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Auction Description for Freeman's: International Sale: Old Masters Paintings, Drawings & Prints
Viewing Notes:
Exhibition: Friday October 5th, 10am-4:30pm Saturday October 6th, 12 noon-5pm Monday October 8th, 10am-4:30pm Tuesday October 9th, 10am-4:30pm Wednesday October 10th, 10am-4:30pm

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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AFTER TITIAN (TIZIANO VECELLI), (ITALIAN BORN CIRCA 1485-1576), A WOMAN WITH A MIRROR

Lot 203: AFTER TITIAN (TIZIANO VECELLI), (ITALIAN BORN CIRCA 1485-1576), A WOMAN WITH A MIRROR

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Description: AFTER TITIAN (TIZIANO VECELLI) (italian born circa 1485-1576)/span A WOMAN WITH A MIRROR Oil on canvas 32 1/4 x 25 1/2 in. (81.9 x 64.8cm) 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. The present painting repeats Titian's composition in the Musée du Louvre.

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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EMILIAN SCHOOL, (17TH CENTURY), SYBIL

Lot 204: EMILIAN SCHOOL, (17TH CENTURY), SYBIL

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Description: EMILIAN SCHOOL (17th century)/span SYBIL Oil on canvas 23 1/4 X 19 7/8 in. (59 x 50.5cm) provenance: /spanDorotheum German Collection Auction Vienna, sale of January 12, 2012, Lot 7901. Private Collection, Boston, Massachusetts.

Condition Report: Painting is relined; under u.v. light it appears to be in generally good overall condition – old varnish covering most of surface, but with some areas of restoration, none generally major. Restored areas include to part of back of headdress, and tiny amounts of restoration to top of figure's left eyelid and small part of chin. There is generally minor retouch at lower right corner and a spot in the foreground at bottom of canvas at lower center right. There is restoration to the outer left edge of canvas which is associated with damage and extensive crazing to the canvas along the outer left edge. While it is somewhat hard to read with accuracy under u.v. light, under the tablet and to part of hands there appears to be some restoration (under the varnish, it appears). Surface of canvas has some skinning, mainly to face. 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 TITIAN (TIZIANO VECELLI), (ITALIAN BORN CIRCA 1485-1576), VIOLANTE (LA BELLA GATTA)

Lot 205: AFTER TITIAN (TIZIANO VECELLI), (ITALIAN BORN CIRCA 1485-1576), VIOLANTE (LA BELLA GATTA)

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Description: AFTER TITIAN (TIZIANO VECELLI) (italian born circa 1485-1576)/span VIOLANTE (LA BELLA GATTA) Oil on canvas 26 5/8 x 20 in. (67.6 x 50.8cm) provenance: /spanPrivate Collection, Maryland. note:/span After the original in the Kunsthistoriches Museum, Vienna.

Condition Report: Poor overall condition; canvas is relined; there is extensive craquelure and crazing fill; there are varnish inconsistencies, but likely an area of restoration in background to right of head. 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 TITIAN (TIZIANO VECELLI), (ITALIAN BORN CIRCA 1485-1576), THE BACCHANAL OF THE ANDRIANS

Lot 206: AFTER TITIAN (TIZIANO VECELLI), (ITALIAN BORN CIRCA 1485-1576), THE BACCHANAL OF THE ANDRIANS

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Description: AFTER TITIAN (TIZIANO VECELLI) (italian born circa 1485-1576)/span THE BACCHANAL OF THE ANDRIANS Oil on canvas, 12 x 14 3/4 in. (30.5 x 37.5cm) provenance: /spanThe Estate of Joseph Pelt, Charlottesville, Virginia. note:/span The present work is a sketch after the original painting by Titian circa 1523-1524, in the Museo del Prado, Madrid.

Condition Report: Painting is relined; rippled areas of canvas; missing chips of paint with some associated surface instability seen at the upper center; there is a line of 'blanching' at left. Most of the painting is unrestored but there is some localized restoration including areas in the lower third of the painting, at upper center left and upper left, and to parts of the right outer edge. Most of the damage is 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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ATTRIBUTED TO FRANCESCO ALBANI, (ITALIAN 1578-1660), SAINT JOHN THE BAPTIST IN THE WILDERNESS

Lot 207: ATTRIBUTED TO FRANCESCO ALBANI, (ITALIAN 1578-1660), SAINT JOHN THE BAPTIST IN THE WILDERNESS

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Description: ATTRIBUTED TO FRANCESCO ALBANI (italian 1578-1660)/span SAINT JOHN THE BAPTIST IN THE WILDERNESS Oil on copper 13 1/2 x 11 in. (34.3 x 27.9cm) provenance: /spanSotheby's New York, sale of June 28, 2001, lot 118. Private Collection, Pennsylvania.

Condition Report: Painting has some scattered retouch and restoration, with the heaviest area of restoration at lower right corner and in other areas of the landscape. There is some generally minor retouch in areas of the sky. There is restoration to parts of the saint and to an area at back of lamb. 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, (17TH CENTURY), THE ANNUNCIATION

Lot 208: NORTHERN ITALIAN SCHOOL, (17TH CENTURY), THE ANNUNCIATION

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Description: NORTHERN ITALIAN SCHOOL (17th century)/span THE ANNUNCIATION Oil on canvas 10 1/8 x 13 1/8 in. (25.7 x 33.3cm) 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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CIRCLE OF CARLO MARATTA, (ITALIAN 1625-1713), ANTIOPE AND CUPID

Lot 209: CIRCLE OF CARLO MARATTA, (ITALIAN 1625-1713), ANTIOPE AND CUPID

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Description: CIRCLE OF CARLO MARATTA (italian 1625-1713)/span ANTIOPE AND CUPID Oil on canvas 25 1/2 x 19 1/4 in. (64.8 x 48.9cm)

Condition Report: Painting is relined; there are many areas of restoration and retouch. These restored areas include: restoration to parts of landscape and sky in upper portion of canvas, mostly, but not limited to, an L-shaped area at upper left, approx. 6 x 2 1/2 inches long. There is a repaired (apparent) tear approx. 5 1/4 inches long just within left edge, near center. There is restoration and retouched areas to Antiope and to cupid, and restoration in the area between the two figures. There is heavy restoration to part of Antiope's upper right arm. 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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ROMAN SCHOOL, (17TH CENTURY), BACCHUS AND ARIADNE

Lot 210: ROMAN SCHOOL, (17TH CENTURY), BACCHUS AND ARIADNE

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Description: ROMAN SCHOOL (17th century)/span BACCHUS AND ARIADNE Oil on canvas 26 x 34 in. (66 x 86.4cm) provenance: /spanPrivate Collection, Virginia.

Condition Report: Unframed; relined; poor overall condition. There is extensive restoration and retouch, including restoration to outer edges and associated areas, particularly at and above bottom edge of canvas, probable restored tears in canvas, mostly at left, extending through much of canvas, including through part of Bacchus, Ariadne and Leopard. Bacchus has lots of precise retouch, associated with a surface that has craquelure and cupping. Ariadne also has retouch, along with restored areas. There is also restoration to areas of foreground and trees. 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 AURELIANO MILANI, (ITALIAN 1675-1749), SEEKING ALMS

Lot 211: FOLLOWER OF AURELIANO MILANI, (ITALIAN 1675-1749), SEEKING ALMS

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Description: FOLLOWER OF AURELIANO MILANI (italian 1675-1749)/span SEEKING ALMS oil on canvas 37 x 40 in. (94 x 101.6cm) 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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MANNER OF GIACOMO FRANCESCO CIPPER, (ITALIAN 1670-1738), TWO PEASANT BOYS

Lot 212: MANNER OF GIACOMO FRANCESCO CIPPER, (ITALIAN 1670-1738), TWO PEASANT BOYS

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Description: MANNER OF GIACOMO FRANCESCO CIPPER (italian 1670-1738)/span TWO PEASANT BOYS Oil on canvas 43 7/8 X 34 in. (111.4 x 86.4cm) provenance: /spanPrivate Collection, 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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ANDREA LANZANI, (ITALIAN BORN CIRCA 1650-1712), CHRIST CROWNED WITH THORNS

Lot 213: ANDREA LANZANI, (ITALIAN BORN CIRCA 1650-1712), CHRIST CROWNED WITH THORNS

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Description: ANDREA LANZANI (italian born circa 1650-1712)/span CHRIST CROWNED WITH THORNS Oil on canvas 26 x 20 3/4 in. (66 x 52.7cm) provenance: /spanPrivate Collection, New York. note:/span Dr. Silvia Colombo has kindly confirmed the authenticity of this work on the basis of photographs. Christ Crowned with Thorns is a recurring theme in Milanese painting and this particular painting was no doubt inspired by Correggio's Ecce Homo in the National Gallery, London. The present painting compares to an Ecce Homo by Lanzani in the Collegiata di San Giovanni Battista, Morbegno, datable to around 1680. Recorded in the contents of the artist's studio upon his death was a half length Ecce Homo and this may well be the painting described: L. 192 (Colombo - Dall'Omo, Andrea Lanzani 1641-1712. Protagonista del barocchetto lombardo, Milano 2007, p. 143, 199 e 200). Thanks to Silvia A. Colombo for her help compiling the present entry. Works by Andrea Lanzani rarely appear at auction. A Milanese painter and draftsman, he studied with Carlo Maratta and has important works at the Schloss Galerie, Pommersfelden.

Condition Report: Relined; areas of somewhat extensive restoration, including retouch and restoration to areas of the background and figure. 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 GIORGIO PULLICINO, (MALTESE 1779-1851), THE PORT OF NAPLES AT DAWN

Lot 214: ATTRIBUTED TO GIORGIO PULLICINO, (MALTESE 1779-1851), THE PORT OF NAPLES AT DAWN

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Description: ATTRIBUTED TO GIORGIO PULLICINO (maltese 1779-1851)/span THE PORT OF NAPLES AT DAWN Inscribed 'Bay of Naples / ****' verso, oil on canvas 16 x 24 in. (40.6 x 61cm) provenance: /spanPrivate Collection, The Bronx, New York.

Condition Report: Not lined; visible craquelure; we note that the discolored area in the sky at upper right, visible in the catalogue photo, has since cleaned off the painting surface. The painting is largely in very good overall condition apart from a small area of restoration at center left in part of the water - with a corresponding repair on verso. There is some restoration at lower right in foreground. 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 ALBERTO CARLIERI, (ITALIAN 1672-DIED CIRCA 1720), A CAPRICCIO OF CLASSICAL RUINS WITH FIGURE BEFORE A STATUE OF HERCULES

Lot 215: ATTRIBUTED TO ALBERTO CARLIERI, (ITALIAN 1672-DIED CIRCA 1720), A CAPRICCIO OF CLASSICAL RUINS WITH FIGURE BEFORE A STATUE OF HERCULES

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Description: ATTRIBUTED TO ALBERTO CARLIERI (italian 1672-died circa 1720)/span A CAPRICCIO OF CLASSICAL RUINS WITH FIGURE BEFORE A STATUE OF HERCULES Oil on canvas 19 x 25 5/8 in. (48.2 x 65.1cm) provenance: /spanChristie's New York, sale of May 19, 1993, lot 95. Private Collection, The Bronx, New York.

Condition Report: Painting is relined; this painting is in generally good overall condition apart from some very specific, localized areas with some retouch and restoration. There is generally minor retouch to areas of the sky, small areas of the architecture and at lower bottom edge at left. There is some retouch at carved figure stone at lower center left and at right edge of base of Hercules sculpture. There is more pronounced restoration at upper center right to an area of part of square plinth atop columns and to an area at columns at right. Under u.v. light we see no evidence of restoration to 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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ATTRIBUTED TO GASPARE LANDI, (ITALIAN 1756-1830), HECTOR SCOLDING PARIS

Lot 216: ATTRIBUTED TO GASPARE LANDI, (ITALIAN 1756-1830), HECTOR SCOLDING PARIS

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Description: ATTRIBUTED TO GASPARE LANDI (italian 1756-1830)/span HECTOR SCOLDING PARIS Oil on canvas 58 x 80 1/2 in. (147.3 x 204.5cm) provenance: /spanFreeman's, Philadelphia, sale of December 10, 2000, lot 2. Private Collection, Philadelphia. note:/span A relatively obscure Neoclassical painter active in Piacenza and Rome, Landi served as president of the Accademia di San Luca in 1817. He is best known for painting 'Marriage of Abraham and Sarah' and 'Diomedes and Ulysses bearing off the Paladium', which originally hung in the Parmese Pinacoteca. Influenced by a renewed interest in classical antiquity and Greco Roman art that began in the mid-17th century, Neoclassical artists such as Pompeo Batoni - under whom Landi worked in Rome - painted historical/biblical figural compositions realistically rendered in a manner that eschewed earlier Baroque and Rococo principles.

Condition Report: This large painting is glue/paste lined onto a twill-weave fabric that may be cotton rather than the traditional linen. The painting has suffered from numerous, large and complex tears throughout as well as what appears to be a loss of canvas above and into Hector's hand. The retouching on all of these losses is careful and confined to the area of loss, but was done in such a manner as to blend from a distance without disguising the losses when viewed up close. This is a traditional Italian approach to retouching, especially on highly damaged paintings. The good news is that the paint itself is in very good condition. It has been nicely cleaned with no abrasion or damage to the existing original paint. Should one wish to bring the retouching to a higher level of invisibility, this could be done by a good conservator relatively quickly as the retouching there now would not need to be removed but could serve as an underlayer. Note that the minor areas of flaking paint are in the retouched areas. The original paint is not flaking. 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 DOMENICO FETI, (ITALIAN 1589-1624), DAVID WITH THE HEAD OF GOLIATH

Lot 217: ATTRIBUTED TO DOMENICO FETI, (ITALIAN 1589-1624), DAVID WITH THE HEAD OF GOLIATH

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Description: ATTRIBUTED TO DOMENICO FETI (italian 1589-1624)/span DAVID WITH THE HEAD OF GOLIATH Oil on canvas 62 x 42 3/4 in.(157.5 x 108.6cm) provenance: /spanJustin Pardi, Philadelphia, Pennsylvania. By descent in the family. Private Collection, Philadelphia, Pennsylvania. note:/span This heretofore unknown painting attributed to Feti is nearly identical to his 'David with the Head of Goliath' in The Royal Collection, Windsor, with other versions by Feti in the Akademie der Bildenden, Nuremberg, the Pushkin National Museum, Moscow, the Gallerie dell' Accademia, Venice and in the Gemaldegalerie, Dresden.

Condition Report: This large painting has an old re-lining and is mounted on its original stretcher. A somewhat vertical line parallel to the left edge may be an original seam in the fabric support, however it is covered on the verso by the stretcher member and cannot be confirmed. The fabric support is weak, brittle and slack on the stretcher. The painting exhibits several large, complex tears. One, measuring approximately 4 1/2 inches, is found in David's head and hat. Another is seen in the lower left quadrant of the painting, left of David's shin. It is U-shaped measuring approximately 1 3/4 inches long on the vertical sides and 1 inch horizontally. Just below is another complex tear, each leg of which measures approximately 2 inches long. A final K-shaped tear in the lower center measures approximately 1 1/2 inches on each leg. Despite the tears, paint and canvas loss is minimal. The ground color is dark as is typical of paintings of this era. The paint shows extensive mechanical/age crackle with associated cupping and some flaking. The flaking paint is largely confined to the edges of the tears and the darks. Flaking is seen in Goliath's hair, in the shadow of David's sleeve just below the horizon line and in his cloak at the right. Examination in ultraviolet light shows a natural resin varnish that was more vigorously removed in the whites than the darks and shadows. There is some old retouching. The examination in ultraviolet light was somewhat hindered as the surrounding area could not be made fully dark. Dark varnish remnants from an early cleaning remain in the interstices of the brushstrokes. 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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