Friday, January 20, 2017

Christie’s Impressionist & Modern Art Evening Sale on 28 February: Morisot, Monet, van Donge




 The Impressionist & Modern Art Evening Sale on 28 February will launch 20th-Century at Christie’s, a season of sales that take place from 28 February to 10 March 2017. The personal collection of the esteemed philanthropist and patron of the arts Barbara Lambrecht* will lead the sale. All proceeds from the sale of the collection will benefit the Rubens Prize Collection in the Museum of Contemporary Art Siegen**, Germany.

THE PERSONAL COLLECTION OF BARBARA LAMBRECHT

Barbara Lambrecht:

“I began my collection in the early 1970s and have lived with the Impressionist masterpieces, including works by the female artists Berthe Morisot and Eva Gonzalez, as well as striking examples of early Impressionism by Monet and the bold colours of Fauvists such as Dufy and van Dongen, all of which have brought me great joy. Art widens my horizon, and my paintings always allowed me to enter new worlds. I am delighted to offer future collectors an opportunity to appreciate them as much as I have over the years. All proceeds from the auction will contribute towards the future of the Rubens Prize Collection in the Museum of Contemporary Art in Siegen.”

With the sale of her personal collection, Barbara Lambrecht, who was awarded the Order of Merit of the Federal Republic of Germany in 2016, continues her profound and longstanding philanthropic engagement for social and educational projects, classical music, theatre and the arts. Her personal collection was carefully assembled during the 1970s & 1980s and presents paintings by Impressionist painters at critical turning points in their careers when they began to experiment with vantage points, painterly techniques and subject matter. The works will be on view at Christie’s King Street from 23 to 28 February 2017. Highlights will be on view in Hong Kong from 17 to 20 January 2017, Shanghai on 8 February and Beijing from 11 to 13 February 2017.

Two distinct conceptual strands can be identified within the collection: classic early Impressionism and the daring colour of the Fauves. Highlights of the collection include two important oils by Berthe Morisot, who, in an art world dominated by men, defiantly pursued a career as an artist and painted the world around her with constant innovation, expanding the boundaries both of artistic convention and of the prescribed roles of her gender.


Further highlights include Claude Monet’s Les Bords de la Seine au Petit-Gennevilliers (1874, estimate: £2,000,000-3,000,000), Les deux Anges by Kees van Dongen (1907-09, estimate: £400,000-600,000) and Pablo Picasso’s Lluis Alemany (1899-1900, estimate: £300,000-500,000), dating from the beginning of his career, just ahead of his first trip to Paris. Estimates range from £7,000 - £3,000,000, providing opportunities for collectors at all levels.

‘Berthe Morisot stands unrivalled’. This was the emphatic response from a critic upon seeing Morisot’s work at the Second Impressionist exhibition of 1876.


Berthe Morisot, Femme en noir, 1875, estimate: £600,000-800,000
Painted a year earlier, Femme en noir  also known as Avant le théâtre, was most likely included in this important exhibition. Depicting an elegant and fashionably attired young woman making her way to the theatre, this painting is one of only a few full-length portraits in Morisot’s oeuvre and is undoubtedly one of the most-celebrated works of her career. While Morisot and her Impressionist colleagues frequently depicted fashionably dressed women at the theatre or opera, seated in private boxes or presented against ornate backdrops, in the present work, the artist has removed all background detail, placing the model within an ambiguous setting. The viewer is then forced to focus solely on the figure herself – her expression, her costume and her idiosyncratic demeanour. With this unusual setting, Morisot has achieved a particularly novel and enigmatic vision of a woman.



In many ways a breakthrough work of the artist’s early career, Morisot held Femme et enfant au balcon (1872, estimate: £1,500,000-2,000,000) in such high regard that she executed a small copy of it in watercolour, which now resides in the Art Institute of Chicago. This was a particularly rare practice for Morisot who was dedicated to the spontaneous depiction of the world around her. By the time that she painted Femme et enfant au balcon, Morisot had grown extremely close to Édouard Manet who played a vital role in her early career, providing crucial encouragement in moments of uncertainty as she forged an independent identity as an artist. Exemplifying the artist’s nascent Impressionist style – she was a founding member of the Impressionist group and exhibited with them in all but one of the group exhibitions between 1874 and 1886 – Femme et enfant au balcon is composed with a combination of spontaneous, softly feathered brushwork and areas of fine, exquisite detail.



Painted in the immediate aftermath of the ground-breaking first Impressionist exhibition in 1874, Claude Monet’s Les Bords de la Seine au Petit-Gennevilliers (1874, estimate: £2,000,000-3,000,000) focuses on the idyllic, picturesque Parisian suburb of Petit-Gennevilliers, which sat on the opposite bank of the Seine to the artist’s adopted home of Argenteuil. Working alongside Pierre-Auguste Renoir and Édouard Manet, Monet produced a string of plein-air masterpieces over the course of this summer, inspired by the area’s timeless beauty, charming historical character, and lively nautical traffic that filled this stretch of the Seine. Focusing on the play of light, and the fleeting, ephemeral movement of the sky and river, the present composition is filled with swift, loose brushstrokes that convey a sense of the speed with which the artist rendered the scene, as he quickly translated the landscape as he saw it before him directly onto his canvas.



The two figures at the heart of Kees van Dongen’s early canvas Les deux Anges (1907-09, estimate: £400,000-600,000) exude a raw sensuality as their naked bodies are frozen in a moment of ecstatic movement, their torsos curving elegantly as they sway erotically to a rhythm. The artist elongates their figures, allowing them to stretch into elegant poses as they lift their arms above their heads, thus accentuating the willowy-character of their figures as they engage in an almost Dionysian dance. Van Dongen’s art at this time was dominated by such sensual, seductive female figures, with each of his depictions infused by a distinctively erotic tenor. The often explicitly sexual content was shocking to contemporary audiences and brought the artist a certain degree of notoriety as a painter of lustful sirens. One of the most striking elements of the present composition is the artist’s use of such bold, glowing colours, which seem to radiate from the surface of the canvas. The rich interplay of deep blues, vibrant reds and cool greens is used to great effect, as the vivid contrasts between these unmixed colours lends an extraordinarily powerful expressive quality to the composition, heightening the intensity of the erotic subject matter.

 Le Corbusier: Important Works from the Heidi Weber Museum Collection will also form a centrepiece of the Impressionist & Modern Art Evening Sale,.

Heidi Weber first met Le Corbusier in the summer of 1958 at Cap Martin in Southern France. This auspicious meeting marked the beginning of a close, collaborative and enormously productive partnership between the pair. With endless passion, determination and an unceasing enthusiasm, Weber embarked on a number of collaborative projects; from the incredibly successful industrial and commercial adaptation of his furniture designs, to publishing his graphic works, to nurturing and developing the market for Le Corbusier’s art, and finally to personally funding and constructing his last building – the Heidi Weber Museum Centre Le Corbusier in Zurich, Switzerland. Described variously as the ‘leading ambassador’, ‘spiritual heiress’ or ‘mentor’ of Le Corbusier, Heidi Weber was, in Le Corbusier’s own words, a ‘monster of perseverance, devotion and enthusiasm’.


Three oil paintings tracing Le Corbusier’s career from the 1920s to the 1940s will be offered alongside four works on paper from this significant Museum Collection. Weber developed an unparalleled collection of Le Corbusier’s work, amassing a comprehensive overview of his career. From the elegant, rigidly structured Purist compositions of the late 1910s and early 1920s, to the exuberant multi-hued compositions of his later years, the astonishing diversity that characterises Le Corbusier’s oeuvre can be seen in the selection of works that feature in the Impressionist & Modern Art Evening and Works on Paper Sales.

Although Le Corbusier regarded himself first and foremost as a plastic artist, he rarely exhibited this side of his practice, choosing instead to keep it hidden from critics and a wider public. One of the first to recognise the importance of his painting, drawing and sculpture, over the course of her life Weber dedicated herself to the promotion and dissemination of this aspect of his work. The selection presented in Le Corbusier: Important Works from the Heidi Weber Museum Collection demonstrates the range of Le Corbusier’s plastic oeuvre, and reveals an artist who constantly defied stylistic definition. Highlights will be on view in Hong Kong from 17 to 20 January, Shanghai on 8 February 2017, Beijing from 11 to 13 February 2017 and then in London from 23 to 28 February 2017.


Created in 1926, Accordéon, carafe et cafetière (estimate: £1,500,000-2,500,000) shows the growing complexity of Le Corbusier’s pictorial vocabulary as he reached the heights of his mature Purist style. Having co-founded Purism alongside Amédée Ozenfant in 1918, Le Corbusier spent much of the early half of the 1920s intensely focused on refining his still-life compositions to best reflect the theories of order and purity which underpinned the movement, reducing his forms to pure geometric shapes and minimizing his use of colour to an austere palette of restrained hues. However, following his break with Ozenfant in 1925, Le Corbusier’s paintings became decidedly less rigorous in their formulation, with the artist moving away from the strict geometry of forms which had characterised his earlier work, and instead introducing increasingly dynamic shapes and bright colours to his compositions. Key amongst the developments that occurred during this period was the artist’s expansion of the types of objects he included in his still-lifes, as he began to push his paintings to new levels of expression and invention. In the present work, the inclusion of the accordion, with its distinctively concertinaed mid-section, lends the scene a new visual richness, while the overlapping contours and intersecting sections of the glasses, carafe and coffee pot heighten the internal dynamism of this striking still-life.


Produced during a period of intensive experimentation in his painting, Femme grise, homme rouge et os devant une porte (1931, estimate: £1,200,000-2,000,000) highlights the emergence of several integral motifs within the artist’s oeuvre. From the voluptuous curves of the nude female body, to the symbolic open hand at its centre, the composition features a series of themes that would prove essential to Le Corbusier’s painterly activities throughout the rest of his career. At its heart stand two monumental figures, the man and woman of the title, their forms appearing to almost melt into one another as their bodies intertwine in an intimate embrace. Positioned before an open doorway, they stand in almost visual opposition to one another, the sharp juxtaposition between the cold grey and russet red used on their bodies emphasising their individuality and inherent differences. To their left, a fragmented bone, one of the artist’s so-called objets à réaction poétique (objects with poetic effect) appears in a series of segments, its form almost completely abstracted as the artist explores its shape through a variety of cross-sections and different profiles. The bright colouring and amorphous forms of this portion of the painting lend the scene an almost Surrealist air, particularly when contrasted against the neighbouring figurative elements, and point towards Le Corbusier’s familiarity with the art of his Parisian contemporaries. The inclusion of both this natural, found object and the human figure in Femme grise, homme rouge et os devant une porte reflects the increased importance of nature in Le Corbusier’s art at this time, as he broke away from the constraints of his earlier Purist style and began to forge a new, distinctive path for his creativity.


Painted over a number of years, 1927, 1938, and completed in 1944, Nature morte et figure (estimate: £1,500,000-2,500,000) is a monumental work that incorporates many of the themes and motifs that had dominated Le Corbusier’s art. A kaleidoscopic array of bold colours and forms, this painting can be seen as a summation of Le Corbusier’s work as a painter and architect. At the centre of the composition, a single dark outline denotes the form of a large bottle, next to which, on the left-hand side, the statuesque figure of a woman similarly fills the entire height of the canvas. Amidst a plethora of other forms, shapes and facets of colour, these two objects illustrate the two primary components of Le Corbusier’s prolific pictorial oeuvre: the still-life and the human figure. Elsewhere in the large, multi-partite composition, a pipe, and a wooden triangle – an architect’s instrument – serve as visual symbols of the artist himself. Filled with the archetypal images of the artist’s practice, Nature morte et figure is a panoramic and immersive depiction of Le Corbusier’s life as an artist, a dynamic and celebratory work that encapsulates the many different facets of his pluralistic career.
Friend, confidante, collaborator and patron, Heidi Weber’s relationship with Le Corbusier was truly unique. As Le Corbusier’s fame flourished in the final decade of his life, it is undeniable that Weber’s vision, temerity and dedication to the artist played a large part in perpetuating his international renown and establishing the unparalleled reputation that he enjoys today.

Thursday, January 19, 2017

Vermeer and the Masters of Genre Painting


Musée du Louvre

22 February - 22 May 2017

The Musée du Louvre, in collaboration with the National Gallery of Ireland in Dublin and the National Gallery of Art in Washington, is holding a landmark exhibition about renowned painter Johannes Vermeer. For the first time since 1966, this event will bring together twelve of the Delft master’s paintings—a third of his total known body of work—providing an insight into the fascinating relationships the artist maintained with other great painters of the Dutch Golden Age.

Thanks to special loans from the most prominent American, British, German, and—naturally—Dutch museums, visitors will be able to see Vermeer in a new light.

The exhibition does away with the legend of the reclusive artist living in his own inaccessible, silent world—without ever implying that Vermeer was just one painter of many. Indeed, his artistic temperament grew more distinct through encounters with other artists. Vermeer did more than launch a new movement: he acted as an agent of metamorphosis.
“The Sphinx of Delft”: coined by French journalist and art critic Théophile Thoré-Bürger when he revealed Vermeer to the world late in the 19th century, this famous expression has served mainly to promote an enigmatic image of the painter. The myth of the solitary genius has done the rest. Yet Johannes Vermeer (1632–1675) did not attain his level of creative mastery in isolation from the art of his time.

Through comparisons with the works of other artists of the Golden Age—among them Gerrit Dou, Gerard ter Borch, Jan Steen, Pieter de Hooch, Gabriel Metsu, Caspar Netscher, and Frans van Mieris—the exhibition brings to light Vermeer’s membership of a network of painters specializing in the depiction of everyday life while admiring, inspiring, and vying with each other.

The third quarter of the 17th century saw the Dutch Republic’s global economic power reach its apogee. Proud of their social standing, the Dutch elite demanded art that would reflect their prestige. This demand led to the emergence of a “new wave” of genre painting in the early 1650s, with artists shifting their focus to idealized depictions of domesticity in elegant society. The men and women portrayed in these masterfully-executed pieces display a staged civility.

Although the artists in question worked in different cities across the Republic of the United Netherlands, their technique, and the style, subjects, and compositions featured in their work showed considerable similarities. The exceptional quality of their creations can be partly attributed to the lively professional rivalry that existed between them.




A Young Woman Seated at a Virginal by Johannes Vermeer 




and Woman Feeding a Parrot by Frans van Mieris the Elder 


Exhibition curators: Blaise Ducos, Department of Paintings, Musée du Louvre, Paris, Adriaan E. Waiboer, National Gallery of Ireland, Dublin, and Arthur K. Wheelock Jr., National Gallery of Art, Washington


  • De Hooch
    Woman with a balance
    (c)BPK, Berlin, Dist. RMN-Grand Palais / Jörg P.Anders


  • Vermeer
    Woman with a Balance
    (c)Washington, National Gallery of Art


  • Metsu
    A Man Writing a Letter
    (c)Dublin, National Gallery of Ireland


  • Metsu
    A woman reading a letter
    (c)Dublin, National Gallery of Ireland


  • Vermeer
    A Lady Writing a Letter, with her Maid
    (c)Dublin, National Gallery of Ireland

  • 6. Vermeer_ A Lady Writing(c)Washington, National Gallery of Art.jpg

    Vermee
    A Lady Writing
    (c)Washington, National Gallery of Art


  • Ter Borch
    A Woman at a Mirror
    (c)Amsterdam, The Rijksmuseum


  • Van Mieris
    A Woman examining Herself in a Mirror
    (c)BPK, Berlin, Dist. RMN-Grand Palais / Jörg P. Anders



  • Vermeer
    Young Woman with Pearls
    (c)BPK, Berlin, Dist. RMN-Grand Palais Jörg P. Ander


  • Netscher
    A Woman Feeding a Parrot with a Page
    (c)Washington, National Gallery of Art
     

  • Van Mieris
    The Duet
    (c)BPK, Berlin, Dist. RMN-Grand Palais /image Staatliches Museum Schwerin


  • Vermeer
    A woman sitting at a Virginal
    (c)National Gallery, London


  • Van Hoogstraten
    The Slippers
    (c)RMN-Grand Palais (musée du Louvre) / Tony Querrec


  • Steen
    A Woman at her Toilet
    (c)Royal Collection Trust/ Her Majesty Queen Elizabeth II 2016


  • De Hooch
    A Woman Nursing an Infant with a Child and a Dog
    (c)Fine Arts Museums of San Francisco


  • Dou
    Astronomer by Candlelight
    (c)Los Angeles, J. Paul Getty Museum


  • Vermee
    The Astronomer
    (c)RMN-Grand Palais (musée du Louvre) / Franck Raux



  • Vermeer
     The Geographer
     (c)Städel Museum - ARTOTHEK


  • Dou
    A kitchen Maid pourring water into a jar
    (c)RMN-Grand Palais (Musée du Louvre) / Tony Querrec



  • Vermeer
    The Milkmaid
    (c)Amsterdam, The Rijksmuseum



  • Maes
    A Young Woman sewing
    (c)Guildhall Art Gallery, City of London / Harold Samuel Collection / Bridgeman Images


  • Vermeer
    The Lace Maker
    (c)RMN-Grand Palais (musée du Louvre) / Gérard Blot


  • Ter Borch
    Galant Conversation-The Paternal Admonition
    (c)Amsterdam, The Rijksmuseum


  • Vermeer
    The Allegory of the Catholic Faith
    (c)The Metropolitan Museum of Art, Dist. RMN-Grand Palais / image of the MMA

Christie’s Post-War and Contemporary Art Evening Auction on 7 March 2017: Rothko, Rauschenberg



MARK ROTHKO (1903-1970), No. 1 (Painted in 1949). Oil on canvas, 78.3 x 39.7 in. (198.8 x 100.8 cm.) Estimate on Request.
 Two giants of Post-War American painting will be united in Christie’s Post-War and Contemporary Art Evening Auction on 7 March 2017 in London. Mark Rothko’s groundbreaking No. 1 (1949, estimate on request), is one of the artist’s earliest examples of his mature artistic vocabulary, dating from the pioneering year of his practice and was first shown in 1950 as part of his historic solo exhibition at New York’s Betty Parsons Gallery.



Robert Rauschenberg’s Transom (1963, estimate on request) comes to auction alongside a major retrospective of his work at London’s Tate Modern, and demonstrates the radical new visual language that went on to lead a generation of American artists towards global domination. Together these two masters of 20th-Century painting will lead the field of American talent that will take centre stage during 20th Century at Christie’s, a series of sales that takes place from 28 February to 10 March 2017.  Ahead of the auction the works will tour and be exhibited in Hong Kong (17-20 January), Shanghai (8 February), Beijing (11-13 February) and New York (24-26 February).

Francis Outred, Chairman and Head of Post-War and Contemporary Art at Christies: “America is a profound force on the global stage and has been unstoppable in defining the contemporary culture of the last century. It is a privilege to present two seminal works that date from the beginning of this cultural dominance. Mark Rothko’s No.1 dates from 1949 and was one of his first works to incorporate the planes of colour as mood that defined his career. Robert Rauschenberg’s Transom is one of the breakthrough series of Silkscreen Paintings with which he not only sparred with Warhol but also became the very first American artist to win the Golden Lion at the 1964 Venice Biennale. Following the much-celebrated Abstract Expressionism exhibition at London’s Royal Academy and the major Robert Rauschenberg retrospective at Tate Modern we very much look forward to drawing a global audience to London in March.

Having never been previously offered at auction, Rothko’s No. 1 is one of the few works from the 1950 Betty Parsons Gallery show that remain in private hands and heralds the incandescent union of light and colour for which his work would come to be much celebrated. Of the suite of 12 paintings, nine are now held in major American museums including:



The Museum of Contemporary Art, Los Angeles (No. 2),



The Museum of Modern Art, New York (No. 3),



Los Angeles County Museum of Art (No. 4),



Walker Art Center, Minneapolis (No. 6),



National Gallery of Art, Washington (No. 7),



National Gallery of Art, Washington (No. 8),



Hirshhorn Museum and Sculpture Garden, Washington (No. 9),



and Frances Lehman Loeb Art Center, New York (No. 12).

The importance of No. 1 to Rothko’s practice is underlined by the fact that he guarded the work and kept it in his possession until his untimely death. A glowing vision of rich orange and lemon-bright yellow, punctuated at its core by a dramatic zone of ochre strokes upon a bar of vaporous blue and teal, No.1 paved the way for the transformative painting as mood for which he is critically acclaimed.

Robert Rauschenberg honed the visual language of his series of Silkscreen Paintings between 1962 and 1964, which went on to earn him the Grand Prize for painting at the 1964 Venice Biennale. A central focus of the current Tate Modern retrospective is a room dedicated to the Silkscreen Paintings, reflecting their centrality to his oeuvre and the profound contemporary relevance for artists working today. Amongst the first artists to use silkscreens in his practice, Rauschenberg commenced this series around the same time his friend Andy Warhol also started to employ the process.


Transom demonstrates Rauschenberg’s unmatched skill for the technique: against a white ground, repeated rooftop water towers are silkscreened in black and blue, framing the composition right and left as if each edge is a horizon. Transom sees images of war, urbanisation and consumer culture jostle for attention with a paragon of art history:



Velázquez’s Rokeby Venus. The iconic nude appears three times in the work - in a blaze of red and yellow in the centre of the canvas; in a slice of blue stretched along the upper edge; and at the lower edge her free-floating face peers out from her mirror below a red truck wheel. This vivid tableaux demonstrates Rauschenberg’s talent at its height, marking the dramatic shift of focus towards America as the dominant force in contemporary culture.

Saturday, January 14, 2017

Christie’s Old Master & British Drawings January 24, Old Master Prints January 25,


Christie’s Old Master & British Drawings sale on January 24 is comprised of 131 lots including works from distinguished private collections and institutions. Important works leading the sale are  



Francisco de Goya’s  Hunter with his dog in a landscape 
PETER PAUL RUBENS (Siegen 1577-1640 Antwerp)Scipio Africanus welcomed outside the gates of Rome, after Giulio Romano, black chalk, pen and ink, brown wash, grey, cream, white and touches of green bodycolor with heightening in oil. Estimate: $500,000-700,000.

and a lavish design by Peter Paul Rubens inspired by a composition by Renaissance artist Giulio Romano.

The sale features a strong selection of Italian drawings including studies by Giacomo Cavedone, Parmigianino  and Taddeo Zuccaro, together with several works inspired by Michelangelo by Battista Franco, Giulio Clovio and Cesare da Sesto’s early study after the Sistine ceiling. Works by Piazzetta, Giovanni Battista and Giovanni Domenico Tiepolo, Piranesi and Francesco Guardi constitute the highlights of an outstanding selection of Venetian drawings.



Highlights from the British section include A male nude by Henry Fuseli, and works by Gainsborough and Burne-Jones. Charles de la Fosse’s preparatory study for the painting The Virgin’s Coronation with a selection of nineteenth-century works round out the sale.

The sale of Old Master Prints encompasses 220 prints from five centuries, offering an in-depth survey of the printed image in Europe, from Martin Schongauer’s (1450-1491) engravings created in the 1470s to





 a View of San Francisco by the French Charles Meryon (1821-1868), printed around 1855.

Classic prints by the most celebrated and widely collected artist-printmakers, including Albrecht Dürer (1471-1528), Rembrandt (1606-1669), and Francisco de Goya (1746-1828), stand side by side with extreme rarities, such as an anonymous, hand-coloured woodcut of the Virgin nursing the Child, printed in Northern Italy around 1530; one of a few surviving devotional prints of the period.
The estimates vary as much as the dimensions of the works: the exquisite little engravings by Hans Sebald Beham (1500-1550) are the size of a postage stamp, while the monumental woodcut  


AFTER TIZIANO VECELLIO, CALLED TITIAN (CIRCA 1488-1576), The Submersion of Pharaoh’s Army in the Red Sea the complete woodcut printed from 12 blocks, circa 1514-15. Estimate: $200,000-300,000.

The Submersion of Pharaoh’s Army (estimate: $200,000-300,000) after a design by Titian leads the sale and fills an entire wall in its scale.

Sotheby’s MASTER PAINTINGS EVENING SALE 25 January 2017: Orazio Gentilesch



Following the record-breaking sale of 



Orazio Gentileschi’s Danaë 

in January 2016, the Master Paintings Evening sale will be led by another striking painting by the artist:  




Head of a Woman (estimate $2/3 million), 

last seen in the landmark exhibition on Orazio and Artemisia Gentileschi at the Metropolitan Museum of Art in 2001. One of only two known panel paintings by the artist, Head of a Woman was executed during the first half of the 1630s, when Gentileschi was working at the court of King Charles I of England. Based on the inventory records and notes from 1637 / 1639, the picture was purchased from the artist by the King, suggesting that the King responded to the work personally, and had not directly commissioned it. Coming to the market for the first time in nearly three decades, the work is being sold in part to benefit the Department of European Painting and Sculpture at the Philadelphia Museum of Art. 

The sale also offers an outstanding group of Spanish paintings: from a large-scale religious scene by Francisco de Zurbarán, to a late work attributed to El Greco, to a detailed still life by Pedro de Camprobín y Passano. 




Leading the group is a newly-discovered painting attributed to Velázquez: Kitchen Still Life (estimate $1.5/2 million). According to renowned scholar William B. Jordan, the work is the only pure bodegón pantry painting of its kind by the artist. Qualities and aspects from this humble and intimate painting depicting kitchen utensils are replicated in other works by Velázquez, 



including ‘The Old Woman Frying Eggs’, in the National Gallery of Scotland. 


The Spanish section will also include a rare first edition of Francisco Goya’s first and most celebrated printed work Los Caprichos. [Madrid: Printed by Rafael Esteve for the artist, 1799.] (estimate $500/700,000). Consisting of 80 plates in the original binding, the book is generally considered the artist’s finest printed work, and remembered for its satirical presentation of society’s follies; many specific themes and allusions defy interpretation. 

The Master Paintings Evening and Day Sales feature five Florentine tondi from the Italian Renaissance. Leading the group is The Madonna and Child Enthroned with Saint John the Baptist and an Angel ( estimate $600/800,000), a late work by Sandro Botticelli and workshop. Most likely painted in the last five years of his life, the work features Botticelli’s crisp drapery folds and sharp outlines – distinguishing characteristics of his late works. 


A similar work, without the angel.

Furthermore, the sale will offer a newly-discovered work by the celebrated Flemish painter Sir Peter Paul Rubens. Study of a Horse with a Rider (estimate $1/1.5 million) is a rare example of a large-scale animal study by the artist. Until recently the painting had been described as by a follower of Sir Anthony Van Dyck, however the authorship had been difficult to discern due to overpaint and background added later that dominated the original scene. With the removal of these later additions, the canvas has been revealed as a work of high quality, and a typical example of the spirited and rapidly painted oil sketches for which Rubens is celebrated. A similar composition and pose is evident in the foreground of Rubens’ Henry IV at the Siege of Amiens, at the Gothenburg Museum of Art. 




Jean-Honoré Fragonard’s The Fountain of Love ( estimate $1.5/2.5 million) is one of four allegorical portrayals of love that the artist executed in the 1780s. The present work is one of the artist’s most distinguished compositions of his mature career – versions of the celebrated composition hang in the Wallace Collection, London and the J. Paul Getty Museum, Los Angeles. The work, which combines a classical story with an atmosphere and dynamism, has enchanted audiences for centuries.