent Galerie de Bayser, Paris Literature: Peter Fuhring, Francois-Joseph Belanger, Didier Aaron and Galerie de Bayser, Paris 2006, p. 17. no. 4 This is one the designs by the architect Francois-Joseph Bellanger assembled in an album by Michel-Victor Cruchet (1815-1899). Both an architect and a designer of court entertainments, Bellanger also designed for Marie Antoinette, the Comte d'Artois, and for numerous wealthy Parisians, often adapting the decorative forms of Pompei and Herculaneum to appeal to contemporary taste. C 

Condition Report: Hinged to the back mat at the upper right and upper left. Minor staining, soiling and foxing. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Jean-Baptiste Le Prince French, 1734-1781 Russian Girl

Lot 37: Jean-Baptiste Le Prince French, 1734-1781 Russian Girl

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Description: Jean-Baptiste Le Prince French, 1734-1781 Russian Girl Reddish-brown and black chalk with stumping highlighted with white on gray paper 9 3/8 x 6 1/4 inches (24 x 16 cm) Provenance: With Galerie de Bayser, Paris The girl shown here wears a head-scarf and short-sleeved over-mantle, and carries over her arm what appears to be a full-sleeved blouse, all typical features of traditional Russian costume. Le Prince, a student of Francois Boucher, traveled to Russia in 1758 to work for Catherine the Great. On his return to France in 1763 he brought back numerous studies of the people and costumes of Russia, Lithuania and Siberia, which he subsequently used for engravings, paintings and even tapestry designs. C 

Condition Report: Hinged to the mount at upper right and left with white (apparently acid-free) tape. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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After Francois Boucher Aminta Brought Back to Life in the Arms of Sylvia

Lot 38: After Francois Boucher Aminta Brought Back to Life in the Arms of Sylvia

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Description: After Francois Boucher Aminta Brought Back to Life in the Arms of Sylvia Oil on canvas 32 x 39 1/4 inches (81.3 x 99.3 cm) The original of this composition is in the Musee des Beaux-Arts, Tours, France Aminta, a five-act play in verse by Torquato Tasso first performed at the court of Ferrara in 1573, was published by the Aldine Press in Venice in 1581. Set in the time of Alexander the Great, it tells the story of the unrequited love of the shepherd Aminta for the nymph Sylvia. Even after Aminta rescues her from the attack of a satyr, she continues to flee him. Later, he finds her blood-stained veil, and thinking her dead, tries to commit suicide. Now remorseful, Sylvia rushes to Aminta and he is revived in her arms. The smooth course of their love is then assured. Immensely popular for the next three centuries, Aminta was translated into a number of languages and performed all over Europe. Mozart's opera Il Re Pastore and Delibes's ballet Sylvia are both based on the play. C 

Condition Report: Probably a 19th-century painting. Wax relined. Frame rubbing with corresponding touches of restoration around the edges. Two repaired holes in the background of the upper right quadrant, and another on the ground near the lower right corner. The areas of restoration of each are about 1 inch in diameter. There is also a 1-inch repaired tear in the sky in the upper let quadrant. All of these repairs have been done to a high prjofessional standard. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Master J. S. French, active early 1780s La Sultane

Lot 39: Master J. S. French, active early 1780s La Sultane

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Description: Master J. S. French, active early 1780s La Sultane Signed and dated J.S. 1782 (lr) Red chalk on paper 10 3/4 x 14 3/4 inches (27.3 x 37.5 cm) This drawing replicates a turquerie by Jean­Baptiste Le Prince (1734­1781), the original of which is a painting in oil on copper,  dated 1772, now in the Musee d'Art et d'Histoire in Metz. The drawing follows the engraving made after Le Prince's work by Gilles Demarteau (1729­1776), which shows the composition in reverse. C 

Condition Report: Paper toned. Glued to the mount along the upper margin. There are tape stains from a previous mounting in the upper right and upper left. Corners are cut off. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Attributed to Pierre Paul Prud'hon Study for a Head of Moses

Lot 40: Attributed to Pierre Paul Prud'hon Study for a Head of Moses

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Description: Attributed to Pierre Paul Prud'hon Study for a Head of Moses Bears the collector's mark of Marie-Guillaume-Therese de Villenave (1762-1846; Lugt 2598) (ll) Black chalk heightened with white on blue paper 8 3/4 x 8 1/8 inches (22.2 x 20.6 cm) Provenance: Marie-Guillaume-Therese de Villenave (1762-1846; Lugt 2598) Spencer A. Samuels & Company, Ltd., New York C 

Condition Report: Completely glued down to the mount. Some fading, Two pin holes near the upper left margin, with two tiny ink spots nearby. Restored area in the beard approximately 1/2 inch in diameter. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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After Carle Van Loo Allegory of Sculpture

Lot 41: After Carle Van Loo Allegory of Sculpture

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Description: After Carle Van Loo Allegory of Sculpture Oil on canvas 35 1/2 x 26 3/4 inches (90 x 68 cm) The original version of this composition is now in the collection of Victoria and Albert Museum, London. C 

Condition Report: Glue relined; narrow strip along the upper margin may be an etension of the original canvas. Dense varnish revealing little under UV light. Some selective cleaning. Three repaired holes, (each approximately 1" in diameter) in the background of the upper left quadrant. Another to the right of the bust at right. Shadows and contours around the sculptor's knee; on the fallen bust at lower left; and around the box and leaning stick in the lower right quadrant have been reinforced. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Antoine Le Loup de Spa Franco-Flemish, 1730-after 1772 Views of the Mineral Springs at Watroz, Niverze and SauveniereP...

Lot 43: Antoine Le Loup de Spa Franco-Flemish, 1730-after 1772 Views of the Mineral Springs at Watroz, Niverze and SauveniereP...

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Description: Antoine Le Loup de Spa Franco-Flemish, 1730-after 1772 Views of the Mineral Springs at Watroz, Niverze and Sauveniere: Three Each signed and inscribed with the locale of the drawing Each black and gray ink with gray wash on vellum Each sheet 4 5/8 x 6 1/2 inches (11.7 x 16.5 cm); each image 3 1/2 x 5 3/4 inches (9 x 14.7 cm) Unframed; mounted together within a single three-aperture mat Provenance: Sale: Sotheby's, New York, Jan. 20, 1982, lot 3 Antoine Le Loup followed in the footsteps of his better-known father, Remaele Le Loup, to become a draftsman and engraver specializing in views in and around his native town of Spa. He contributed plates to J. P. de Limburg's topographical book Nouveaux Amusements des Eaux de Spa (Liege, 1763). C 

Condition Report: Each sheet hinged to the fromt mat at upper left and upper right. Some creasing around the edges. Some very faint matstaining around the edges of the sheet (not visible in the present mounting). Unframed mat pressed between two sheets of Plexiglas. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Attributed to Charles Meynier Allegory on the French Constitution of 1793

Lot 44: Attributed to Charles Meynier Allegory on the French Constitution of 1793

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Description: Attributed to Charles Meynier Allegory on the French Constitution of 1793 Black and brown ink with brown wash on paper 11 1/4 x 14 inches (28.6 x 38.1 cm) Provenance: Rosenberg & Stiebel, Inc., New York Arnoldi-Livie Gallery, Munich, Germany Exhibited: Hamburg, Kunsthalle, Europa 1789, Sept. 15-Nov. 19, 1989, no. 377 (as Jacques Reattu) Literature: Ellenius, Allan (ed.) Iconography, Propaganda and Legitimation, Oxford, 1998, 272-273, fig. 70. The drawing depicts the winged Genius of France, wearing a Phrygian cap, seated on a throne of rock that is being inscribed by a warrior with the revolutionary motto Unite, Indivisibilite de la Republique, liberte, egalite, fraternite ou la Mo.... The genius embraces the fasces, symbolic of fraternity, and rests his feet on the vanquished hydra of the ancien regime. Constitutions were promulgated in 1791 and in 1793, before the better-known constitution of the Year III (1795). An attached blank field below the composition suggests the placement for a caption in an anticipated engraving. C 

Condition Report: Glued around the edges to the mount. Toned. Stain in the clouds in the upper right quadrant. Some mat staining in the upper edges. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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French School 18th Century Caught in the Act

Lot 45: French School 18th Century Caught in the Act

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Description: French School 18th Century Caught in the Act Oil on canvas 26 x 18 5/8 inches (66 x 47.3 cm) C 

Condition Report: Glue relined. Frame rubbing. Repaired hole in the upper right center. Area of inpaint, roughly 2 inches long, in the curtains at the upper right. Scattered inpainting, especially on the curtains. 1 inch long vertical area of inpaint on the lady's skirt. Scattered touches elsewhere. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Follower of John Frederick Herring the Elder Mare and Foal

Lot 46: Follower of John Frederick Herring the Elder Mare and Foal

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Description: Follower of John Frederick Herring the Elder Mare and Foal Bears signature J. F. Herring Sen and date 1852 (lr) Oil on board 10 3/8 x 12 1/2 inches (26.4 x 31.7 cm) Provenance: Kennedy Galleries, New York C 

Condition Report: Frame rubbing, with corresponding restoration, especially around the lower left margin and around the added signature. Areas of restoration in the sky. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Joseph Dunn of Worcester English, 1806-1860 A Gray Racehorse in a Landscape, 1851

Lot 47: Joseph Dunn of Worcester English, 1806-1860 A Gray Racehorse in a Landscape, 1851

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Description: Joseph Dunn of Worcester English, 1806-1860 A Gray Racehorse in a Landscape, 1851 Signed Dunn and dated 51 (ll) Oil on canvas 24 3/4 x 30 inches (63 x 76.2 cm) Provenance: George Hesketh Biggs (1823-1901), Upton Warren, Worcestershire, England By inheritance to his son, Harcourt Galton Biggs (1862-1917) of Upton Warren and later, Richmond, California Bequeathed to his son, Reginald Harcourt Biggs (1900-1984), Mountain View, CA By inheritance to the present owner According to family tradition, George Hesketh Biggs won this painting in a bet on the racehorse shown. C 

Condition Report: Not lined. Surface scrape 1 inch long in the lower left corner. Canvas rippling in the upper righty corner. Surface darkened from what appears to be deposited residue from tobacco smoke. No restoration visible under UV light. This is in estate condition --- that is, unlined, and with the exception of the scrape at lower left, the surface is very sound. The painting would benefit from judicious cleaning and restretching. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Follower of John Ferneley Jr. The Thoroughbred Racehorse Nutwith, Winner of the Great St. Leger Stakes at Doncaster in 1843, with Jo...

Lot 48: Follower of John Ferneley Jr. The Thoroughbred Racehorse Nutwith, Winner of the Great St. Leger Stakes at Doncaster in 1843, with Jo...

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Description: Follower of John Ferneley Jr. The Thoroughbred Racehorse Nutwith, Winner of the Great St. Leger Stakes at Doncaster in 1843, with Jockey Up Bears signature J. Ferneley and date 1842 (ll) Oil on canvas 17 1/2 x 22 1/4 inches (44.5 x 56.5 cm) Established in 1776, the Great St. Leger is the oldest of Britain's five Classics, and the final and longest race of Britain's Triple Crown. C 

Condition Report: Glue relined. Few small losses in the sky above the jockey's head. Scattered inpaint throughout the sky and some inpaint in the contours of the horse. There is no further restoration under UV light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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English School 19th Century Cottage Beside a Waterfall and Village Beside a River: Two

Lot 49: English School 19th Century Cottage Beside a Waterfall and Village Beside a River: Two

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Description: English School 19th Century Cottage Beside a Waterfall and Village Beside a River: Two Each gouache on paper laid to cardboard The first 6 1/4 x 10 3/4 inches (16 x 27.3 cm); the second 6 1/2 x 10 1/2 inches (16.5 x 26.7 cm) Provenance: Private collection, New York Frost & Reed, London (each as a River Scene by G. Chinnery) • 

Condition Report: Each sheet fully laid to cardboard; a few small nicks around the edges. Cottage: Frame rubbing with some erosion of the pigment along the upper left edge. Village: Creasing in upper left corner Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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European School 19th/20th Century A Mother and Child on a Path in an Alpine Landscape

Lot 50: European School 19th/20th Century A Mother and Child on a Path in an Alpine Landscape

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Description: European School 19th/20th Century A Mother and Child on a Path in an Alpine Landscape Signed indistinctly H. E. H . . . (lr) Oil on canvas 26 x 40 3/4 inches (66 x 103.5 cm) C Carl Eric Holmström, Formerly of Rose Cummings Design

Condition Report: Wax relined. Frame rubbing, with corresponding areas of restoration, especially along the upper left margin. Areas of restoration in the sky. The trees and oather areas of dark green throughout the landscape have been strengthened, including the left contour of the trunk of the prominent tree at lower left. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Circle of Jan Siberechts Figures on a Road before the Gate of a Country Estate

Lot 51: Circle of Jan Siberechts Figures on a Road before the Gate of a Country Estate

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Description: Circle of Jan Siberechts Figures on a Road before the Gate of a Country Estate Oil on canvas 48 x 80 1/4 inches (122 x 204 cm) Unframed C 

Condition Report: Glue relined. Four canvas panel joined with three vertical seams. Restoration to repaired losses through all three seams. Scattered inpainting throughout, especially in the sky. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Attributed to Cornelis Decker Figures by an Old House Beside a River

Lot 52: Attributed to Cornelis Decker Figures by an Old House Beside a River

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Description: Attributed to Cornelis Decker Figures by an Old House Beside a River Bears signature H. Van Uleen and date 1785 (ll) Oil on canvas 16 x 22 1/4 inches (40.6 x 56.5 cm) C 

Condition Report: Glue relined. Frame rubbing, with some touches of restoration around the edges. Repaired hole in the sky to the left of center. Scattered touches of restoration in the foreground; a few touches in the sky. There is a 3/4-inch scratch in the surface near the lower right corner. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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