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International Sale: Old Masters Paintings, Drawings & Prints

by Freeman's

Platinum House

165 lots with images

October 11, 2012

Live Auction

1808 Chestnut Street

Philadelphia, PA, 19103 USA

Phone: +1 215.563.9275

Fax: +1 215.563.8236

Email: Info@freemansauction.com

165 Lots
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FOLLOWER OF DAVID TENIERS THE YOUNGER, (FLEMISH 1610-1690), VILLAGE KERMESSE

Lot 153: FOLLOWER OF DAVID TENIERS THE YOUNGER, (FLEMISH 1610-1690), VILLAGE KERMESSE

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Description: FOLLOWER OF DAVID TENIERS THE YOUNGER (flemish 1610-1690)/span VILLAGE KERMESSE Oil on panel 22 1/4 x 28 3/8 in. (56.5 x 72.1cm) provenance: /spanPrivate Collection. note:/span Proceeds to benefit the Brandywine River Museum, Chadds Ford, Pennsylvania.

Condition Report: The panel has two cracks – one horizontal in roughly the center of the painting running through the whole panel, and the other at upper left, about 6 1/4 inches long. Each of these cracks has been (somewhat clumsily) restored with inpainting. There is also restoration to various areas of the foreground, including parts of figures, to the midground and parts of trees. Parts of the sky are retouched, too. There are areas of uneven/residual varnish Descriptions provided in both printed and on-line catalogue formats do not include condition reports. 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. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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CONTINENTAL SCHOOL, (19TH CENTURY), ARCADIAN VIEWS

Lot 154: CONTINENTAL SCHOOL, (19TH CENTURY), ARCADIAN VIEWS

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Description: CONTINENTAL SCHOOL (19th century)/span ARCADIAN VIEWS Pair oils on canvas 32 1/4 x 26 in. (81.9 x 66cm) 32 1/8 x 25 3/4 in. (81.6 x 65.4cm) provenance: /spanAn Estate, Pennsylvania.

Condition Report: Each painting is in generally poor overall condition with a lot of visible craquelure and stretcher bar marks. Each painting ha some varnish inconsistencies, some uneven rippling of the canvas, and each is unlined. a. Maiden painting: there is a small hole in the sky, a lot of restoration in the sky, some minor restoration in areas of the foreground and parts of the mid-landscape. b. Shepherd painting: there is a small tear in the sky, a lot of restoration in the sky, some restoration to the trees and rocks at right and to parts of foreground. On the verso are some water (?) stains and small restored areas. Descriptions provided in both printed and on-line catalogue formats do not include condition reports. 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. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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ATTRIBUTED TO JAN BAPTIST LAMBRECHTS, (FLEMISH 1680-DIED CIRCA 1731), VEGETABLE SELLER

Lot 155: ATTRIBUTED TO JAN BAPTIST LAMBRECHTS, (FLEMISH 1680-DIED CIRCA 1731), VEGETABLE SELLER

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Description: ATTRIBUTED TO JAN BAPTIST LAMBRECHTS (flemish 1680-died circa 1731)/span VEGETABLE SELLER Oil on panel 8 7/8 x 7 3/8 in. (22.5 x 18.7cm) provenance: /spanPrivate Collection, Massachusetts.

Condition Report: Very good overall condition, with minor retouch in sky at upper right and otherwise tiny pinhead size spots of localized retouch. Descriptions provided in both printed and on-line catalogue formats do not include condition reports. 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. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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AUSTRIAN SCHOOL, (18TH CENTURY), PORTRAIT OF A LADY IN PINK DRESS HOLDING BIRD AND FLOWER

Lot 156: AUSTRIAN SCHOOL, (18TH CENTURY), PORTRAIT OF A LADY IN PINK DRESS HOLDING BIRD AND FLOWER

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Description: AUSTRIAN SCHOOL (18th century)/span PORTRAIT OF A LADY IN PINK DRESS HOLDING BIRD AND FLOWER Oil on canvas 22 x 18 1/4 in. (55.8 x 46.4cm) provenance: /spanAccording to typed label verso, ex-collection Millicent Rogers. The Estate of John M. Seabrook, New Jersey.

Condition Report: Relined; generally poor overall condition; with obvious areas of restoration and retouch, including apparently restored tears, one approx. 10 inches long - horizontally extending from left upper edge of canvas through to bottom part of figure's nose. Restoration is seen at most of outer edges of canvas, to areas of background and other areas of figure. We wonder if these linear areas of restoration indicate the painting had some surface tears, or was the canvas possibly rolled at one time? Descriptions provided in both printed and on-line catalogue formats do not include condition reports. 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. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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ZEELAND SCHOOL, (17TH CENTURY), PORTRAIT OF A LADY HOLDING CARNATION, THREE-QUARTER LENGTH

Lot 157: ZEELAND SCHOOL, (17TH CENTURY), PORTRAIT OF A LADY HOLDING CARNATION, THREE-QUARTER LENGTH

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Description: ZEELAND SCHOOL (17th century)/span PORTRAIT OF A LADY HOLDING CARNATION, THREE-QUARTER LENGTH Dated '1670' upper right, oil on copper 31 x 22 3/8 in. (78.7 x 56.8cm) provenance: /spanPrivate Collection, Virginia.

Condition Report: This painting is executed on a copper panel. The panel is in perfect condition. The paint shows no cracks and remains well adhered to the panel. The only damages are a few minor, well inpainted scratches. The inpainting is slightly discolored. Examination in ultraviolet light shows a thin natural resin varnish over the inpainting. In normal light the varnish is transparent and clear with excellent saturation. Descriptions provided in both printed and on-line catalogue formats do not include condition reports. 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. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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NORTHERN EUROPEAN SCHOOL, (19TH CENTURY), PERSONIFICATION OF FAITH

Lot 158: NORTHERN EUROPEAN SCHOOL, (19TH CENTURY), PERSONIFICATION OF FAITH

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Description: NORTHERN EUROPEAN SCHOOL (19th century)/span PERSONIFICATION OF FAITH Oil on tin 45 x 23 1/2 in. (114.3 x 59.7cm) provenance: /spanPrivate Collection, Florida.

Condition Report: Descriptions provided in both printed and on-line catalogue formats do not include condition reports. 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. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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FLEMISH SCHOOL, (17TH CENTURY), ALLEGORY OF LEARNING

Lot 159: FLEMISH SCHOOL, (17TH CENTURY), ALLEGORY OF LEARNING

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Description: FLEMISH SCHOOL (17th century)/span ALLEGORY OF LEARNING Oil on canvas, painted in the oval 32 1/4 x 42 3/8 in. (81.9 x 107.6cm) provenance: /spanPrivate Collection, New Jersey. Christie's New York, Sale of November 3, 1999, lot 13.

Condition Report: Re-lined. Extensive retouch to drapes in rear above figures, additional retouch around putti and table to right, scattered retouch in foreground and around and to left of lyre player and in drape to left of trumpet player, also retouch around lap of main central figure. Very minor spots of paint lost in upper background which have been inpainted. Minor indentation in center, minor scratch by figures in background to left. All over crazing in paint which appears stable. Generally in good restored condition. Descriptions provided in both printed and on-line catalogue formats do not include condition reports. 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. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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CIRCLE OF JEAN BAPTISTE GREUZE, (FRENCH 1725-1805), PORTRAIT OF A LADY

Lot 160: CIRCLE OF JEAN BAPTISTE GREUZE, (FRENCH 1725-1805), PORTRAIT OF A LADY

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Description: CIRCLE OF JEAN BAPTISTE GREUZE (french 1725-1805)/span PORTRAIT OF A LADY Oil on canvas 15 1/4 x 19 in. ( 38.7 x 48.3cm) provenance: /spanPrivate Collection, New York. Parke-Bernet Galleries, New York, sale of Valuable Paintings, December 2, 1938, lot 59. Sotheby Parke Bernet, New York, sale of Old Master Paintings, March 11, 1977, lot 26.

Condition Report: painting is relined; there is fairly extensive surface craquelure throughout most of the painting. There are some minor gaps/canvas loss at outer edges where small part of lining canvas is exposed – at lower left and Lower right at bottom edge, and at upper left at top edge. This painting appears to be in generally very good overall condition as seen under u.v. light, apart from (streaky) uneven/residual varnish and very slight fill – small areas at/near top edge center and center left, and slightly more fill at bottom edge – center and center right. Descriptions provided in both printed and on-line catalogue formats do not include condition reports. 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. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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CIRCLE OF JACOB FERDINAND VOET, (FLEMISH 1639-CIRCA 1700), PORTRAIT OF A LADY, HALF-LENGTH IN A GOLD DRESS

Lot 161: CIRCLE OF JACOB FERDINAND VOET, (FLEMISH 1639-CIRCA 1700), PORTRAIT OF A LADY, HALF-LENGTH IN A GOLD DRESS

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Description: CIRCLE OF JACOB FERDINAND VOET (flemish 1639-circa 1700)/span PORTRAIT OF A LADY, HALF-LENGTH IN A GOLD DRESS Oil on canvas 29 x 23 3/4 in. (73.7 x 60.3cm) provenance: /spanCollection of Frederick Spitzer, New York, 1929. Collection of Frederick Bucher, New York, 1932. Mrs. Alexander Orloff, Greenwich, Connecticut. Parke-Bernet Galleries, New York, sale of December 13-15, 1945, lot 170, as 'Follower of Pierre Mignard.' Private Collection, Massachusetts.

Condition Report: Relined; generally good overall condition, apart from some missing chips of paint (largest about 1/4 x 1/4 inch in woman's chest); there are also surface disruptions, particularly visible in raking light. These disruptions/imperfections include: craquelure lines in upper portion of painting in background, apparent varnish inconsistencies, foreign (origins unknown) spots/specks/dirt, surface scratches. In short, we are not aware of restoration under u.v. light, but do note the above imperfections. Descriptions provided in both printed and on-line catalogue formats do not include condition reports. 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. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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AFTER REMBRANDT VAN RIJN, (DUTCH 1606-1669), PORTRAIT OF KING UZZIAH

Lot 162: AFTER REMBRANDT VAN RIJN, (DUTCH 1606-1669), PORTRAIT OF KING UZZIAH

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Description: AFTER REMBRANDT VAN RIJN (dutch 1606-1669)/span PORTRAIT OF KING UZZIAH Oil on canvas 24 1/4 x 19 in. (61.6 x 48.3cm) provenance: /spanSotheby's Madison Avenue Galleries, New York, Sale of Important Old Master Paintings, January 8, 1981, lot 113. Private Collection, The Bronx, New York. note:/span The present work repeats, on a reduced scale, the original painting by Rembrandt in the collection of the Duke of Devonshire, Chatsworth. Govaert Flinck, an apprentice of Rembrandt, is also known to have painted this subject.

Condition Report: Relined. Heavy mascaline varnish. Some apparent old retouch in shadow area to right of figures right eye (as we look at him). Also minor areas of retouch top right edge of turban, top left edge and in lower portion of painting. Generally appears to be in good to very good condition. Descriptions provided in both printed and on-line catalogue formats do not include condition reports. 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. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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ATTRIBUTED TO CHRISTIAN WILHELM ERNST DIETRICH, (GERMAN 1712-1774), PORTRAIT OF AN ELDERLY GENTLEMAN WITH CAP

Lot 163: ATTRIBUTED TO CHRISTIAN WILHELM ERNST DIETRICH, (GERMAN 1712-1774), PORTRAIT OF AN ELDERLY GENTLEMAN WITH CAP

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Description: ATTRIBUTED TO CHRISTIAN WILHELM ERNST DIETRICH (german 1712-1774)/span PORTRAIT OF AN ELDERLY GENTLEMAN WITH CAP Oil on canvas 22 1/2 x 17 3/4 in. (57.2 x 45.1cm) provenance: /spanPrivate Collection, Massachusetts.

Condition Report: Descriptions provided in both printed and on-line catalogue formats do not include condition reports. 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. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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FOLLOWER OF JEAN ÉTIENNE LIOTARD, (SWISS 1702-1789), COUNTESS OF COVENTRY

Lot 164: FOLLOWER OF JEAN ÉTIENNE LIOTARD, (SWISS 1702-1789), COUNTESS OF COVENTRY

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Description: FOLLOWER OF JEAN ÉTIENNE LIOTARD (swiss 1702-1789)/span COUNTESS OF COVENTRY Oil on canvas 30 x 24 in. (76.2 x 61cm) provenance: /spanMs. Sara Coventry. A gift from the above to Mr. T. Hertzbol Emmanuel. Private Collection, Connecticut.

Condition Report: Relined; stretcher is not original; scattered restoration, including to areas of background; some of the restoration is extensive; there is both restoration and retouch to parts of figure's hands, arms, ear. At right hand, left arm, neck and most of ear dress, we note that most of the work done is in the form of precise retouch, rather than wholesale restoration. Descriptions provided in both printed and on-line catalogue formats do not include condition reports. 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. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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ATTRIBUTED TO WOUTER KNIJFF, (DUTCH CIRCA 1607-AFTER 1693), FISHERMEN AT A RIVER ESTUARY NEAR A FORTIFIED TOWN

Lot 165: ATTRIBUTED TO WOUTER KNIJFF, (DUTCH CIRCA 1607-AFTER 1693), FISHERMEN AT A RIVER ESTUARY NEAR A FORTIFIED TOWN

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Description: ATTRIBUTED TO WOUTER KNIJFF (dutch circa 1607-after 1693)/span FISHERMEN AT A RIVER ESTUARY NEAR A FORTIFIED TOWN Oil on panel 20 3/4 x 30 5/8 in. (52.7 x 77.8cm) provenance: /spanAn Estate, Philadelphia, Pennsylvania.

Condition Report: Panel has a horizontal crack near the center, visible on the front of painting, and with dovetailed wedges on verso along this crack for support. In various areas of the sky there is some scattered restoration and retouch, along with the larger, pronounced restoration at/near the crack. The fortified town, water, figures and boats appear to be essentially unrestored under u.v. light – in parts of these areas there are some varnish inconsistencies. There is some minor abrasion/retouch along parts of some of outer edges of panel. Descriptions provided in both printed and on-line catalogue formats do not include condition reports. 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. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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ATTRIBUTED TO ALEXIS GRIMOU, (SWISS 1678-1733), PORTRAIT OF A RABBI

Lot 166: ATTRIBUTED TO ALEXIS GRIMOU, (SWISS 1678-1733), PORTRAIT OF A RABBI

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Description: ATTRIBUTED TO ALEXIS GRIMOU (swiss 1678-1733)/span PORTRAIT OF A RABBI Oil on canvas 29 x 23 in. (73.7 x 58.4cm) provenance: /spanEx-collection, Edwin A. Ulrich Museum of Art, Wichita State University. Private Collection, Massachusetts. related literature:/span The present work closely follows a portrait formerly attributed to Rembrandt. Please see Cornelis Hofstede de Groot, Die Handzeichungen Rembrandts, HdG 425, as "A Rabbi Seen in Full Face," 1642; and Horst Gerson, Rembrandt Paintings,1968, number 220, "A Rabbi".

Condition Report: Relined; varnish inconsistencies; some restoration visible under u.v. light; some scattered retouch and fill. Descriptions provided in both printed and on-line catalogue formats do not include condition reports. 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. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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AFTER ALEXIS GRIMOU, (SWISS 1678-1733), PORTRAIT OF A GIRL, THREE-QUARTER LENGTH, DRESSED AS A PILGRIM

Lot 167: AFTER ALEXIS GRIMOU, (SWISS 1678-1733), PORTRAIT OF A GIRL, THREE-QUARTER LENGTH, DRESSED AS A PILGRIM

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Description: AFTER ALEXIS GRIMOU (swiss 1678-1733)/span PORTRAIT OF A GIRL, THREE-QUARTER LENGTH, DRESSED AS A PILGRIM Oil on canvas 32 1/2 x 25 1/4 in. (82.6 x 64.1cm) provenance: /spanChristie's New York, sale of Tuesday April 5, 2011, lot 125. Private Collection, Pennsylvania. note:/span The present work repeats the composition by Grimou in the Uffizi, Florence.

Condition Report: Descriptions provided in both printed and on-line catalogue formats do not include condition reports. 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. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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ATTRIBUTED TO PEETER VAN AVONT, (FLEMISH 1600-1652), and JAN VAN KESSEL (DUTCH 1641-1680) ADORATION OF THE HOLY FAMILY

Lot 168: ATTRIBUTED TO PEETER VAN AVONT, (FLEMISH 1600-1652), and JAN VAN KESSEL (DUTCH 1641-1680) ADORATION OF THE HOLY FAMILY

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Description: ATTRIBUTED TO PEETER VAN AVONT (flemish 1600-1652)/span and JAN VAN KESSEL (DUTCH 1641-1680) ADORATION OF THE HOLY FAMILY Oil on cradled panel 20 1/8 x 29 7/8 in. (51.1 x 75.9cm) provenance: /spanProperty from the Jessie Ball Dupont Trust.

Condition Report: Oil on panel laid on (apparently later) cradled panel. Overall, this painting is somewhat difficult to definitively 'read' under u.v. light due to varnish inconsistencies and attempting to accurately decipher some areas that appear darker under u.v. light. As seen in the catalogue photo, there is a horizontal crack through panel just below center, and not touching any figures. There is restoration at/near this horizontal crack. There is some restoration and retouch in the sky. There are some minor spots of retouch to parts of trees at center right and center right near edges of panel. Figures are essentially unrestored, apart from very slight (apparent) spotty retouch to part of Virgin's dress. The male saint is covered in residual varnish. Under varnish, we believe there is likely restoration to the large rock at left and in areas of the lower left quadrant of the panel. There also appears to be some retouch under varnish at lower right corner and to areas of trees at left. At lower left there is a thin horizontal surface crack to left of cherub at left. Descriptions provided in both printed and on-line catalogue formats do not include condition reports. 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. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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ATTRIBUTED TO ELIAS GOTTLOB HAUSSMANN, (GERMAN 1695-1774), JOHANN SEBASTIAN BACH

Lot 169: ATTRIBUTED TO ELIAS GOTTLOB HAUSSMANN, (GERMAN 1695-1774), JOHANN SEBASTIAN BACH

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Description: ATTRIBUTED TO ELIAS GOTTLOB HAUSSMANN (german 1695-1774)/span JOHANN SEBASTIAN BACH Oil on canvas 31 7/8 x 25 1/4 in. (81 x 64.1cm) provenance: /spanFrau Wilhelmine Burkhardt, Leipzig. Baron Hendrik Van Tuyll Van Serooskerken (Dr. Van Tuyll), Utrecht, Holland. Birmingham, Alabama, 1955/1956. (Possibly) Sotheby Parke Bernet, New York, sale of November 28, 1972, lot 114. exhibited:/span Toronto University, 1962-1966. literature:/span Dr. H.O.R Baron van Tuyll van Serooskerken, Probleme Des Bachportrats, Utrecht, 1956, pp. 85. Urnold Schering, Bach Jahrbuch Leipzig, 1914, numbers 1, 4 and 5, illustrated. note:/span Haussmann was a German court painter and the official Leipzig portraitist after 1720. While lesser known today - his paintings rarely appear on the secondary market - he is best known for his half-length portrait(s) of Johann Sebastian Bach wearing an open jacket and holding the 'Triplex Canon.' There are various opinions as to how many Haussmann portraits of the famed German composer were executed. There are believed to have been as many as 12 such Haussmann portraits. It is worth noting that some of these portraits may be given to Haussmann, while some may only be attributed to Haussmann. The best known such portrait, traditionally thought to be the prototype version is in the Altes Rathaus, Leipzig, painted in 1746. The latter is signed and dated "EG HauBmann pinxit 1746" on the verso (prior to the canvas being lined). The 12 Haussmann Bach portraits Van Tuyll cites are (Ibid., pp. 85-6): We do not know if all these are painted by or attributed to Haussmann. 1. The Leipzig portrait, noted above. 2. Portrait owned by William Scheide, Princeton, New Jersey. 3. Portrait lost or destroyed during World War II. 4. The present portrait owned by Dr. Hendrik Van Tuyll. 5. Portrait from Frankfurt, Germany collection in 1914; then owned by Paul Hirsch, Cambridge, England, 1956. 6. Portrait in The Musikbibliothek Peters, Leipzig, Germany. 7. Portrait in The City Museum, Erfurt, Germany. 8. Portrait owned by Mrs. E.M. Reisenberg, New York. 9. Portrait in The Bachhauses, Eisenach, Germany. 10. Portrait owned by Paul Bach, Eisenach, Germany. 11. Portrait lost or destroyed during World War II. 12. Portrait owned by Dr. Walter R. Volbach, Fort Worth Texas. The Haussman Bach portrait in the Altes Rathaus, Leipzig (Van Tuyll number 1) has an unclear history, apparently once in the possession of (Wilhelm) Friedemann Bach - the oldest son of Johann Sebastian Bach - from whose family it passed to the cantor August Eberhard Muller. He in turn, donated the portrait to the museum in Leipzig (J.G. Stallbaum, Osterprogramm der Thomasschule, 1852). The portrait underwent a series of restorations from 1852 to 1913, undertaken by several different restorers. The painting was initially 'freshened up' (by an undocumented restorer). It was next restored about 1879 by Friedrich Preller the Younger, a Dresden landscape painter who heavily restored and overpainted it. In the 1890s, a Berlin restorer, *Schonfelder cleaned the painting removing Preller's work. The most notable restoration was completed in 1913 by the Leipzig painter Walter Kuhn, which coincided with the year in which the painting is documented as having been presented for permanent loan to the museum in Leipzig. Kuhn's cleaning of the portrait revealed Haussmann's once hidden signature and date, along with the additional discovery that Bach's hand and manuscript were originally in another position - all of which had been obscured by the prior restoration campaigns. The chief proponent supporting the view that the Leipzig Bach is the original Haussmann masterpiece upon which other such portraits were based was Albrecht Kurzwelly, then director of the Leipzig Museum (Bach - Dokumente Supplement zu Johann Sebastian Bach Neue Ausgabe Samtlicher Werke Herausgegen vom Bach-Archiv, Leipzig, 1963) However, in 1960, the Dresden Institut fur Denkmalpflege dismissed the portrait's authenticity, a conclusion that has helped to fuel speculation about whether or not the 'original' Haussmann Bach is the Leipzig version. The Institut's conclusion - counter to Kurzwelly's - relegated the Leipzig portrait to being a secondary version of a missing original prototype. The Dresden Institut's conclusion is supported by the following considerations: 1. The Van Tuyll Bach has several visual features present in the Leipzig Bach prior to its first being restored; 2. Walter Kuhn had familiarity with the Van Tuyll Bach and is believed to have relied upon the latter as the template for his restoration of the Leipzig portrait; 3. Van Tuyll's Bach was mistakenly reproduced - instead of the Leipzig Bach - in the fourth and fifth editions of Albert Schweitzer's J.S. Bach, London, 1922. This same mix-up of the Van Tuyll and Leipzig portraits occurred in the Bach biographies of Rudolf Steglich (Potsdma, 1935) and A-E Cherbuliez (Olten, 1946); 4. After 1956, the art expert and historian Dr. M.J. Friedlander stated that Van Tuyll's portrait was a "valuable work of about 1750 by an accomplished German painter," further suggesting that this portrait was either an authentic copy from Haussmann's studio or an autograph portrait by Haussmann himself (Urnold Schering, Bach Jahrbuch, Leipzig, 1914). Additional references concerning Haussmann and the Bach portraits include: Ernst Eigismund, "The Painter of Portraits E. Bach G. Haussmann, a Gedenkblatt," Illustrated Magazine for Culture, Science and Transportation, Leipzig, 1929; and 'The Portrait Painter Elias Gottlob Haussmann and His Time: the Bach - portraits,' Magazine for art4 (2), 1950, pp. 126-135.

Condition Report: The painting has been glue/paste lined onto a fabric support. The lining and painting are well-adhered. The original fabric support, as seen though losses along the left edge, is extremely fine. The ground is quite smooth and light in color. Corner draws are present in the upper right and left corners. The painting exhibits extensive mechanical crackle. A 1 inch scratch is seen in the face between the sitter's chin and hair. Some of the painting has begun to tent and lift away from the ground. Incipient flaking is seen in the face and hair. Examination in ultraviolet light confirms a history of flake loss. The varnish is a natural resin with a heavy green fluorescence. Retouching is particularly heavy in the coat, the upper left quadrant, the face and the cuff and hand. The inpainting has discolored with age and no longer matches the original paint in normal visible light. Descriptions provided in both printed and on-line catalogue formats do not include condition reports. 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. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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PETER VAN LINT, (FLEMISH 1609-1690), VIRGIN AND CHILD

Lot 170: PETER VAN LINT, (FLEMISH 1609-1690), VIRGIN AND CHILD

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Description: PETER VAN LINT (flemish 1609-1690)/span VIRGIN AND CHILD Oil on copper 18 1/2 x 14 1/4 in. (47 x 36.8cm) provenance: /spanPrivate Collection, Philadelphia. note:/span As typified by the present work, Van Lint painted in a classicizing manner, painting not only religious subject matter, but also mythological scenes and portraits. In 1633 he became a master in the Guild of Saint Luke and then travelled to Rome where he was commissioned to decorate the cathedral in Ostia and to fresco the Cibo family chapel in Santa Maria del Popolo. He was also highly regarded as a draftsman, working mainly in chalk. We wish to thank Jan Kosten and Fred G. Meijerof the Rijksbureau Voor Kunthistorische Documentatie for authenticating this painting on the basis of photographs.

Condition Report: Very good overall condition, with no evidence of restoration under u.v. light, and with some uneven/residual varnish - including some streaky areas at bottom edge of painting. There are some surface abrasions at outer left edge (from frame). As seen in the catalogue photo, at top edge of painting at upper center right in part of clouds there is a small dark area: we do not believe this is restoration. Descriptions provided in both printed and on-line catalogue formats do not include condition reports. 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. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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JEAN-BAPTISTE GREUZE, (FRENCH 1725-1805), PORTRAIT OF A LADY

Lot 171: JEAN-BAPTISTE GREUZE, (FRENCH 1725-1805), PORTRAIT OF A LADY

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Description: JEAN-BAPTISTE GREUZE (french 1725-1805)/span PORTRAIT OF A LADY Oil on canvas, painted in the oval 24 1/2 X 19 1/2 in. (62.2 x 49.5cm) Painted circa 1765-1770 provenance: /spanProperty of an English Gentleman. literature:/span J. Martin, C. Masson, Catalogue Raisonné de l'œuvre peint et dessiné de Jean-Baptiste Greuze. C. Mauclair, Jean-Baptiste Greuze, Paris, 1906, no. 1104, as 'Portrait of Madame du Barry.' E. Munhall, Jean-Baptiste Greuze/1725-1805, exh. cat., Hartford, CT, 1976, no. 74 as 'Portrait of Madame du Barry.' note:/span A letter from Edgar Munhall dated August 15, 2012 discussing this painting will accompany this lot. According to Munhall, the present lot is typical of a genre of portraiture favored by Greuze, in which women are presented in the intimacy of their toilette - informally dressed and caught off-guard. For a related Greuze portrait, please see 'Portrait of Marie-Jeanne Becu, Comtesse du Barry', painted circa 1770 (Wildenstein & Co., New York)

Condition Report: This painting has been glue/paste lined. The lining and original painting are well adhered to one another. The original fabric support has an old, now mended, complex tear located approximately V: 4 inches H: 14 inches from the lower left edge. Each leg of the tear measures approximately 1 1/2 inches. The paint layer exhibits a moderate amount of very fine mechanical/age crackle. The painting has some old losses that are outside the image area and some overall abrasion to the paint layer. The varnish layer is transparent and only slightly discolored. Examination in ultraviolet light indicates that an earlier, possibly original natural resin varnish was thinned during cleaning. The uppermost varnish appears to be a synthetic resin. The retouching is quite restrained and of high quality. Inpainting is found lightly scattered in the background, on the sitter's proper right arm and wrist, in a small spot on the forehead and at the tear. Descriptions provided in both printed and on-line catalogue formats do not include condition reports. 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. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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FOLLOWER OF JACQUES COURTOIS, (FRENCH 1621-1676), CAVALRY SKIRMISH

Lot 172: FOLLOWER OF JACQUES COURTOIS, (FRENCH 1621-1676), CAVALRY SKIRMISH

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Description: FOLLOWER OF JACQUES COURTOIS (french 1621-1676)/span CAVALRY SKIRMISH Oil on canvas 8 5/8 x 16 in. (14.3 x 40.6cm) provenance: /spanThe Estate of Palmer Brown.

Condition Report: Painting is relined; under u.v. light it is somewhat difficult to accurately decipher. There are some varnish inconstancies. There is surface craquelure, mainly to figures and horses. There is a missing paint chip at upper left, and mechanical damage/abrasions/losses to outer edges of canvas. There is likely restoration to central figure on horseback as figure and horse have surface losses of paint associated with craquelure. The lower approx. right quarter of the painting likely also has restoration to parts of horses and figures. Descriptions provided in both printed and on-line catalogue formats do not include condition reports. 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. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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FOLLOWER OF GASPARD DUGHET CALLED 'GASPARD POUSSIN', (FRENCH 1615-1675), TRAVELLERS IN AN ITALIANATE LANDSCAPE

Lot 173: FOLLOWER OF GASPARD DUGHET CALLED 'GASPARD POUSSIN', (FRENCH 1615-1675), TRAVELLERS IN AN ITALIANATE LANDSCAPE

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Description: FOLLOWER OF GASPARD DUGHET CALLED 'GASPARD POUSSIN' (french 1615-1675)/span TRAVELLERS IN AN ITALIANATE LANDSCAPE Inscribed 'Gaspd. Poussin' verso, oil on canvas 14 3/8 x 18 3/4 in. (36.5 x 47.6cm) provenance: /spanThe Estate of Palmer Brown.

Condition Report: Relined and in poor overall condition with extensive skinning (overcleaning) and restoration - mostly in the sky. The lower portion of the canvas has some uneven/residual varnish, craquelure, skinning and possibly some restoration. Descriptions provided in both printed and on-line catalogue formats do not include condition reports. 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. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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MANNER OF CHARLES FRANÇOIS LACROIX, (FRENCH BORN CIRCA 1700-1782), FISHERMEN ALONG THE SHORE and UNLOADING CARGO

Lot 174: MANNER OF CHARLES FRANÇOIS LACROIX, (FRENCH BORN CIRCA 1700-1782), FISHERMEN ALONG THE SHORE and UNLOADING CARGO

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Description: MANNER OF CHARLES FRANÇOIS LACROIX (french born circa 1700-1782)/span FISHERMEN ALONG THE SHORE and UNLOADING CARGO Pair oils on canvas 19.5 x 24 in. (49.5 x 61cm) (each) (2) provenance: /spanPrivate Collection, Alabama.

Condition Report: Pair oils - likely painted in the late 19th century; canvases are not relined; surfaces of canvas with fairly extensive craquelure and stretcher bar marks, along with some uneven rippling of canvases. The paintings are in need of cleaning. The painting with figures loading barrel has large patch verso with associated restoration on corresponding area on front of painting and scattered retouch. The other painting with tower at right has more prominent spotty fill in sky and water. Descriptions provided in both printed and on-line catalogue formats do not include condition reports. 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. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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FOLLOWER OF NOËL NICOLAS COYPEL, (FRENCH 1690-1734), THE BIRTH OF VENUS

Lot 175: FOLLOWER OF NOËL NICOLAS COYPEL, (FRENCH 1690-1734), THE BIRTH OF VENUS

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Description: FOLLOWER OF NOËL NICOLAS COYPEL (french 1690-1734)/span THE BIRTH OF VENUS Oil on canvas, painted in the oval 32 3/8 x 25 5/8 in. (82.2 x 65.1cm) provenance: /spanSotheby Parke Bernet, New York, sale of June 18, 1974, lot 31 as 'Noel Coypel'. Private Collection, The Bronx, New York. exhibited:/span Loch Haven Art Center, Orlando, Florida, April 1973. Museum of Fine Arts, St. Petersburg, Florida, June 1973.

Condition Report: Painting is in generally good overall condition apart from being relined and likely skinned (overcleaned). Under u.v. light there is an approx. 1/4 x 1/4 inch round area of restoration in background at upper center left, very minor localized retouch to one spot at outer center left edge and some minor restoration under the armpit of woman, associated with some pronounced craquelure at part of woman's right torso (viewer's left). The canvas has other areas with craquelure. Descriptions provided in both printed and on-line catalogue formats do not include condition reports. 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. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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CIRCLE OF JOSEPH MARIE VIEN, (FRENCH 1716-1809), ALLEGORY OF THE HARVEST

Lot 176: CIRCLE OF JOSEPH MARIE VIEN, (FRENCH 1716-1809), ALLEGORY OF THE HARVEST

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Description: CIRCLE OF JOSEPH MARIE VIEN (french 1716-1809)/span ALLEGORY OF THE HARVEST Oil on canvas 32 1/4 x 26 1/4 in. (81.9 x 66.7cm) provenance: /spanSotheby Parke Bernet, New York, sale of Important Old Master Paintings, June 4, 1980, lot 108 as 'School of Jean-Marc Nattier.' Private Collection, The Bronx, New York. note:/span According to frame plaque, this painting is a portrait of a lady, said to be the Duchess de Berry.

Condition Report: The painting has been glue/paste lined to a fabric support. During this process the painting appears to have been enlarged by extending the top and left tacking edges. The lining is stable and well adhered to the painting. The painting exhibits extensive mechanical crackle in primarily a stretching tension pattern. There is evidence of cupping of the paint layer that has been stabilized with lining. Examination in both normal visible and ultraviolet light indicates a moderate amount of previous loss and some abrasion, especially in the yellow garment. The retouching is careful and well executed. The top and left edges are extensively retouched as they have been extended. Retouching is generally heavier in the lower third of the painting, in the sitter's proper left wrist. The varnish appears to be a synthetic applied over an older, natural resin varnish that was thinned and not removed in the darker areas. Examination in ultraviolet light confirms what is visible in normal light. The varnish is an undiscolored, highly saturating natural resin Descriptions provided in both printed and on-line catalogue formats do not include condition reports. 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. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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MANNER OF FRANÇOIS BOUCHER, (FRENCH 1703-1770), YOUNG LOVERS

Lot 177: MANNER OF FRANÇOIS BOUCHER, (FRENCH 1703-1770), YOUNG LOVERS

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Description: MANNER OF FRANÇOIS BOUCHER (french 1703-1770)/span YOUNG LOVERS Oil on panel 38 1/2 x 49 in. (97.8 x 124.5cm) provenance: /spanProperty from the Jessie Ball Dupont Trust.

Condition Report: Entire canvas has very pronounced craquelure thoughout; otherwise canvas is not relined and we see no evidence of restoration under u.v. light. Descriptions provided in both printed and on-line catalogue formats do not include condition reports. 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. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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MANNER OF FRANÇOIS BOUCHER, (FRENCH 1703-1770), THE FLOWER GARLAND

Lot 178: MANNER OF FRANÇOIS BOUCHER, (FRENCH 1703-1770), THE FLOWER GARLAND

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Description: MANNER OF FRANÇOIS BOUCHER (french 1703-1770)/span THE FLOWER GARLAND Oil on canvas 38 1/2 x 49 1/2 in. (97.8 x 125.7cm) provenance: /spanProperty from the Jessie Ball Dupont Trust.

Condition Report: Relined; in need of cleaning; areas with pronounced surface craquelure and scattered missing chips of paint, including at upper left, inside the outer left edge and to the tree at far left. In these areas the surface of the canvas has instabilities. Under u.v. light we note that many of the areas of the painting - including outlines/parts of figures heads, tree at right and parts of foreground – appear darker vis-à-vis surrounding areas. We think these darker hues under u.v. are due to the pigments used, and not due to restoration. There is minor, precise retouch to boy's face and nose. Descriptions provided in both printed and on-line catalogue formats do not include condition reports. 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. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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FOLLOWER OF FRANÇOIS BOUCHER, (FRENCH 1703-1770), LES AMUSEMENTS D'HIVER

Lot 179: FOLLOWER OF FRANÇOIS BOUCHER, (FRENCH 1703-1770), LES AMUSEMENTS D'HIVER

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Description: FOLLOWER OF FRANÇOIS BOUCHER (french 1703-1770)/span LES AMUSEMENTS D'HIVER Oil on canvas 29 3/8 x 39 1/2 in. (74.6 x 100.3cm) provenance: /spanChristie's, New York, sale of Old Master Paintings, November 14, 1979, lot 149. Private Collection, The Bronx, New York. note:/span This subject was engraved by Jean Daulle (1703-1763) in 1756 after an oil on canvas, 'Madame De Pompadour as Winter' from the 'Four Seasons' suite by Boucher painted for the Marquis de Pompadour in 1755, presently in the Frick Collection, New York.

Condition Report: Relined; with areas of both retouch and restoration, mostly to the background, parts of the foreground and parts of the figures; there is also some visible skinning (overcleaned areas). Descriptions provided in both printed and on-line catalogue formats do not include condition reports. 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. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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ATTRIBUTED TO CHARLES BEAUBRUN, (FRENCH 1604-1692), DUCHESSE DE LA VALLIÈRE

Lot 180: ATTRIBUTED TO CHARLES BEAUBRUN, (FRENCH 1604-1692), DUCHESSE DE LA VALLIÈRE

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Description: ATTRIBUTED TO CHARLES BEAUBRUN (french 1604-1692)/span DUCHESSE DE LA VALLIÈRE Inscribed verso in French, oil on canvas 32 1/4 x 25 3/4 in. (81.9 x 65.4cm) provenance: /spanChristie's, New York, Sale of Old Master Paintings, March 15, 1979, lot 19. Private Collection, The Bronx, New York.

Condition Report: Painting is relined and there is restoration to parts of the foreground, background, and parts of woman's neck, head, face, lips, and a smaller amount of restoration to parts of arms, dress and velvet area at right. The cherub and surrounding areas are heavily restored. Descriptions provided in both printed and on-line catalogue formats do not include condition reports. 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. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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HUBERT ROBERT, (FRENCH 1733-1808), LAVANDIÈRES AT A STREAM, IN A CLASSICAL LANDSCAPE WITH RUINS

Lot 181: HUBERT ROBERT, (FRENCH 1733-1808), LAVANDIÈRES AT A STREAM, IN A CLASSICAL LANDSCAPE WITH RUINS

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Description: HUBERT ROBERT (french 1733-1808)/span LAVANDIÈRES AT A STREAM, IN A CLASSICAL LANDSCAPE WITH RUINS Oil on canvas 29 7/8 x 32 3/4 in. (75.6 x 83.2cm) provenance: /spanPrivate Collection, New Jersey. note:/span This painting is to be included in the catalogue critique of the oil paintings of Hubert Robert being prepared at The Wildenstein Institute, Paris. An Avis d'Inclusion (Statement of Inclusion) from The Wildenstein Institute will accompany this lot.

Condition Report: This painting has been glue lined to a fabric support. The support is now stiff and somewhat slack and dished. The painting is covered with odd, olive green strokes on the surface of the painting. These appear to be discolored oil retouching from an early restoration. They probably matched the paint in the sky when first applied. The discolored inpainting could be removed by a qualified conservator. The painting is otherwise in very good condition. Abrasion to the paint layer is minimal as are old losses. Examination in UV indicated that the present varnish is a synthetic. Earlier cleaning concentrated on the sky and lighter colored paints leaving a thin coat of varnish elsewhere. The varnish is very glossy and unevenly applied, but not discolored. Descriptions provided in both printed and on-line catalogue formats do not include condition reports. 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. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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CIRCLE OF NICOLAS-RENÉ JOLLAIN THE YOUNGER, (FRENCH 1732-1804), BACCHUS AND ARIADNE

Lot 182: CIRCLE OF NICOLAS-RENÉ JOLLAIN THE YOUNGER, (FRENCH 1732-1804), BACCHUS AND ARIADNE

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Description: CIRCLE OF NICOLAS-RENÉ JOLLAIN THE YOUNGER (french 1732-1804)/span BACCHUS AND ARIADNE Oil on canvas 45 1/4 x 63 3/4 in. (114.9 x 161.9cm) provenance: /spanAn Estate, New Jersey.

Condition Report: This painting, originally executed on a fabric support, has been lined to Masonite. While the paint layer exhibits signs of previous cupping and tenting, the paint layer is now secure. Heavy and dark cracks are seen in much of the painting. These can be successfully inpainted by a qualified conservator. In fact, the visual impact of the painting would benefit from a careful cleaning. Examination in UV light indicates that any losses to original paint layer are minor. The upper most varnish is synthetic. It has applied over remnants of a natural resin varnish. Modern retouching is spotty. Some retouching reinforces dark areas and a few cracks have been inpainted. Descriptions provided in both printed and on-line catalogue formats do not include condition reports. 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. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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CIRCLE OF FRANCESCO FIERAVINO CALLED 'IL MALTESE', (ITALIAN CIRCA 1610-1670 ), STILL LIFE WITH SPANIEL ON A CUSHION, FRUIT IN A TAZZA

Lot 183: CIRCLE OF FRANCESCO FIERAVINO CALLED 'IL MALTESE', (ITALIAN CIRCA 1610-1670 ), STILL LIFE WITH SPANIEL ON A CUSHION, FRUIT IN A TAZZA

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Description: CIRCLE OF FRANCESCO FIERAVINO CALLED 'IL MALTESE' (italian circa 1610-1670 )/span STILL LIFE WITH SPANIEL ON A CUSHION, FRUIT IN A TAZZA, MIZED FLOWERS IN A VASE AND BIRD ON A LEDGE and; STILL LIFE WITH RABBIT, GILT BRONZE URN, MIXED FRUITS IN A BASKET AND CUP WITH A SAUCER ON A LEDGE Pair oils on canvas 34 1/2 x 45 1/4 in. (87.6 x 114.9cm) (each) (2) provenance: /spanThe Estate of John M. Seabrook, New Jersey.

Condition Report: Still Life with Rabbit - This painting has been wax lined onto a fabric support. It exhibits extensive mechanical/age crackle but is not flaking. A sigmoid crack from a blow is located V: 32 1/4 inches H: 31 1/4 inches from the lower left corner. The painting has been somewhat over-cleaned resulting in abrasion to the paint layer. Scratches are present as well. Examination in ultraviolet light indicates the presence of synthetic resin varnish and a highly retouched paint layer. It is unclear whether some of the areas of retouching are in areas of old tears or merely replace paint that had been scratched. Still Life with Spaniel - This painting has been wax lined onto a fabric support. Old losses along the lower edge and in the lower and upper left corners may be in the paint layer or may extend to the original fabric support. The presence of the lining makes it difficult to discern. The painting exhibits extensive mechanical/age crackle but not flaking. The painting has been over-cleaned resulting in abrasion to the paint layer. The paint in the peaches and grapes appears to be either faded or to have lost some glazes. As is common in paintings of this age, the green color in the leaves has become black. Scratches are present as well. Examination in ultraviolet light indicates the presence of synthetic resin varnish and a highly retouched paint layer. It is unclear whether some of the areas of retouching are in areas of old tears or merely replace paint that had been scratched. Descriptions provided in both printed and on-line catalogue formats do not include condition reports. 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. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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MANNER OF TOBIAS STRANOVIUS, (GERMAN 1684-DIED AFTER 1724), MONKEY WITH OVERTURNED BASKET OF FRUIT, AND GARDENS WITH FOUNTAIN IN THE DI

Lot 184: MANNER OF TOBIAS STRANOVIUS, (GERMAN 1684-DIED AFTER 1724), MONKEY WITH OVERTURNED BASKET OF FRUIT, AND GARDENS WITH FOUNTAIN IN THE DI

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Description: MANNER OF TOBIAS STRANOVIUS (german 1684-died after 1724)/span MONKEY WITH OVERTURNED BASKET OF FRUIT, AND GARDENS WITH FOUNTAIN IN THE DISTANCE Oil on canvas 42 x 39 1/2 in. (106.7 x 100.3cm) provenance: /spanGeorge Subkoff Antiques, Ltd., Westport, Connecticut. Private Collection, Rhode Island.

Condition Report: Descriptions provided in both printed and on-line catalogue formats do not include condition reports. 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. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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MANNER OF JAN VAN HUYSUM, (DUTCH 1682-1749), MIXED FLOWERS WITH FRUITS IN A VASE UPON A LEDGE

Lot 185: MANNER OF JAN VAN HUYSUM, (DUTCH 1682-1749), MIXED FLOWERS WITH FRUITS IN A VASE UPON A LEDGE

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Description: MANNER OF JAN VAN HUYSUM (dutch 1682-1749)/span MIXED FLOWERS WITH FRUITS IN A VASE UPON A LEDGE Oil on canvas 31 x 24 in. (78.7 x 61cm) provenance: /spanPrivate Collection, Texas.

Condition Report: Painting has a stiff relining; under u.v. light there appear to be localized areas with generally minor retouch; the minor hue variations seen under u.v. are, in our opinion, the result of varnish inconsistencies, rather than restoration. There are localized areas of crazing – including at upper center left - and also areas with heavier alligatoring – at lower center in the vase. At upper right in background, there is a small tear in the canvas, roughly lower-case 'H' in shape, approx. 2 inches long. Overall the painting likely needs a cleaning and the surface appears somewhat flattened (presumably a result of the lining). Descriptions provided in both printed and on-line catalogue formats do not include condition reports. 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. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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AMALIE KAERCHER, (GERMAN ACT. 1860-1926), STILL LIFE OF MIXED FLOWERS AND INSECTS ON A MOSSY BANK

Lot 186: AMALIE KAERCHER, (GERMAN ACT. 1860-1926), STILL LIFE OF MIXED FLOWERS AND INSECTS ON A MOSSY BANK

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Description: AMALIE KAERCHER (german act. 1860-1926)/span STILL LIFE OF MIXED FLOWERS AND INSECTS ON A MOSSY BANK Signed 'Amelie Kaercher' bottom center left, oil on canvas 15 3/4 x 12 7/8 in. (40 x 33cm) provenance: /spanPrivate Collection, Pennsylvania.

Condition Report: Relined; generally very good condition apart from some visible craquelure and minor surface scratches in upper portion of canvas. Near the top part of painting in area of background there are brownish surface discolorations - likely a foreign surface substance (?) rather than restoration. Descriptions provided in both printed and on-line catalogue formats do not include condition reports. 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. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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ATTRIBUTED TO GASPAR PIETER VERBRUGGEN THE YOUNGER, (FLEMISH 1664-1730), FLORAL GARLANDS ADORNING AN URN UPON A LEDGE

Lot 187: ATTRIBUTED TO GASPAR PIETER VERBRUGGEN THE YOUNGER, (FLEMISH 1664-1730), FLORAL GARLANDS ADORNING AN URN UPON A LEDGE

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Description: ATTRIBUTED TO GASPAR PIETER VERBRUGGEN THE YOUNGER (flemish 1664-1730)/span FLORAL GARLANDS ADORNING AN URN UPON A LEDGE Oil on canvas 52 1/2 x 39 1/2 in. (133.4 x 102cm) provenance: /spanPrivate Collection, Florida.

Condition Report: In generally poor overall condition; relined, with a number of either canvas tears or very severe cracking which are very evident and have associated paint loss and surface instabilities. The painting is largely covered in old green varnish, but areas of retouch and restoration are still visible under u.v. light. Near top of painting, and as somewhat visible in catalogue photo, there are several tears or deep cracks in the canvas, including one approx. 7 inches long, one approx. 8 inches long and one approx. 20 inches long. While we do not see evidence of retouch associated with these cracks or tears, they are highly visible and have associated missing paint chips and paint surface instabilities. There are similar cracks or tears in canvas at areas of the bottom and center of painting. At center left there appears to be extraneous white chalk marks (origins unknown) and at upper right and part of lower right edges, the canvas has separated from the stretcher. Particularly at upper right the canvas is protruding outward and also coming out of the frame. Overall, the flowers appear under u.v. light to be largely unrestored, with the largest areas of restoration in right part of vase and to left of vase at lower center left. There are additional scratches, surface abrasions and localized crazing. We believe painting is in need of a cleaning. Descriptions provided in both printed and on-line catalogue formats do not include condition reports. 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. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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MANNER OF MARIO NUZZI, CALLED 'MARIO DEI FIORI', (ITALIAN BORN CIRCA 1603-1673), LILIES, CARNATIONS, TULIPS, ANEMONIES, MORNING GLORY

Lot 188: MANNER OF MARIO NUZZI, CALLED 'MARIO DEI FIORI', (ITALIAN BORN CIRCA 1603-1673), LILIES, CARNATIONS, TULIPS, ANEMONIES, MORNING GLORY

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Description: MANNER OF MARIO NUZZI, CALLED 'MARIO DEI FIORI' (italian born circa 1603-1673)/span LILIES, CARNATIONS, TULIPS, ANEMONIES, MORNING GLORY, PEONIES AND OTHER FLOWERS IN A SCULPTED URN ON A STONE LEDGE Oil on canvas 37 1/2 x 19 in. (95.3 x 48.3cm) provenance: /spanChristie's New York, sale of October 7, 1993, lot 74. Acquired by the present owner from the above sale. Private Collection, The Bronx, New York.

Condition Report: Re-lined. Some apparent retouch in dark passages in center of painting, also in parts of the urn. Other minor areas of retouch to flower center left and in dark background top right. Some minor flakes of paint loss to left of central largest white flowers. Generally in good condition. Descriptions provided in both printed and on-line catalogue formats do not include condition reports. 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. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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JEANNE MARIE JOSÉPHINE HELLEMANS, (FLEMISH 1796-1837), PARROT TULIPS, ROSES AND OTHER FLOWERS IN A BASKET UPON A STONE LEDGE

Lot 189: JEANNE MARIE JOSÉPHINE HELLEMANS, (FLEMISH 1796-1837), PARROT TULIPS, ROSES AND OTHER FLOWERS IN A BASKET UPON A STONE LEDGE

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Description: JEANNE MARIE JOSÉPHINE HELLEMANS (flemish 1796-1837)/span PARROT TULIPS, ROSES AND OTHER FLOWERS IN A BASKET UPON A STONE LEDGE Signed and dated 'J. le Hellemans 1828' lower center, oil on panel 22 3/8 x 16 3/4 in. (56.8 x 42.5cm) provenance: /spanPrivate Collection, Pennsylvania. note:/span Helleman's œuvre was comprised mainly of ornate still lifes of mixed flowers, often paired with fruit, all on a variegated stone or marble ledge. Paintings by Hellemans on the secondary market are relatively rare and are thematically grounded in the compositions of 17th century Dutch and Flemish still lifes of the so-called 'Golden Age,' in which themes such as vanitas (the transient nature of life) and pronkstilleven (an ostentatious still life) are expressed pictorially in compositions that emphasize optical fidelity, technical skill and texture.

Condition Report: This painting is painted on a chamfered wood panel that is composed of two boards. The boards are of approximately equal size and the join is quite clean and straight. A slight convex warp is evident. The panel shows little wear and no insect damage. Three man-made holes are present in the upper center of the verso. The paint is in excellent condition with a very fine overall mechanical crackle. There is evidence of prior and current flaking at the join and slight abrasion from the frame at the right edge. The varnish is matte but transparent with no discoloration and excellent saturation. Examination in ultraviolet light indicates the presence of a thin, natural resin varnish. The only inpainting or loss is at the join between the two halves of the panel. Descriptions provided in both printed and on-line catalogue formats do not include condition reports. 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. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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ITALIAN SCHOOL, (19TH CENTURY), ALLEGORIES OF MUSIC

Lot 190: ITALIAN SCHOOL, (19TH CENTURY), ALLEGORIES OF MUSIC

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Description: ITALIAN SCHOOL (19th century)/span ALLEGORIES OF MUSIC Each inscribed verso, 'Cherub by Domenico / Bologna / copied by P. Tossi,' pair oils on board 8 5/8 x 6 3/4 in. (21.9 x 17.1cm) (each) (2)

Condition Report: Tamourine: some minor drips of foreign substance seen under u.v. light; discolored varnish at top edge of painting. Lute: some restoration in parts of sky, landscape and possible restoration at lower left. Descriptions provided in both printed and on-line catalogue formats do not include condition reports. 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. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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FOLLOWER OF GUIDO RENI, (ITALIAN 1575-1642), FORTUNE

Lot 191: FOLLOWER OF GUIDO RENI, (ITALIAN 1575-1642), FORTUNE

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Description: FOLLOWER OF GUIDO RENI (italian 1575-1642)/span FORTUNE Oil on canvas, oval 63 5/8 x 48 in. (161.6 x 121.9cm) provenance: /spanAn Estate, Pennsylvania.

Condition Report: Descriptions provided in both printed and on-line catalogue formats do not include condition reports. 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. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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NORTHERN ITALIAN SCHOOL, (19TH CENTURY), THE PENITENT MAGDALENE

Lot 192: NORTHERN ITALIAN SCHOOL, (19TH CENTURY), THE PENITENT MAGDALENE

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Description: NORTHERN ITALIAN SCHOOL (19th century)/span THE PENITENT MAGDALENE Oil on canvas, framed in the oval 21 3/4 x 17 in. (55.2 x 43.2cm) provenance: /spanUniversity of Pennsylvania Art Collection, gift of Dr. Thomas W. Evans. note:/span The University of Pennsylvania's Dental School is named after Dr. Thomas Evans.

Condition Report: Descriptions provided in both printed and on-line catalogue formats do not include condition reports. 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. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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AFTER GUIDO RENI, (ITALIAN 1575-1642), AURORA

Lot 193: AFTER GUIDO RENI, (ITALIAN 1575-1642), AURORA

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Description: AFTER GUIDO RENI (italian 1575-1642)/span AURORA Oil on canvas laid on masonite 26 1/4 x 57 1/4 in. (66.7 x 145.4cm) provenance: /spanPrivate Collection, New Jersey. note:/span The present painting repeats Reni's composition in the Casino Rospigliosi, Rome.

Condition Report: Descriptions provided in both printed and on-line catalogue formats do not include condition reports. 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. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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AFTER GIOVANNI FRANCESCO ROMANELLI, (ITALIAN 1610-1662), THE CUMAEAN SYBIL

Lot 194: AFTER GIOVANNI FRANCESCO ROMANELLI, (ITALIAN 1610-1662), THE CUMAEAN SYBIL

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Description: AFTER GIOVANNI FRANCESCO ROMANELLI (italian 1610-1662)/span THE CUMAEAN SYBIL oil on canvas 37 x 27 in. (94 x 68.6cm) provenance: /spanAn Estate, Pennsylvania. note:/span The present painting repeats Romanelli's composition in the Galleria Borghese, Rome.

Condition Report: Relined; restoration mostly to areas of figure and the tree at left; the restoration is likely under the varnish but is very apparent. Descriptions provided in both printed and on-line catalogue formats do not include condition reports. 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. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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FOLLOWER OF SALVATOR ROSA, (ITALIAN 1615-1673), BANDITTI AT REST BEFORE A CASTLE

Lot 195: FOLLOWER OF SALVATOR ROSA, (ITALIAN 1615-1673), BANDITTI AT REST BEFORE A CASTLE

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Description: FOLLOWER OF SALVATOR ROSA (italian 1615-1673)/span BANDITTI AT REST BEFORE A CASTLE Oil on canvas 37 3/4 x 32 7/8 in. (95.9 x 83.5cm) provenance: /spanThe Estate of Palmer Brown.

Condition Report: Descriptions provided in both printed and on-line catalogue formats do not include condition reports. 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. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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MANNER OF SALVATOR ROSA, (ITALIAN 1615-1673), BELISARIUS

Lot 196: MANNER OF SALVATOR ROSA, (ITALIAN 1615-1673), BELISARIUS

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Description: MANNER OF SALVATOR ROSA (italian 1615-1673)/span BELISARIUS Oil on canvas 18 1/8 x 13 1/2 in. (46 x 34.3cm) provenance: /spanPrivate Collection, Pennsylania. note:/span The present painting repeats Rosa's original composition, which was engraved in 1757 by Sir Robert Strange.

Condition Report: Descriptions provided in both printed and on-line catalogue formats do not include condition reports. 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. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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FOLLOWER OF POMPEO GIROLAMO BATONI, (ITALIAN 1708-1787), MINERVA

Lot 197: FOLLOWER OF POMPEO GIROLAMO BATONI, (ITALIAN 1708-1787), MINERVA

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Description: FOLLOWER OF POMPEO GIROLAMO BATONI (italian 1708-1787)/span MINERVA Oil on canvas 30 x 1/8 x 24 7/8 in. (76.5 x 63.2cm) provenance: /spanUniversity of Pennsylvania Art Collection, gift of Dr. Thomas W. Evans. note:/span The University of Pennsylvania's Dental School is named after Dr. Thomas Evans.

Condition Report: Descriptions provided in both printed and on-line catalogue formats do not include condition reports. 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. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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ITALIAN SCHOOL, (17TH-18TH CENTURY), THE SOLDIER'S WARNING

Lot 198: ITALIAN SCHOOL, (17TH-18TH CENTURY), THE SOLDIER'S WARNING

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Description: ITALIAN SCHOOL (17th-18th century)/span THE SOLDIER'S WARNING Oil on canvas 7 1/16 x 15 3/4 (17.9 x 40cm) provenance: /spanThe Estate of Palmer Brown.

Condition Report: Painting is relined; some retouch at lower right; otherwise some scuffing, paint chip losses, surface abrasions and imperfections. 'Skinning' has presumably caused darkened, thinned areas near center of canvas. There are several pinhead size losses at left. Descriptions provided in both printed and on-line catalogue formats do not include condition reports. 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. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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FOLLOWER OF ALESSANDRO MAGNASCO, (ITALIAN 1667-1745), THE SACRIFICE OF ISAAC; AND FIGURES IN A LANDSCAPE WITH FOOTBRIDGE

Lot 199: FOLLOWER OF ALESSANDRO MAGNASCO, (ITALIAN 1667-1745), THE SACRIFICE OF ISAAC; AND FIGURES IN A LANDSCAPE WITH FOOTBRIDGE

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Description: FOLLOWER OF ALESSANDRO MAGNASCO (italian 1667-1745)/span THE SACRIFICE OF ISAAC; AND FIGURES IN A LANDSCAPE WITH FOOTBRIDGE Pair oils on canvas 18 5/8 x 15 1/2 in. (47.3 x 39.4cm) (each) (2) provenance: /spanThe Estate of Palmer Brown.

Condition Report: Each painting is in generally poor overall condition, with extensive craquelure and surface instabilities – and some associated small missing paint chips. Each painting has a small patch on the verso. Each painting has scattered restoration, mainly in the sky, and to a lesser degree in parts of the landscape. The painting with The Sacrifice of Isaac has some apparent varnish blooms. Descriptions provided in both printed and on-line catalogue formats do not include condition reports. 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. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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FLEMISH SCHOOL, (18TH CENTURY), FIGURAL PROCESSION IN AN EXTENSIVE LANDSCAPE

Lot 200: FLEMISH SCHOOL, (18TH CENTURY), FIGURAL PROCESSION IN AN EXTENSIVE LANDSCAPE

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Description: FLEMISH SCHOOL (18th century)/span FIGURAL PROCESSION IN AN EXTENSIVE LANDSCAPE Oil on canvas 29 5/8 x 39 1/2 in. (75.2 x 100.3cm) provenance: /spanThe Estate of Palmer Brown.

Condition Report: Descriptions provided in both printed and on-line catalogue formats do not include condition reports. 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. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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FOLLOWER OF ANTONIO FRANCESCO PERUZZINI, (ITALIAN 1668-1724), TRAVELLERS ON A TRACK IN AN EXTENSIVE LANDSCAPE

Lot 201: FOLLOWER OF ANTONIO FRANCESCO PERUZZINI, (ITALIAN 1668-1724), TRAVELLERS ON A TRACK IN AN EXTENSIVE LANDSCAPE

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Description: FOLLOWER OF ANTONIO FRANCESCO PERUZZINI (italian 1668-1724)/span TRAVELLERS ON A TRACK IN AN EXTENSIVE LANDSCAPE Oil on canvas, unframed 19 3/8 x 25 in. (49.2 x 63.5cm) provenance: /spanPrivate Collection, The Bronx, New York.

Condition Report: Descriptions provided in both printed and on-line catalogue formats do not include condition reports. 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. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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ITALIAN SCHOOL, (19TH CENTURY), ROMAN CAMPAGNA WITH CATTLE AND SHEPHERDESS

Lot 202: ITALIAN SCHOOL, (19TH CENTURY), ROMAN CAMPAGNA WITH CATTLE AND SHEPHERDESS

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Description: ITALIAN SCHOOL (19th century)/span ROMAN CAMPAGNA WITH CATTLE AND SHEPHERDESS Oil on canvas 15 1/2 x 29 1/4 in. (39.4 x 74.3cm) provenance: /spanPrivate Collection, New Jersey.

Condition Report: Not lined; some stretcher bar marks; surface craquelure; minor chips of paint missing; some uneven cockling of canvas; otherwise, in very good original condition. Descriptions provided in both printed and on-line catalogue formats do not include condition reports. 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. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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