Studiolo 26

STEPHEN ONGPIN FINE ART Dealers and Agents in Master Drawings

2026

Workshop of Alessandro Filipepi, called Sandro Botticelli (Florence c.1445-1510 Florence) RECTO: SAINT PETER ASLEEP VERSO: STUDY FOR A FIGURE OF SAINT LUKE Pen and brown ink and brown wash, over traces of an underdrawing in black chalk, heightened with white, on paper washed a reddish-pink. The verso in pen and brown ink and brown wash.

197 x 149 mm. (7 3/4 x 5 7/8 in.)

PROVENANCE: An unidentified collector’s mark (Lugt 619a), stamped at the lower right; Anonymous sale, Berlin, Ball & Graupe, 24-25 April 1931, lot 79 (as Florentine 15th Century, Circle of Filippino Lippi: ‘Figur eines Apostels. Zusammengekauert am Boden sitzend. Vermutlich Vorzeichnung zu einer Ölbergszene. Braune Federzeichnung, mit rötlicher und brauner Farbe laviert und mit dem Pinsel Weib gehöht. Höhe 19,1 cm, Breite 15,3 cm.

Alter SammlerstempelCP mit Löwen.’); Spencer A. Samuels & Co., New York; Acquired from them by the Sarah Campbell Blaffer Foundation, Houston, in May 1976.

LITERATURE: Bernard Berenson, The Drawings of the Florentine Painters, Chicago, 1938, Vol.II, p.59, no.570C (as School of Botticelli, possibly by Raffaellino del Garbo); Ronald Lightbown, Sandro Botticelli, London, 1978, Vol.II, p.99, under no.B88; Terisio Pignatti, Five Centuries of Italian Painting 1300-1800 From the Collection of The Sarah Campbell Blaffer Foundation, Houston, 1985, p.40, illustrated p.42 (as School of Botticelli); Furio Rinaldi, ed., Botticelli Drawings, exhibition catalogue, San Francisco, 2023-2024, p.210, under nos.45-46, pp.214-215, no.47 andp.264, no.47 (as Workshop of Botticelli, and dated 1501-1504).

EXHIBITED: San Francisco, California Palace of the Legion of Honor, Botticelli Drawings, 2023-2024, no.47.

Giovanni Francesco Barbieri, called Guercino (Cento 1591-1666 Bologna) THE TRIUMPH OF GALATEA Pen and brown ink and brown wash, squared in black chalk, with framing lines in brown ink. Made up (by Mariette) with a strip of paper along the top edge and laid down onto a Mariette mount.

206 x 261 mm. (8 1/8 x 10 1/4 in.) [sheet] 292 x 343 mm. (11 1/2 x 13 1/2 in.) [with Mariette mount] PROVENANCE: Pierre Crozat, Paris; His posthumous sale, Paris [Mariette], 10 April - 13 May 1741, part of lot 544 (bt.

Hecquet for Mariette for 100 livres); Pierre-Jean Mariette, Paris (Lugt 2097 twice and on part of his mount); His posthumous sale, Paris, Hôtel d’Aligre, 15 November 1775 - 30 January 1776, part of lot 149 (bt. Fournelle); Jean-Nicolas Fournelle, Paris(?); His anonymous sale, Paris, Hôtel d’Aligre, 14 October 1776 onwards, lot 159 (bt. Joullain); François Joullain, Paris, or his son, François-Charles Joullain, Paris; Jean-Baptiste-Florentin-Gabriel de Meryan, Marquis de Lagoy, Paris, Saint-Rémy-de-Provence and Aix-en-Provence (Lugt 1710); Possibly his sale, London, Christie’s, 27 May 1834; Maurice Delestre, Paris; His posthumous sale, Paris, Hôtel Drouot, 14 December 1936, lot 43 (bt. Catroux); René Claude Catroux, Paris; An unidentified collector’s mark with an H in a circle, not in Lugt, stamped at the lower right); P. & D. Colnaghi, London in 1986; Elmar W. Seibel, Boston, by 1991; Hazlitt, Gooden & Fox, London, in 1994; Katrin Bellinger, Munich, in 1997; Diane Nixon, New York; Thence by descent.

LITERATURE: David M. Stone, Guercino: Master Draftsman. Works from North American Collections, exhibition catalogue, Cambridge, Ottawa and Cleveland, 1991, p.226, no.237, illustrated pl.I; Pierre Rosenberg, Colin B. Bailey and Sue Welsh Reed, La vente Mariette: Le catalogue illustré par Gabriel de Saint-Aubin, Milan 2011, catalogue p.25; Pierre Rosenberg, Les dessins de la collection Mariette: Écoles italienne et espagnole, Paris, 2019, Vol.II, p.590, no.I962.

EXHIBITED: London, Colnaghi, Old Master Drawings, 1986, no.15; New York, Morgan Library & Museum, Pierre-Jean Mariette and the Art of Collecting Drawings, 2016, no.18.

Rembrandt Harmensz. Van Rijn (Leiden 1606-1669 Amsterdam)

LANDSCAPE WITH A RUINED THATCHED COTTAGE Pen and brown ink and brown wash, with grey wash in the foreground added by a later hand, with an arched top.

102 x 207 mm. (4 x 8 1/8 in.)

PROVENANCE: Jean-Charles-Auguste Jadot, Brussels; Herman Shickman, New York; Anonymous sale, New York, Christie’s, 23 January 2002, lot 128; Ambassador J. William Middendorf, Little Compton, Rhode Island; Thence by descent.

LITERATURE: Eva Benesch, ‘Editor’s preface’, in Otto Benesch [ed. Eva Benesch], The Drawings of Rembrandt, London, 1973, Vol.I, p.xii; Martin Royalton-Kisch, The Drawings of Rembrandt. A Revision of Otto Benesch’s Catalogue Raisonné [online], March 2013, (https://rembrandtcatalogue.net/drawings-not-in-benesch/, where dated 1650-1652?); Peter Schatborn and Erik Hinterding, Rembrandt: The Complete Drawings and Etchings, Cologne, 2019, p.348, no.D540 (where dated c.1648-1650); Achim Gnann, Rembrandt: Landschaftszeichnungen / Landscape Drawings, Petersberg, 2021, pp.259-261, fig.241 (as location unknown).

Hilaire-Germain-Edgar Degas (Paris 1834-1917 Paris) FISHING BOAT AT THE ENTRANCE TO THE PORT OF DIVES-SUR-MER (BATEAU DE PÊCHE À L’ENTRÉE DU PORT DE DIVES) Pastel on brown paper. Inscribed by the artist ‘rendu le mise à échouement(?) du courant’ in pencil at the lower left, and ‘bateau échoué renfloué par le flux qui monte / dans le port de Dives grand courant’ in pencil at the lower right.

Stamped with the Degas vente stamp (Lugt 658) in red ink at the lower left.

214 x 322 mm. (8 3/8 x 12 5/8 in.)

PROVENANCE: The Atelier Degas, Paris; The fourth Vente Degas, Paris, Galerie Georges Petit, 2-4 July 1919, lot 33a (‘Bateau de pêche à l’entrée du port de Dives’); Nunès et Fiquet, Paris; André Schoeller, Paris; Acquired from him on 18 March 1937 by Alex. Reid and Lefevre, London; Acquired from them on 15 June 1939 by Galerie Etienne Bignou, Paris; Probably Carroll Carstairs Gallery, New York; Galerie Raphaël Gérard, Paris; Sold on 1 August 1941 to De La Chapelle; Private collection, Germany; Anonymous sale, London, Sotheby’s, 20 June 2006, lot 106; Private collection, Europe.

LITERATURE: ‘Corot to Gauguin: 19th-Century French Painting Shown in London’, The Illustrated London News, 10 July 1937, illustrated p.83 (captioned ‘Degas as a Marine Painter: “Bateau echoué à l’entrée du port de Dives”’, and described as ‘a “plain statement of fact”, a boat stranded against a placid background, which shows quite a different side of this versatile painter’s art.’); Paul-André Lemoisne, Degas et son oeuvre, Paris, 1946, Vol.II, pp.118-119, no.246 (‘Bateau de pêche à l’entrée du port de Dives’), where dated c.1869; Franco Russoli and Fiorella Minervino, L’opera completa di Degas, Milan, 1970, pp.100-101, no.316; Richard Kendall, Degas Landscapes, New Haven and London, 1993, pp.92-93 (as location unknown); Stephan Wolohojian and Ashley E. Dunn, Manet /Degas, exhibition catalogue, New York, 2023-2024, p.211, pl.109.

EXHIBITED: London, Alex. Reid and Lefevre Ltd., The 19th Century French Masters, July-August 1937, no.10; Montreal, W. Scott & Sons, French Masters of the 19th and 20th Century, September-October 1937, no.16; Bristol, Royal Hotel, French Painting of the 19th and 20th Centuries, November 1938, no.12; New York, Metropolitan Museum of Art, Manet /Degas, 2023-2024, pl.109.

Pablo Picasso (Málaga 1881-1973 Mougins) STUDY FOR LES DEMOISELLES D’AVIGNON: A NUDE WOMAN STANDING WITH ARMS RAISED ABOVE HER HEAD (JEUNE FEMME DEBOUT, DE FACE, LES BRAS LEVÉS) Charcoal. Signed Picasso in pencil at the upper right. Further signed Picasso and numbered 7 in pencil on the verso. Inscribed and dated 7120/ Picasso / 1906 in pencil on the verso.

319 x 246 mm. (12 1/2 x 9 3/4 in.)

PROVENANCE: Galerie Louise Leiris (Daniel-Henry Kahnweiler), Paris(No.17620); Galerie Rosengart, Lucerne (No.3904); Anonymous sale, Bern, Galerie Kornfeld, 25 June 1999, lot 117; Eberhard Kornfeld, Bern (Lugt 913b), with his collector’s mark on the verso; Thence by descent.

LITERATURE: Marc Fehlmann and Toni Stoos, ed., Picasso und die Schweiz, exhibition catalogue, Bern, 2001, pl.32.

EXHIBITED [selected]: Bern, Kunstmuseum, Picasso und die Schweiz: Meisterwerke aus Schweitzer Sammlungen, 2001, no.32; Vienna, Albertina, Wege der Moderne: Aus der Sammlung Eberhard W. Kornfeld, 2008-2009, no.29.

For any information concerning our selection of drawings for Studiolo 2026, please contact the gallery at info@stephenongpinfineart.com or +44 (0) 207 930 8813

82 Park Street, London W1K 6NH United Kingdom www.stephenongpin.com