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Old Masters Online Auction MARCH 3 - 8, 2018


Old Masters Online Auction MARCH 3 - 8, 2018


Old Masters Online Auction MARCH 3 - 8, 2018

bid online at onlineauctions.waddingtons.ca all lots can be viewed online at internationalart.waddingtons.ca

senior specialist Susan Robertson sr@waddingtons.ca 416-847-6179

front cover Lot 60

CIRCLE OF AERT DE GELDER THE BANQUET OF ESTHER AND AHASUERUS

front inside Lot 29

ATTRIBUTED TO JAN CORNELISZ VERM EYEN PORTRAIT OF A DISTINGUISHED MAN

on view Sunday, March 4 from 12:00 pm to 4:00 pm

back inside

Monday, March 5 from 1:00 pm to 7:00 pm

FOLLOWER OF JAN MIENSE MOLENAER DUTCH COSSACKS IN A BROTHEL

Lot 43

back cover

Tuesday, March 6 from 10:00 am to 12:00 pm

Lot 30

AFTER JOOS VAN WINGHE DELILAH CUTTING SAMSON’S HAIR

preview held at 275 King Street East, 2nd Floor Toronto, Ontario M5A 1K2 tel: 416-504-9100

This catalogue and its contents © 2018 Waddington McLean & Company Ltd.

This auction is subject to the Conditions of Sale printed in the back of this catalogue.

Photography & design by Waddington’s All Rights reserved.


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CIRCLE OF THOMAS HUDSON (1701-1779), BRITISH

FOLLOWER OF SIR PETER LELY (1618-1680), BRITISH

PORTRAIT OF LADY THREE-QUARTER LENGTH, IN A BLUE SATIN DRESS, SEATED IN A RIVER LANDSCAPE, HOLDING A WALKING STICK

PORTRAIT OF A GENTLEMAN POISED ON HIS SWORD IN THE WOODS

Oil on canvas 45.5 x 36 in — 115.6 x 91.4 cm

Oil on canvas; given to the artist to the nameplate 50.25 x 40.25 in — 127.6 x 102.2 cm

Provenance: The Estate of Doreen Britnell, Richmond Hill, Ontario

Provenance: With Doig, Wilson, & Wheatley, Edinburgh, UK, their label affixed verso to the top stretcher; Aitken Do", Edinburgh, UK label; Britnell’s Art Galleries Ltd., Toronto, Diamond Jubilee label

$2,000–3,000

3 CIRCLE OF SIR GODFREY KNELLER (1646-1723), BRITISH A NOBLEMAN WITH LACE COLLAR, HEAD AND SHOULDERS IN A PAINTED CARTOUCHE Oil on canvas; feigned oval in a cartouche 30 x 25 in — 76.2 x 63.5 cm $1,500–2,500

$3,000–4,000

4 ATTRIBUTED TO SIR MARTIN SHEE (1769-1850), IRISH PORTRAIT OF AN OFFICER OF THE NAGPORE (POSSIBLY THE NAGPORE BRIGADE OF THE MADRAS LIGHT CAVALRY) Oil on canvas; given to the artist to the nameplate 29 x 24 in — 73.7 x 61 cm Literature: “The Naval and Military Magazine”, June 1827 $1,200–1,800

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CIRCLE OF SIR PETER LELY (1618-1680), BRITISH

BRITISH (ACTIVE 1840)

PORTRAIT OF A YOUNG BOY OF THE COURT HOLDING A BOW AND ARROW

“OFFICER OF THE ROYAL BRIGADIERS” AT THREE-QUARTER LENGTH, CIRCA 1840

Oil on canvas 30 x 25 in — 76.2 x 63.5 cm

Watercolour on paperboard; titled and dated 1840 to a handwri"en label verso Sheet 9 x 7 in — 22.9 x 17.8 cm

Provenance: Shipping labels marked with type: “London, England” and “Canada, 1884” $1,200–1,800

Provenance: Ex, Collection “J. C. Anderson, Mississauga” inscribed to label verso; By descent to the present Private Collection, Oakville, Ontario over 30 years ago from his parents $100–150


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ATTRIBUTED TO SIR JOSHUA REYNOLDS (1723 -1792), BRITISH

AFTER THOMAS WHITCOMBE (1763-1824), BRITISH

RICHARD WESTALL (1766-1836), BRITISH

MAN WITH HORSE (STUDY FOR CAPTAIN GEORGE K. H. COUSSMAKER (1759–1801)

THE NAVAL ACHIEVEMENTS OF GREAT BRITAIN FROM THE YEAR 1793 TO 1817 (8 PLATES): 7 ENGRAVED BY THOMAS SUTHERLAND AND ONE ENGRAVED BY J. JEAKES:

Reddish-brown wash and chalk heightened with white on gray paper, tipped at the top edge to a green paper backing Sheet 13.75 x 9.5 in — 34.9 x 24.1 cm $1,000–1,500

Set of eight hand-coloured aquatints with le!ers, titles including: Sir Robt. Calder’s Action, July 22nd,1805; Capture of La Clorinde, Feby. 26th,,1814; Capture of La Prevoyante and La Raison, May 17th, 1795; Capture of the Liguria, Aug. 7th, 1798; Destruction of the French Fleet in Basque Roads April 12th, 1809; Capture of Argus, Aug. 14th, 1813; Capture of La Confiante - May 31st., 1798; and Capture of La Proserpine- June 13th, 1796

THE DOG AND THE WATER LILY (ILLUSTRATION TO COOPER’S POEM) Watercolour and ink on illustration paperboard; inscribed in pencil verso Irregular sheet 5.7 x 5.1 in — 14.5 x 13 cm Provenance: From the collection of the Late S. Leigh Sotheby Esq.; Alice Dodge, English Watercolors and Drawings, London, UK; New York, N.Y. accompanying label; With Rental Gallery Baltimore Museum of Art label; Private Collection, UK and Toronto $300–500

Published for James Jenkins’s Naval Achievements, London, 1816-1817. Seven with publisher’s printed title pages a!ached in sleeves to the backs of the frames. Images 6.8 x 10.2 in — 17.3 x 25.9 cm Provenance: With Gemst Limited, Montreal $1,000–1,500

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FOLLOWER OF SIR PETER LELY (1618-1680), BRITISH

MANNER OF SIR PETER LELY (1618-1680), BRITISH

FOLLOWER OF SIR GODFREY KNELLER (1646 -1723), BRITISH

A LADY, THREE-QUARTER LENGTH, IN A BLUE DRESS, HOLDING A BASKET OF FRUIT, AN ESTATE GARDEN BEYOND

PORTRAIT OF A LADY IN PEACH SATIN, BUST LENGTH

PORTRAIT OF A LADY WEARING PEARLS AND SATIN AT HALF LENGTH

Oil on canvas; sculpted in the oval Oval 30 x 24.5 in — 76.2 x 62.2 cm

Oil on canvas; feigned oval 30.5 x 24.75 in — 77.5 x 62.9 cm

$1,000–1,500

$700–900

Oil on canvas 50.5 x 40.5 in — 128.3 x 102.9 cm $3,000–4,000


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ATTRIBUTED TO SIR GODFREY KNELLER (1646 -1723), BRITISH

MANNER OF MICHAEL DAHL (1659-1743), SWEDISH/BRITISH

MANNER OF MICHAEL DAHL (1659-1743), SWEDISH/BRITISH

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SAID TO BE A PORTRAIT OF BARONNE DE ROTHCHILD

PORTRAIT OF A LADY HOLDING HER PINK SATIN SHAWL

PORTRAIT OF A SMILING ARISTOCRATIC GENTLEMAN IN A BLUE WAISTCOAT

Oil on canvas laid down on plywood panel; inscribed to the artist and titled in pencil verso, further inscribed: “Grandmother of H.C. Hargrave, Bath, England” in the same hand upper le! verso 36 x 27.25 in — 91.4 x 69.2 cm

Oil on canvas; in a feigned oval 29.5 x 24.75 in — 74.9 x 62.9 cm

Oil on canvas; in a feigned oval cartouche 30 x 25 in — 76.2 x 63.5 cm

Provenance: The Estate of Doreen Britnell, Richmond Hill, Ontario

$800–1,200

Provenance: H.C. Hargraves, Bath, England; By descent to her son, Peter Hargraves, Toronto; Ex. Collection Canadian artist Karl May and his wife, Toronto; Purchased by the present Private Collection, Toronto from the Eglinton Art Gallery, Toronto, the gallery owned by Karl May and his wife in the late 1950s.

$1,000–1,500

$1,200–1,800

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AFTER SIR THOMAS LAWRENCE (1769-1830), BRITISH

MANNER OF SIR THOMAS LAWRENCE (1769 -1830), BRITISH

FOLLOWER OF THOMAS GAINSBOROUGH (1727 -1788), BRITISH

KING GEORGE IV, 1820S

PORTRAIT OF A LADY WITH UPSWEPT HAIR WEARING A PEARL AND GREEN STONE PENDANT

COTTAGE CHILDREN GATHERING WOOD

Oil on canvas 13 x 11 in — 33 x 27.9 cm Provenance: With Joseph Lewis Philadelphia label; “McClain loaned to R.Y. James” inscribed to label to the frame; Private Collection, Toronto $600–800

Oil on canvas 30 x 25 in — 76.2 x 63.5 cm Provenance: Private Collection, Oakville, Ontario

$700–900

Oil on canvas 30 x 24.5 in — 76.2 x 62.2 cm Provenance: Estate Collection, Montreal

$1,500–2,500


19 ATTRIBUTED TO JOHN OPIE (1761-1807), BRITISH MISS COOPER (FULL FACE, DARK HAIR WITH WHITE HEADDRESS SEATED THREE-QUARTER LENGTH IN A CHAIR WEARING A PINK DRESS WITH BLACK VEIL DRAPED OVER HER LEFT SHOULDER AND RIGHT ARM, A LANDSCAPE BEYOND WITH A BLUE CURTAIN AT RIGHT) Oil on canvas; titled to the nameplate. Unsigned. Together with a hard cover book: “John Opie and His Circle” by Ada Earland, 1911. 30 x 25 in — 76.2 x 63.5 cm Provenance: Estate Collection, Hamilton, Ontario Literature: See website for additional info. $2,000–3,000

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ATTRIBUTED TO GEORGE ROMNEY (1734-1802), BRITISH

ATTRIBUTED TO SIR WILLIAM BEECHEY (1753 -1839), BRITISH

REPORTED TO BE LADY WEBSTER, DAUGHTER OF DR. RICHARD NAIRN, DEAN OF BATTLE “IN BLACK DRESS WITH WHITE CAP” (DIED DECEMBER 25TH, 1810 AT THE AGE OF 82)

SAID TO BE “LADY CAMBRIDGE” (SEATED HOLDING A BOOK IN A LANDSCAPE)

Oil on canvas; titled and inscribed to the accompanying handwri!en le!er from Britnell Art Galleries, Richmond Hill, Ontario le!erhead, undated, that reads: "Lady Webster by George Romney / Lady Webster daughter of Dr. Nairn Dean of Ba!le, married Sir Whistler Webster, 2 Bart. who died S.P. in 1779/ (died) Dec 25th, 1810 “In black dress with white cap” (taken from Humphry and Roberts) 30 x 25.5 in — 76.2 x 64.8 cm Provenance: See website for additional info. Literature: See website for additional info.

Oil on canvas; given to Sir Wiliam Beechey and titled to the nameplate, the label of provenance to the stretcher inscribed in pen and ink: “Portrait of Lady Cambridge” 30 x 25 in — 76.2 x 63.5 cm Provenance: Said to be The Right Hon. The Lady Wavertree, C.B. E. “removed from 54 Avenue Road, N.W. 8” typeset label to the stretcher; John Britnell Son, Picture Framing, Toronto; From whom purchased by the family of the present Private Collection, Canada, circa 1950s-1960s $3,000–5,000

$2,000–3,000

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FOLLOWER OF JOSEPH MALLORD WILLIAM TURNER (1775-1851), BRITISH

AFTER PHILIP JAMES (OR PHILIPPE-JACQUES) DE LOUTHERBOURG (1740-1812), BRITISH

AFTER CLIFTON TOMSON (1775-1828), BRITISH

ROUEN CATHEDRAL

THE LONDON COACH

Oil on canvas; given to J.M.W. Turner and titled to the nameplate 16 x 19.75 in — 40.6 x 50.2 cm

Oil on canvas 35 x 48 in — 88.9 x 121.9 cm

MEMNON WITH WILLIAM SCOTT UP, CIRCA 1800

Provenance: Estate Collection, Toronto $500–700

Provenance: See Website for additional info. Literature: See website for additional info. $2,000–3,000

Oil on canvas 23 x 29 in — 58.4 x 73.7 cm Provenance: With Robert’s Art Gallery, 29 Granville Street, Toronto; Estate Collection, Hamilton, Ontario $1,500–2,500


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AFTER THOMAS GOOCH (1750-1802), BRITISH

18TH/19TH CENTURY AMERICAN FOLK ART SCHOOL

ATTRIBUTED TO WILLIAM MERRITT CHASE (1849-1916), BRITISH

PAIR OF AMERICAN COLONIAL REVOLUTIONARY CIVIL WAR PORTRAITS, PRESUMED TO BE GEORGE AND MARTHA WASHINGTON: THE GENTLEMAN IN PERIWIG WEARING A BLUE WAISTCOAT STANDING IN A LANDSCAPE BY A TREE; A LADY IN BONNET WEARING A PINK SATIN MARTHA WASHINGTONSTYLE DRESS HOLDING SPRING FLOWERS SEATED AT A SIDE TABLE

SAID TO BE A PORTRAIT OF CHARLES WILLIAM COULDOCK, THE ACTOR

SCENES FROM “THE LIFE AND DEATH OF A RACEHORSE” Four oils on canvas, sculpted ovals, given to “F. Sartorius” and titled to gallery labels to each verso. Each contained in frames labelled “Hall, Carver & Gilder/Castle Street, Exeter” to the verso. Each 14 x 17.5 in — 35.6 x 44.5 cm Provenance: Arthur Ackermann & Son, Inc., of London and Chicago, 10 East Forty-Sixth Street, New York; Estate Collection, Hamilton, Ontario $6,000–8,000

Pair of oils on canvas; unsigned 34 x 27.75 in — 86.4 x 70.5 cm Provenance: See website for additonal info.

Oil on paper? on canvas, laid down to gray cardboard, cut down to a sculpted oval, the four spandrels laid down to the board verso, the lower right spandrel bears signature “W. M. Chase” Oval 20 x 15.75 in — 50.8 x 40 cm Provenance: See website for additional info. $600–800

$4,000–6,000

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MANNER OF THOMAS SULLY (1783-1872), AMERICAN

ATTRIBUTED TO JAN CORNELISZ VERMEYEN (BORN CIRCA 1500-1559), DUTCH

AFTER JOOS VAN WINGHE (1544-1603), FLEMISH

SAID TO BE A PORTRAIT OF ELIZABETH FENNELL, THE ACTRESS

PORTRAIT OF A DISTINGUISHED MAN: POSSIBLY A COLLECTOR OR A GOLDSMITH, THREEQUARTER LENGTH, 1534

DELILAH CUTTING SAMSON’S HAIR

Oil on board; bears signature, dated 1809 middle right Oval 19.5 x 15.25 in — 49.5 x 38.7 cm Provenance: Purchased by Frank E. Whitman in 1913; By descent to his daughter, Adelaide Whitman Ralsten Ebeling; By descent to Mary Adelaide Ralsten Beecher; By descent to her daughter, the present Private Collection, Nova Scotia, held in the family for over 100 years $500–700

Oil on cradled oak panel; dated “Anno 1534” upper right. Accompanied by four le!ers of opinion (“Gutachten”) appraising the work wri!en in German (see below) 37.5 x 29.5 in — 95.3 x 74.9 cm Provenance: The House of Hohenzollern Collection, Germany, likely a commissioned work by the Kaiser Monarchy; Ex. Collection, Wilhelm Pfeiffer, Germany & Canada, acquired in the early 1960s; By descent to the present Private Collection, Heidelberg, Ontario $15,000–20,000

Oil on canvas. Contained in an antique openwork frame. 12.25 x 19.75 in — 31.1 x 50.2 cm Provenance: Haynes Art Gallery, Toronto label verso $3,000–5,000


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AFTER CHARLES D’AGAR (1669-1723), FRENCH

ATTRIBUTED TO JAN VAN GOYEN (1596-1656), DUTCH

ATTRIBUTED TO ISAAK VAN NICKELE (OR NIKKELEN) (1632-1703), DUTCH

“RIVERSCENE NEAR DORDRECHT”

INTERIOR D’EGLISE

Oil on canvas; bears initials “IvG” lower le#, given to Jan Van Goyen and titled to an old typed label to the stretcher. Unframed. 40.5 x 53.5 in — 102.9 x 135.9 cm

Oil on canvas; an old typeset description on an old auction label to the stretcher, inscribed “172” with another typeset label giving this work to “Nickele ou Nikkelen (Isaak Van), died in Haarlem “1703” to the le! stretcher with a red wax seal impressed “Collection Paul Delaroff 1914” and with a canvas patch stamped “Paul Delaroff” to the verso 14 x 11.5 in — 35.6 x 29.2 cm

SIR JOHN HARPUR BART. Oil on canvas; titled upper right 50 x 39.5 in — 127 x 100.3 cm Provenance: Private Collection, Toronto $2,000–3,000

Provenance: Estate Collection, Montreal $3,000–4,000

Provenance: Ex-Collection Paul Delaroff, red wax collector’s seal, dated 1914; Private Collection, Canada $2,000–3,000

34 CIRCLE OF PHILIPS WOUWERMAN (1619-1668), DUTCH HORSEMEN AND FAMILY RESTING ON ROUTE

35 ATTRIBUTED TO ALBERT JANSZ KLOMP (BORN C. 1618-1688), DUTCH GRAZING COW AND RESTING SHEEP

Oil on canvas; indistinctly signed and inscribed to the stretcher in black ink that is diluted: “Carl Schwen....” 19.75 x 16.75 in — 50.2 x 42.5 cm

Oil on braced panel; faint remains of signature (” Albert K__mp”) verso, previously given to “School of Cuyp” to gallery label verso 9.5 x 12.75 in — 24.1 x 32.4 cm

$1,500–2,500

Provenance: Garfield Galleries, Toronto as “School of Cuyp”; Private Collection, Toronto $600–800

36 AFTER FRANS HALLS (1582/83-1666), DUTCH YOUNG MAN AND WOMAN IN AN INN ("YONKER RAMP AND HIS SWEETHEART"), 1623 Oil on cradled oak panel 10.75 x 8.5 in — 27.3 x 21.6 cm $600–900


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CIRCLE OF EGBERT VAN HEEMSKERCK (1634 -1704), DUTCH

FOLLOWER OF THE SCHOOL OF REMBRANDT VAN RIJN (1606-1669), DUTCH

17TH CENTURY DUTCH SCHOOL

THE MAID WITH A SERVING OF FISH

ELEGANTLY DRESSED, GRIMACING MAN IN A HAT READING, A PORTRAIT OF QUEEN ISABELLA DATED 1492 ON THE WALL

Oil on panel 16.75 x 10.75 in — 42.5 x 27.3 cm $600–800

Oil on heavy gauge tin 13.75 x 10 in — 34.9 x 25.4 cm $800–1,200

PORTRAIT OF A MAN IN WHITE COLLAR WITH TASSELS Oil on panel with centre vertical brace 13 x 11 in — 33 x 27.9 cm Provenance: Private Collection, Toronto $600–800

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42

17TH CENTURY DUTCH SCHOOL

18TH CENTURY FRENCH SCHOOL

PORTRAIT OF A SMILING BOY WITH PLUMED HAT

GIRL WITH A ROSE IN A DRAPED CHEMISE

AFTER FRANS VAN MIERIS THE ELDER (1635 -1681), DUTCH

Colour pastel on paper laid down to card; sculpted oval 15 x 11 in — 38.1 x 27.9 cm $300–500

Colour pastel on paper laid on blue paper 13.5 x 11 in — 34.3 x 27.9 cm $300–500

THE ARTIST’S STUDIO Oil on canvas 23.5 x 17.5 in — 59.7 x 44.5 cm Provenance: With Odon Wagner Gallery, Art Restoration & Custom Framing label, Toronto; The Estate of Adolph Rolin, Toronto $1,000–1,500


43 FOLLOWER OF JAN MIENSE MOLENAER (1610 -1668), DUTCH DUTCH COSSACKS IN A BROTHEL Oil on oak panel; bears monogram initials “JM” lower le! 17 x 23 in — 43.2 x 58.4 cm Provenance: With J.W. Geddes Framers, Toronto in the early 20th Century; Private Collection, Toronto

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45

17TH/18TH CENTURY DUTCH SCHOOL

FOLLOWER OF ABRAHAM VAN BEYEREN (1620 -1690), DUTCH

PROMETHEUS BOUND Oil on cradled panel 18.75 x 13.75 in — 47.6 x 34.9 cm Provenance: Private Collection, Courtice, Ontario

Oil on panel; inscribed in block uppercase le!ers “A. VAN BEYEREN” verso. Previously given to and bearing signature: “Goya F” in red paint verso. 12.3 x 23.5 in — 31.3 x 59.8 cm

$300–500

Provenance: Private Estate Collection, Montreal $2,000–3,000

$4,000–5,000

46 AFTER WILLEM VAN MIERIS (1662-1747), DUTCH LA CUISINIERE Oil on panel; given to “Mieris” and titled to the old auction label verso 18 x 14.5 in — 45.7 x 36.8 cm Provenance: The Estate sale of Eleanor, Viscountess of Gort sold at East Cowes Castle, Isle of Wight, n.d. with their catalogue entry to the old labels verso, lot 30 as “Mieris...”; From whom purchased from the Carling Galleries, Toronto by William George Bea!y on March 4, 1934; By descent to his great-granddaughter, Toronto $1,200–1,800

FISCH-STILLEBAN

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48

ATTRIBUTED TO SIMON DE VLIEGER (1601-1653), DUTCH

WILLEM VAN DE VELDE THE YOUNGER (1633 -1707), DUTCH

A COAST SCENE

DUTCH FRIGATES, 1669

Pen and ink drawing with watercolour en grisaille laid down to a ruled support. Sheet 4.75 x 3.75 in — 12.1 x 9.5 cm

Black chalk and wash on wove paper laid down to a later blue sheet of heavier paper; inscribed in Dutch in pencil by the artist indistinctly upper le" with a date 1669 noted 11.5 x 15 in — 29.2 x 38.1 cm

$400–600

Provenance: Davis Bros., Dealers in Old Engravings, UK $1,500–2,000


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51

ATTRIBUTED TO ISAAC OUWATER (1748-1793), DUTCH

PIETER JACOBSZ VAN LAER (1599-DIED CIRCA 1642), DUTCH

JAN VAN SNEP? (18TH/19TH CENTURY), DUTCH

COASTAL VILLAGE SCENE WITH BOATMEN AND WINDMILL IN DISTANCE

CAVALIER ON HORSEBACK IN A GALLOP

STILL LIFE WITH FRUIT, MORNING GLORIES, WALNUTS AND WINE WITH A FLY ON A LEDGE

Sepia ink on laid paper with Fool’s Cap watermark (with clover); signed “Bamboots,” the alias of Pieter van Laer verso

Oil on canvas; indistinctly signed lower le", remains of inscription verso 18 x 14 in — 45.7 x 35.6 cm

Together with:

Provenance: Property of G. Thorold W...? inscribed to canvas verso; Garfield Galleries, Toronto; Private Collection, Toronto

Oil on panel; signed and dated 1793 (2nd last digit unclear) lower right, given to the artist to the nameplate 10.5 x 13.5 in — 26.7 x 34.3 cm $800–1,200

17TH/18TH CENTURY FRENCH SCHOOL DRAPERY STUDY, RECLINING Charcoal heightened with white chalk on browned paper. Sheet 11 x 15.5 in — 27.9 x 39.4 cm; 10 x 14 in — 25.4 x 35.6 cm Provenance: Ex. Coll. Henry Sproa!, Toronto; By descent to his son, Henry Pra!, Toronto; By descent, Toronto $600–800

52 FOLLOWER OF PIERRE MIGNARD THE ELDER (1612-1695), DUTCH MME. DE MAINTENON (WOMAN IN A BLUE DRESS WITH A FUR TRIMMED COLLAR) Oil on canvas; given to Pierre Mignard (1610-1695) and titled to the nameplate 30 x 25 in — 76.2 x 63.5 cm Provenance: Britnell Gallery, Toronto, Ontario; Acquired from the above, c. 1980s, by the present Private Collection, Toronto, Ontario $1,500–1,800

53 19TH/20TH CENTURY DUTCH SKATERS ON A FROZEN POND Oil on canvas cut as an an oval without stretchers laid down to the verso of a sheet of glass 14.5 x 18 in — 36.8 x 45.7 cm Provenance: Estate Collection, Toronto $400–600

$400–600


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55

ATTRIBUTED TO CORNELIS DE KRUYFF (1771 -1854), DUTCH

AFTER CASPAR NETSCHER (1639-1684), DUTCH

MOEDER EN KIND IN EXTERIEUR (MOTHER AND CHILD WITH HOOLA HOOP IN A COURTYARD) Oil on panel; signed A.C. de Kruyff” lower le", given to “A.C. de Kruyf (sic)” and titled to the gallery label verso, No. 594 9 x 8 in — 22.9 x 20.3 cm Provenance: Roelofs Kunsthandels Art Gallery, Amsterdam, a red wax seal with impressed initials “CR” on top of the gallery label verso; Estate of Adolph Rolin, Toronto

SINGING LESSON Oil on canvas; signed with initials “WKF” (fecit?) in red paint on the carpet lower right, remains of a wax seal to the top stretcher right 17.5 x 14.5 in — 44.5 x 36.8 cm Provenance: Private Collection, Toronto, purchased at Waddington’s, Toronto in the late 1970s $2,000–3,000

56 FOLLOWER OF NICOLAES MAES (1634-1693), DUTCH SERENADE Oil on canvas; given to Maes and titled to gallery label verso 11.5 x 9.5 in — 29.2 x 24.1 cm Provenance: A.P. & E Singer, London, UK; Garfield Galleries, Toronto, circa 1965; Private Collection, Toronto $400–600

$1,500–2,500

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58

FOLLOWER OF REMBRANDT VAN RIJN (1606 -1669), DUTCH

FOLLOWER OF ABRAHAM BLOEMART (1564 -1651), DUTCH

CIRCLE OF GODFRIED SCHALCKEN (1643-1706), DUTCH

“AN OLD MAN” (IN A FUR HAT)

STILL LIFE OF POPPIES, DAISIES, ROSES, MORNING GLORIES AND OTHER FLOWER HEADS IN A VASE ON A LEDGE WITH BUTTERFLIES

OLD WOMAN BY A HOT POT

Oil on panel 10 x 7.5 in — 25.4 x 19.1 cm Provenance: Philip Ives Collection, London, England; Estate of Adolph Rolin, Tornto $400–600

Oil on plywood panel laid down on plywood 22.5 x 32.25 in — 57.2 x 81.9 cm Provenance: Private Collection, acquired in Massachuse#s in the mid-1960s; Private Collection, Brighton, Ontario $800–1,200

59

Oil on canvas 26.8 x 22.4 in — 68.1 x 56.9 cm Provenance: Stockholms Auktionsverk: Thursday, June 1, 2006, Lot 02495 a#ached label; Private Collection, Canada $3,000–4,000


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62

CIRCLE OF AERT DE GELDER (1645-1727), DUTCH

CIRCLE OF ANTOINE COYPEL (1661-1722), FRENCH

FOLLOWER OF PETER PAUL RUBENS (1577-1640), FLEMISH

THE BANQUET OF ESTHER AND AHASUERUS

JUPITER AND JUNO ON MOUNT IDA

THE ADORATION OF THE MAGI

Oil on canvas. Contained in a handpainted floral marquetry style frame in the Dutch manner. 42 x 46.5 in — 106.7 x 118.1 cm

Oil on canvas 46 x 37 in — 116.8 x 94 cm

Oil on canvas 33.5 x 45 in — 85.1 x 114.3 cm

Provenance: Estate of Rose Wolfe, Ontario

$4,000–5,000

Provenance: With Haynes Gallery, Toronto, partial green label to the top stretcher; The Estate of Francis Harcourt Syms, Kingston, Ontario

$2,000–3,000

$7,000–9,000

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65

AFTER PETER PAUL RUBENS (1577-1640), FLEMISH

AFTER PETER PAUL RUBENS (1577- 1640), FLEMISH

FOLLOWER OF PETER PAUL RUBENS (1577-1640), FLEMISH

FLAGELLATION OF CHRIST

DESCENT FROM THE CROSS, 1613

NUDE COUPLE WITH CHERUBS TEASING

Oil on canvas 22.5 x 18 in — 57.2 x 45.7 cm

Oil on canvas. Together with an old appraisal from Harry M. Allice, Montreal dated April 7th, 1973 giving this unsigned copy to Italian artist Alessandro Guardassoni (1818-1888). 30 x 23.5 in — 76.2 x 59.7 cm

Sepia ink drawing on laid paper 6 x 8.25 in — 15.2 x 21 cm

Provenance: Dr. Joseph Szucs, Montreal; From whom purchased by the present Private Collection, Toronto, in the early 1980s

$500–700

Provenance: Private Collection, Ancaster, ON $1,200–1,800

$1,000–1,500

Provenance: Estate of Rose Wolfe, Ontario


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AFTER ADAM FRANS VAN DER MEULEN (1623 -1690), FLEMISH

ATTRIBUTED TO BAREND VAN KALRAET (OR CALRAET) (1649-1737), FLEMISH

CIRCLE OF THEOBALD MICHAU (1676-1765), FLEMISH

VALENCIENNES PRISE D'ASSAUT BY LOUIS XIV, 1677

A BATTLE PIECE, SPIRITED

CAVALIERS TENDING A BEACHED FISHING BOAT, COUNTRY FOLK AND MILITARY FIGURES IN A BUSY VILLAGE HARBOUR WITH A TAVERN AND DISTANT TOWN

Oil on panel; bears signature “Van Der Meul...” on the plank lower le! 17.75 x 24.75 in — 45.1 x 62.9 cm $800–1,200

Oil on panel; signed indistinctly “B. Kalraet Fecit” lower right, titled “A Ba"le Piece, spirited... Kilreal” to an old typeset label from an unknown catalogue verso. Unframed. 16 x 13 in — 40.6 x 33 cm Provenance: Possibly a collection in Kilreal (UpperTownland, Co. Tyrone, Ireland); Private Collection, Canada

68

Oil on panel; inscribed “Theobald Michau” twice in pencil verso 9 x 11.75 in — 22.9 x 29.8 cm $1,500–2,500

$1,000–1,500

69 CIRCLE OF PIETER VAN DE VELDE (1634-1707), FLEMISH BUSTLING HARBOUR SCENE Oil on canvas laid down to masonite 16.5 x 26 in — 41.9 x 66 cm $500–700

70

71

AFTER SIR ANTHONY VAN DYCK (1599-1641), FLEMISH

MANNER OF FERDINAND VAN KESSEL (1648 -1696), FLEMISH

HIS MAJESTY CHARLES THE FIRST

MONKEY STEALING FOOD FROM A TABLE

Handcoloured engraving with le"ers (the le"ers cut from the bo"om margin and glued to the verso) with canvas support at the back by Josephus Sympson Junr, 1731. Published in London Sheet sight 17.5 x 12.5 in — 45.7 x 25.4 cm

Oil on panel, sculpted tondo on an square panel Diameter height 9 in — 22.9 cm; 9.5 x 9.25 in — 24.1 x 23.5 cm

Provenance: The Elton M. Hyder, Jr. Collection, Fort Worth, Texas, Accession no. 1371; Loan to the University of Texas; Private Collection, UK and Toronto Exhibited: Previously on loan to the University of Texas Law Library stamp verso backing $300–500

Provenance: By descent $1,000–1,500


72

73

74

AFTER DAVID TENIERS (1610-1690), FLEMISH

IN THE MANNER OF ADRIAEN BROUWER (1605 -1638), FLEMISH

SCHOOL OF NICOLAS DE LARGILLIÈRE (1656 -1746), FRENCH

CARD PLAYERS FIGHTING IN A TAVERN

PRESUMED TO BE THE PORTRAIT OF MARQUIS DE FONTAGES

INTERIEUR RUSTIQUE Oil on panel; signed “Jan Smedt” and dated 1920 indistinctly lower le!, inscribed and titled in ink verso 10.8 x 15.25 in — 27.4 x 38.7 cm $600–800

Oil on panel; the back of the panel is lacquered 9.5 x 7.5 in — 24.1 x 19.1 cm $400–600

Oil on canvas; given to the artist and titled to the nameplate and to the old unknown catalogue entry verso 29 x 23.5 in — 73.7 x 59.7 cm Provenance: Ex. Collection Baron Serge de Henning, Poland, to the old typeset label accompanied by a black and white illustration of this work from an unknown catalogue affixed to frame verso $3,000–4,000

75

76

77

SCHOOL OF NICOLAS DE LARGILLIÈRE (1656 -1746), FRENCH

AFTER JEAN-MARC NATTIER (1685-1766), FRENCH

MANNER OF NICOLAS DE LARGILLIERE (1656 -1746), FRENCH

PORTRAIT OF A GENTLEMAN IN PERIWIG AT HALF LENGTH WEARING GOLD BROCADE AND BURGUNDY

MADAME VICTOIRE DE FRANCE, 1748

ELEGANT LADY IN LACE TRIMMED GOWN AND BLUE AND GOLD BROCADE CAPE

Oil on canvas; given to the artist to the nameplate 29.25 x 24 in — 74.3 x 61 cm $2,000–3,000

Colour pastel on paper mounted on canvas 30.25 x 21.75 in — 76.8 x 55.2 cm Provenance: Britnell Art Galleries, Richmond Hill & Toronto, Ontario; The Estate of Doreen Britnell, Richmond Hill, Ontario $1,500–2,500

Oil on canvas 29 x 23.5 in — 73.7 x 59.7 cm Provenance: Shipping labels from France verso; “House of Hite” inscribed to label affixed to the verso; Private Collection, Canada $700–900


78

79

80

MANNER OF MARIE ELISABETH LOUISE VIGEELEBRUN (1755-1842), FRENCH

AFTER NIKLAS II LAVREINCE LAFRENSEN (1737 -1807), FRENCH

18TH CENTURY FRENCH

PORTRAIT OF A GENTLEMAN WEARING THE GRAND ORDER OF THE GOLDEN FLEECE

L'ASSEMBLEE AU SALON (INTERIOR FROM THE LATE 18TH CENTURY: ARISTOCRATS PLAYING GAMES IN A LOUIS 16TH PARLOUR)

Oil on canvas; inscribed in sepia toned paint number “358” to the upper right, an unknown typeset catalogue entry giving this work to Marie Elisabeth Louise Vigee-Lebrun and reportedly depicting “Prince Adam Kazimers Czartoryski (1734-1823)” a!ached to the verso, inscribed No. “33” to a handwri!en label verso 23.5 x 21.75 in — 59.7 x 55.2 cm

Gouache on an engraved ground on heavy handmade paper 13 x 18.3 in — 33 x 46.5 cm $600–800

ELEGANT LADY IN REGAL DRESS WITH RIBBONTIED HAIR HOLDING A LETTER Colour pastel on paper; sculpted in the oval 29 x 23.5 in — 73.7 x 59.7 cm Provenance: Galerie ...Aux Modernes, Thomas, Paris partial gallery label verso; Private Collection, Canada $500–700

$1,500–2,000

81

82

FOLLOWER OF MAURICE QUENTIN DE LA TOUR (1704-1788), FRENCH

ATTRIBUTED TO ** BARRY (1813-1892), IN THE 17TH CENTURY DUTCH MANNER, FRENCH

MANNER OF ANTOINE-CLAUDE FLEURY (?-1822), FRENCH

PIERRE DENNIS COMTE DE PEYRONNET (HOLDING A BIBO-CATCHER)

PEASANT WEARING A HAT IN THE FIELD, LOOKING RIGHT; PEASANT WITH A STAFF LOOKING TO THE LEFT

YOUNG BOY IN BLUE SKELETON SUIT WITH FRILLY COLLAR SEATED FULL LENGTH IN A LANDSCAPE PLAYING WITH HIS DOG

Two sepia crayon drawings; the first title on laid paper; inscribed “Barry- peintre de Marines 1813-1892” in pen and ink to the back board. The second title with the same backing Approximately 8 x 6 in — 20.3 x 15.2 cm

Oil on panel; sculpted in the oval Oval 10 x 8 in — 25.4 x 20.3 cm

Colour pastel; titled and indistinctly inscribed (signed?) under the title in pen and ink to an old label a!ached to the verso backing Oval 22 x 18 in — 55.9 x 45.7 cm $700–900

Provenance: Unknown partial 19th/20th Century, Paris gallery label at 108 Boulevard de Courcelles, Paris labels verso; Gardner Auctions, London, Ontario label verso; Private Collection, Toronto $500–700

83

$300–500


84

85

ATTRIBUTED TO LOUIS J. DULONGPRE (1754 -1843), FRENCH/CANADIAN

FOLLOWER OF FRANÇOIS BOUCHER (1703 -1770), FRENCH

FOLLOWER OF CLAUDE LORRAIN (1600-1682), FRENCH

PORTRAIT OF A LADY IN A RIBBON-TIED BONNET

LANDSCAPE WITH WOMEN HERDERS RESTING AT A FALLS

RUIN WITH MARINERS ON SHORE

Oil on canvas; given to the artist on the nameplate to the frame 17.25 x 14 in — 43.8 x 35.6 cm $500–700

Oil on copper 12 x 16 in — 30.5 x 40.6 cm $800–1,200

86

Oil on canvas 26 x 38 in — 66 x 96.5 cm Provenance: Parisienne Gallery Ltd., Toronto purchased in the early 1970s $400–600

87

88

89

19TH CENTURY FRENCH

FOLLOWER OF PHILIPPE DE CHAMPAIGNE (1602-1674), FRENCH

FOLLOWER OF THE SCHOOL OF NICOLAS POUSSIN (1594-1665), FRENCH

ST. BENEDICT; ST. SCHOLASTICA

THE ENTOMBMENT OF CHRIST

Pair of oils on copper; the first with partial title “saint” lower le!, inscribed “17e Siecle” in pen and ink to partial paper label verso, the second title, inscribed “St. Benoch?” and inscribed “17e Siecle” in pen and ink verso Each 8.5 x 6.4 in — 21.6 x 16.3 cm

Oil on canvas 26 x 19.5 in — 66 x 49.5 cm

Provenance: With a collection of French origin; Collection of The Archdiocese of Toronto

$800–1,200

STUDY OF A GRASPING HAND Graphite on laid paper Sheet 14.25 x 10.25 in — 36.2 x 26 cm $300–500

$1,500–2,500

Provenance: Private Collection, Canada


90

91

FOLLOWER OF NOEL NICOLAS COYPEL (1690 -1734), FRENCH

PIERRE BERGAIGNE (1652-1708), FRENCH

LE TRIOMPHE D’AMPHITRITE; NAISSANCE DE VENICE Pair of oils on prepared board; each inscribed “Nicolas Coypel” verso, one with partial title inscribed in pen and ink verso Each 8.5 x 11.5 in — 21.6 x 29.2 cm

NARCISSUS GAZING INTO A POOL Oil on canvas; signed “P. Bergaigne P (Pinxit)” lower right 21.25 x 24.75 in — 54 x 62.9 cm $1,500–2,500

Provenance: Ex. Coll. Madame Aurelia Simonin, Paris; By descent to her son, Toronto

92 MANNER OF FRANCOIS BOUCHER (1703-1770), FRENCH DIANA, GODDESS OF THE HUNT Colour pastel on paperboard 16.5 x 13 in — 41.9 x 33 cm Provenance: “M. Wolser, Dresden” inscribed to the backboard; The Estate of Doreen Britnell, Richmond Hill, Ontario $1,200–1,800

$4,000–6,000

93

94

95

18TH CENTURY FRENCH SCHOOL

ATTRIBUTED TO JEAN-BAPTISTE PATER (1695 -1736), FRENCH

FOLLOWER OF JEAN ANTOINE WATTEAU (1684 -1721), FRENCH

FÊTE CHAMPÊTRE

FÊTE CHAMPÊTRE

Oil on canvas; a small label inscribed indistinctly “... Pater? / No. 15” to the stretcher 25 x 30 in — 63.5 x 76.2 cm

Oil on canvas; given to the artist to the nameplate, bears signature and date: “Antoine Wa!eau 1717” in pen and ink verso 13 x 10.6 in — 33 x 27 cm

DIONYSUS WITH FLUTE AND LEOPARD SKIN Graphite, black chalk heightened with white on laid paper, laid down to a later paper support. Arched matboard. Sheet 18 x 11 in — 45.7 x 27.9 cm $200–300

Provenance: With Gardner Auctions, n.d., London, Ontario; Private Collection, Toronto $1,200–1,800

Provenance: Estate Collection, Montreal $700–900


96

97

98

FOLLOWER OF JEAN BAPTISTE GREUZE (1725 -1805), FRENCH

MANNER OF JEAN BAPTISTE GREUZE (1725 -1805), FRENCH

MANNER OF JEAN JACQUES HENNER (1829 -1905), FRENCH

LA CRUCHE CASSEE (THE BROKEN PITCHER)

A BUSY MOTHER IN A KITCHEN

Oil on canvas; sculpted oval, old label inscribed “No. 14” verso Oval 41 x 33 in — 104.1 x 83.8 cm

Crayon drawing on wove paper laid down to cardboard support Sheet 13 x 9.75 in — 33 x 24.8 cm

SYMBOLIST MADONNA IN BLACK WITH EYES CLOSED

Provenance: Private Collection, Ontario

Provenance: Private Collection, the UK and Toronto

Provenance: The Estate of Adolph Rolin, Toronto

$700–900

$600–800

$500–700

99

100

101

HEINRICH PAUL (19TH CENTURY), GERMAN

FOLLOWER OF PIETRO PERUGINO (CIRCA 1450 -1523), ITALIAN

AFTER JACQUES ETIENNE PANNIER (1802-1869), FRENCH A SELF PORTRAIT OF THE ARTIST (VELAZQUEZ), AT ABOUT 35 YEARS OF AGE, BUST LENGTH, CIRCA 1635 (AFTER A “POSTHUMOUS PORTRAIT OF VELAZQUEZ”) Oil on canvas; stamped “Velasquez” in black ink to the top stretcher. 16.75 x 13.75 in — 42.5 x 34.9 cm Provenance: Galeria de San Telmo, Sevilla (1885), Inventory Nr. 1012; Ex. Collection P. Jackson Higgs, New York; Dr. Frank Miller, art collector; From whom purchased by a Private Collection, Montreal in 1958; His Estate Collection, Montreal $1,000–1,500

PORTRAIT OF A CHILD IN FUR-TRIMMED BLUE JACKET, 1870 Oil on canvas; signed with conjoined initial and last name: “HPaul pinx” and dated 1870 lower right 20.5 x 18.5 in — 52.1 x 47 cm Provenance: With Odon Wagner Gallery, Toronto label verso; Private Collection, Toronto $700–900

Oil on panel 16 x 12.5 in — 40.6 x 31.8 cm

ST. AUGUSTINE, THE BISHOP OF HIPPO AND DOCTOR OF THE TRUTH OF THE CHURCH, SHOWN WITH A CROSIER AND MITER IN THE HABIT OF THE AUGUSTINIAN ORDER Oil on cradled panel; arched top 22.25 x 16.5 in — 56.5 x 41.9 cm Provenance: Estate Collection, Montreal $4,000–6,000


102

103

AFTER JACOPO PALMA IL VECCHIO (BORN CIRCA 1479-1528), ITALIAN

AFTER RAPHAEL (1483-1520), ITALIAN

PORTRAIT OF A WOMAN CALLED LA BELLA, CIRCA 1518-1520 Oil on canvas 40 x 34.5 in — 101.6 x 87.6 cm Provenance: Gardner Auctions, label verso; Estate of Ruth Wolfe, Ontario

“THE JUDGEMENT OF PARIS” Oil on canvas 47.25 x 55.25 in — 120 x 140.3 cm Provenance: Johnson & Copping Pictures and Picture Frames, Montreal label to the frame; Private Collection, Toronto in the family collection close to 100 years, originally acquired by the grandfather decades ago, Montreal $2,000–3,000

$1,200–1,800

105

104 AFTER THE SCHOOL OF RAPHAEL (1483-1520), ITALIAN MARRIAGE OF THE VIRGIN Oil on canvas; signed and inscribed “Kop. F.P. Bogdan” and dated 1898 at Warsaw lower right, signed and dated 1898 at Warsaw and inscribed in Polish in black felt marker: “This is the only exact copy from the original painting which was in the possession of Ks. Bisk (Bishop) C. Kotara (was badly damaged) and now in the possession of A. Strzaleckiego/Szalacheckiego (?) art painter who lives in Warsaw, done in Italy” (the original) inscribed verso 47 x 37.5 in — 119.4 x 95.3 cm $2,500–3,500

106

107

AFTER RAPHAEL (1483-1520), ITALIAN

FOLLOWER OF PONTORMO (1494-1557),

AFTER RAPHAEL (1483-1520), ITALIAN

SELF-PORTRAIT (1504-1506)

ITALIAN

Oil on canvas. 9 x 7.25 in — 22.9 x 18.4 cm

MADONNA AND CHILD

MADONNA DELL’IMPANNATA (MADONNA OF THE WINDOW-PANE), 1513-1514

Provenance: Private Collection, Truro, NS $300–400

Oil on canvas 16 x 12 in — 40.6 x 30.5 cm $600–800

Oil on canvas 38 x 29.75 in — 96.5 x 75.6 cm $1,500–2,500


108

109

CIRCLE OF CARLO MARATTI (OR MARATTA), (1625-1713), ITALIAN

FOLLOWER OF TINTORETTO (1519-1594), ITALIAN

THE HOLY FAMILY, WITH SAINT JOSEPH HOLDING A PALM LEAF TO THE CHRIST CHILD

THE LAST SUPPER; THE MARTYRDOM OF CHRIST

Oil on canvas 22 x 16 in — 55.9 x 40.6 cm Provenance: Remains of an unknown French gallery label to the canvas verso and with another typeset label from an old catalogue inscribed: “Carlo Cavaliere Mara!i” number “39” to the top stretcher $1,500–2,500

Pair of oils on canvas. Turn of the 20th century. Each 12.5 x 17.75 in — 31.8 x 45.1 cm Provenance: Stora Kvaliten auction, Stockholm, 06/01/2006, Lot 2450, label to one; From whom purchased by the present Private Collection, Canada

110 AFTER GUIDO RENI (1575-1642), ITALIAN BEATRICE CENCI, CIRCA 1662 Oil on canvas. Contained in an antique frame with oval surround. 15 x 12 in — 38.1 x 30.5 cm Provenance: The Estate of Gene Sale, Barrie, Ontario $500–700

$1,500–2,500

111

112

113

CIRCLE OF GIOVAN GIOSEFFO DAL SOLE (1654 -1719), ITALIAN

MANNER OF GIOVANNI BATTISTA TIEPOLO (1696-1770), ITALIAN

18TH CENTURY ITALIAN

THE PENITENTE MAGDALENE

SAINT JEROME MEDITATING HOLDING A CRUCIFIX WITH A SKULL IN THE WILDERNESS

Oil on canvas. 33.5 x 26.5 in — 85.1 x 67.3 cm Provenance: With Brothers Fine Art Division, Santini, Italy label to the stretcher; Estate of John Bohman, Canada; By descent $3,000–4,000

Pen and brown ink with watercolour wash en grisaille on laid paper, laid down to a support that is now partially torn away exposing the verso of the original sheet; with an unidentified collector monogram “GFM” (Lugt 3343) in handwri!en script in brown ink to the later sheet verso, inscribed indistinctly in black ink verso, with crosshatching and lines in brown ink verso. Sheet Trimmed/ Overall 4.7 x 3.9 in — 12 x 10 cm; 23.5 x 17.8 in — 59.7 x 45.2 cm Provenance: The Estate of Frank Suma, Canada $800–1,200

COMMEMORATIVE PORTRAIT OF THE CLERIC, ANTONIUS OF COMMENDUNO, (DIED 1796) Oil on canvas; titled in the Latin inscription along the bo!om edge: “ANTONIVS. DE. COMMENDVNO. C.R.S. SACRIS. STVDIIS. APPRIME. EXCVLTVS. ET. TOTVS. IN ANIMARVM. SALVTE. CVRANDA. DECESSIT. BERNVM. A.MDCCLXXXXVI” 29 x 23 in — 73.7 x 58.4 cm Provenance: Estate Collection, Montreal $1,200–1,800


114

115

116

FOLLOWER OF GUIDO RENI (1575-1642), ITALIAN

FOLLOWER OF CLAUDE GELLEE CALLED CLAUDE LORRAIN (1604/5-1682), FRENCH

CIRCLE OF GIACOMO GUARDI (1764-1835), ITALIAN

PORTRAIT OF A LADY AS A SYBIL LOOKING UPWARDS IN ECSTASY

MEDITERRANEAN SEAPORTS WITH CLASSIC RUINS (TWO VIEWS)

CAPRICCIO OF A VENETIAN WATERWAY

Watercolour and wash with pencil on wove paper. 10 x 7.75 in — 25.4 x 19.7 cm

Pair of oils on copper Each 4 x 6 in — 10.2 x 15.2 cm; 4 x 6 in — 10.2 x 15.2 cm

Oil on canvas 8.25 x 12.25 in — 21 x 31.1 cm

$300–500

Provenance: See website for additional info.

$1,500–2,500

$600–800

117

118

119

SCHOOL OF FRANCESCO GUARDI (1712-1793), ITALIAN

CIRCLE OF SALVATOR ROSA (1615-1673), ITALIAN

FOLLOWER OF CARLO MARATTI (OR MARATTA) (1625-1713), FLEMISH

THE DOGANA AND SANTA MARIA DELLA SALUTE, THE REDENTORE BEYOND, GRAND CANAL, VENICE

SOLDIERS RESTING IN A ROCKY WOODED LANDSCAPE

LOVES MELANCHOLY (SCENE IN THE LIFE OF HERCULES), CIRCA 1702

Oil on canvas 29 x 24 in — 73.7 x 61 cm

Oil on panel; bears signature “Carlo Mara!i” lower right, given to Carlo Mara!i, dated “about 1702” and titled “Scene in the Life of Hercules” inscribed in pen and ink to an old paper label verso, titled “Love’s Melanchoiy“ to the nameplate 13.25 x 18 in — 33.7 x 45.7 cm

Oil on canvas 25.25 x 36.25 in — 64.1 x 92.1 cm Provenance: William Schab Gallery, New York; From whom purchased by a Private Collection, Montreal in 1975; His Estate Collection, Montreal $3,000–4,000

$1,200–1,800

Provenance: Antoine’s Art Gallery, Montreal $2,000–3,000


120 AFTER PETER PAUL RUBENS (1577-1640), FLEMISH LE TRIOMPHE DE L'EGLISE SUR L'IGNORANCE ET L'AVEUGLEMENT Oil on copper 23.75 x 32.25 in — 60.3 x 81.9 cm

121

122

17TH/18TH CENTURY CONTINENTAL

19TH CENTURY RUSSIAN

GENRE SCENE WITH COMMEDIA DELL'ARTE PLAYERS

MIRACULOUS ICON (GOD THE FATHER BLESSING THE ICON OF THE VIRGIN MARY AND CHILD)

Oil on canvas 18 x 13.75 in — 45.7 x 34.9 cm

Provenance: Robert C. Britnell, (Britnell Art Galleries, Toronto); The Estate of Doreen Britnell, Richmond Hill, Ontario

Provenance: Sloans & Kenyon Auctioneers and Appraisers, Chevy Chase, MD, Lot 272; Private Collection, Toronto

$2,000–3,000

$700–900

123

124

MANNER OF ANGELIKA KAUFFMANN (1741-1807), SWISS MERCURY LEADING PSYCHE THROUGH A WOOD Oil on panel 24 x 37 in — 61 x 94 cm $4,000–5,000

FRANCOIS AIME LOUIS DUMOULIN (1753-1834), SWISS VUE DE LA VILLE DE VEVAY (VEVEY) PRISE AU DESSUS DU VILLAGE DE CORZO (CORCEAUX), 1783 Watercolour and gouache on laid paper, laid down and mounted to a stiff sheet of heavier paper, with a hand-ruled border; signed and dated “F.A.L. Dumoulin fecit 1783” to the mount, under the mounted watercolour, in pen and ink lower right, titled in black ink to the bo!om margin of the mount, the verso of this sheet to which the watercolour is laid down, with handwri!en ledger notes in sepia ink. Unframed. Sheet 18 x 23 in — 45.7 x 58.4 cm $1,000–1,500

Oil on canvas; title inscribed in cyrillics in gold paint along the bo!om edge. The canvas unstretched and framed under glass. 20 x 16 in — 50.8 x 40.6 cm $6,000–8,000

125 KARL SCHLAGETEER (1894-1990), SWISS A MODERN ADORATION OF A CHILD, 1927 Oil on panel; signed and dated 1927 lower right 36 x 26.5 in — 91.4 x 67.3 cm $800–1,200


Artist Index

A American Folk Art School, 18th-19th Century)…26 B Barry, ** (Attributed to)…82 Beechey, Sir William (Attributed to)…21 Bergaigne, Pierre…91 Bloemart, Abraham (Follower of)…58 Boucher, Francois (Follower of)…85 Boucher, Francois (Manner of)…92 British (Active 1840)…6 Brouwer, Adriaen (Manner of)…73 C Chase, William Merritt (Attributed to)…27 Continental, 17th-18th Century…121 Coypel, Antoine (Circle of)…61 Coypel, Noel Nicolas (Follower of)…90 D d’Agar, Charles (After)…31 Dahl, Michael (Manner of)…14, 15 dal Sole, Giovan Gioseffo…111 de Champaigne, Philippe (Follower of)…88 de Gelder, Aert (Circle of)…60 de Kruyff, Cornelis (Attributed to)…54 de la Tour, Maurice Quentin (Follower of)…81 de Largilliere, Nicolas (School of)…74-75, 77 de Loutherbourg, Philip James (or Philippe-Jacques) (After)…23 de Vlieger, Simon (After)…47 Dulongpre, Louis J. (Attributed to)…84 Dumoulin, Francois Aime…124 Dutch, 19th/20th Century…53 Dutch School, 17th Century…39, 40 Dutch School, 17th-18th Century…44 F Fleury, Antoine-Claude (Manner of)…83 French, 18th Century…80 French School, 18th Century…41, 93 French, 19th Century…87

H Halls, Frans (After)…36 Henner, Jean Jacques (Manner of)…98 Hudson, Thomas (Circle of)…1 I il Vecchio, Jacopo Palma (After)…102 Italian, 18th Century…113 K Kauffmann, Angelika (Manner of)…123 Klomp, Albert Jansz (Attributed to)…35 Kneller, Sir Godfrey (Attributed to)…13 Kneller, Sir Godfrey (Circle of)…3 Kneller, Sir Godfrey (Follower of)…12 L Lafrensen, Niklas II Lavreince (After)…79 Lawrence, Sir Thomas (After)…16 Lawrence, Sir Thomas (Manner of)…17 Lely, Sir Peter (Circle of)…5 Lely, Sir Peter (Follower of)…2, 10 Lely, Sir Peter (Manner of)…11 Lorrain, Claude (Follower of)…86 M Maes, Nicolaes (Follower of)…56 Maratti (or Maratta) Carlo (Circle of)…108 Maratti (or Maratta) Carlo (Follower of)…119 Michau, Theobald (Circle of)…68 Mignard the Elder, Pierre (Follower of)…52 Molenaer, Jan Miense (Follower of)…43 N Nattier, Jean-Marc (After)…76 Netscher, Caspar (After)…55 O Opie, John (Attributed to)…19 Ouwater, Isaac (Attributed to)…49

G

P

Gainsborough, Thomas (Follower of)…18 Gellee, Claude (Follower of)…115 Greuze, Jean Baptiste (Follower of)…96 Greuze, Jean Baptiste (Manner of)…97 Groom, R.H….72 Guardi, Giacomo (Circle)…116 Guardi, Francesco (School of)…117

Pannier, Jacques Etienne (After)…99 Pater, Jean-Baptiste (Attributed to)…94 Paul, Heinrich…100 Perugino, Pietro (Follower of)…101 Pontormo (Follower of)…106 Poussin, Nicolas (Follower of the School of)…89


R Raphael (After)…103, 105, 107 Raphael (After the School of)…104 Reni, Guido (After)…110 Reni, Guido (Follower of)…114 Reynolds, Sir Joshua (Attributed to)…7 Romney, George (Attributed to)…20 Rosa, Salvator (Circle of)…118 Rubens, Peter Paul (After)…120 Rubens, Peter Paul (Follower of)…62-65 Russian, 19th Century…122 S Sartorius the Younger, Francis (Attributed to)…25 Sartorius, John Francis (Attributed to)…24 Schalcken, Godfried (Circle of)…59 Schlageteer, Karl…125 Shee, Sir Martin (Attributed to)…4 Sully, Thomas (Manner of)…28 T Tiepolo, Giovanni Battista (Manner of)…112 Tintoretto (Follower of)…109 Turner, Joseph Mallord William (Follower of)…22 V van Beyeren, Abraham (Follower of)…45 van de Velde, Pieter (Circle of)…69 van de Velde the Younger, Willem…48 van der Meulen, Adam Frans (After)…66 van Dyck, Sir Anthony (After)…70 van Goyen, Jan (Attributed to)…32 van Heemskerck (Circle of)…37 van Laer, Pieter Jacobsz…50 van Kalraet (or Calraet), Barend (Attributed to)…67 van Kessel, Ferdinand (Manner of)…71 van Mieris the Elder (After)…42 van Mieris, Willem (After)…46 van Nickele (or Nikkelen) (Attributed to)…33 van Rijn, Rembrandt (Follower of)…57 van Rijn, Rembrandt (Follower of the School of)…38 van Snep?, Jan…51 van Winghe, Joos (After)…30 Vermeyen, Jan Cornelisz (Attributed to)…29 Vigee-Lebrun, Marie Elisabeth (Manner of)..78 W Watteau, Jean Antoine (Follower of)…95 Westall, Richard…9 Whitcombe, Thomas (After)…8 Wouwerman, Philips (Circle of)…34


Buying at Waddington's 1. All lots are sold “AS IS”. Any description issued by the auctioneer of an article to be sold is subject to variation to be posted or announced verbally in the auction room prior to the time of sale. While the auctioneer has endeavoured not to mislead in the description issued, and the utmost care is taken to ensure the correct cataloguing of each item, such descriptions are purely statements of opinion and are not intended to constitute a representation to the prospective purchasers and no warranty of the correctness of such description is made. An opportunity for inspection of each article is offered prior to the time of sale. No sale will be set aside on account of lack of correspondence of the article with its description or its reproduction, if any, whether colour or black & white. Some lots are of an age and/ or nature which preclude their being in pristine condition and some catalogue descriptions make reference to damage and/or restoration. The lack of such a reference does not imply that a lot is free from defects nor does any reference to certain defects imply the absence of others. Frames on artwork are not included as part of purchase or condition. It is the responsibility of prospective purchasers to inspect or have inspected each lot upon which they wish to bid, relying upon their own advisers, and to bid accordingly. 2. Each lot sold is subject to a 20% buyers premium as part of the purchase price.

Canadian Art Auction Invaluable Live! clients will be charged a buyer’s premium of 25% of the successful bid price of each lot. Concrete Contemporary Art Auction ARTSY clients will be charged a buyer’s premium of 25% of the successful bid price of each lot. 3. Unless exempted by law, the buyer is required to pay Harmonized Sales Tax on the total purchase price including the buyer’s premium. For international buyers, taxes are not applicable when purchases are shipped out of country. Items shipped out of Ontario, the buyer is required to pay taxes as per the tax status of that province, whether it HST or GST (Goods and Services Tax). 4. The auctioneer reserves the right to withdraw any lot from sale at any time, to divide any lot or to combine any two or more lots at his sole discretion, all without notice. 5. The auctioneer has the right to refuse any bid and to advance the bidding at his absolute discretion. The auctioneer reserves the right not to accept and not to reject any bid. Without limitation, any bid which is not commensurate with the value of the article offered, or which is merely a nominal or fractional advance over the previous bid may not be recognized. 6. Each lot may be subject to an unpublished reserve which may be changed at any time by agreement between the auctioneer and the consignor. The auctioneer may bid, or direct an employee to bid, on behalf of the consignor as agreed between them. In addition, the auctioneer may accept and submit absentee and telephone bids, to be executed by an employee of the auctioneer, pursuant to the instructions of prospective purchasers not in attendance at the sale. 7. The highest bidder accepted by the auctioneer for any lot shall be the buyer and such buyer shall forthwith assume full risk and responsibility for the lot and must comply with such other Conditions of Sale as may be applicable. If any dispute should arise between bidders the auctioneer shall have the absolute discretion to designate the buyer or, at his option, to withdraw any disputed lot from the sale,

or to re-offer it at the same or a subsequent sale. The auctioneer’s decision in all cases shall be final. 8. Immediately after the purchase of a lot, the buyer shall pay or undertake to the satisfaction of the auctioneer with respect to payment of the whole or any part of the purchase price requested by the auctioneer, failing which the auctioneer in his sole discretion may cancel the sale, with or without re-offering the item for sale. 9. The buyer shall pay for all lots within 48 hours from the date of the sale, after which a late charge of 2% per month on the total invoice may be incurred or the auctioneer, in his sole discretion, may cancel the sale. The buyer shall not become the owner of the lot until paid for in full. Items must be removed within 10 days from the date of sale, after which storage charges may be incurred. 10. Each lot purchased, unless the sale is cancelled as above, shall be held by the auctioneer at his premises or at a public warehouse at the sole risk of the buyer until fully paid for and taken away. 11. Notwithstanding condition no. 1, if the buyer, prior to removal of a lot, makes arrangements satisfactory to the auctioneer for the inspection of such lot by a fully qualified person acceptable to the auctioneer to determine the genuineness or authenticity of the lot, to be carried out promptly following the sale of the lot, and if, but only if, within a period of 14 days following the sale a written opinion of such person is presented to the auctioneer to the effect that the lot is not genuine or authentic, accompanied by a written request by the buyer for rescission of the sale, then the sale of the lot will be rescinded and the sale price refunded to the buyer. 12. Payment for purchases must be by cash, INTERAC direct debit (Cdn clients in person only), certified cheque (U.S. & Overseas not applicable), travelers cheque, bank draft, electronic transfer (fee applies), and VISA or Mastercard (up to $25,000). 13. In the event of failure to pay for or remove articles within the aforementioned time limit, the auctioneer, without limitation of the rights of the consignor and the auctioneer against the buyer, may resell any of the articles affected, and in such case the original buyer shall be responsible to the auctioneer and the consignor for: (a) any deficiency in price between the re-sale amount and the amount to have been paid by the original buyer; (b) any reasonable charge by the auctioneer for the storage of such articles until payment and removal by the subsequent buyer; and (c) the amount of commission which the auctioneer would have earned had payment been made in full by the original buyer. 14. It is the responsibility of the buyer to make all arrangements for insuring, packing and removing the property purchased and any assistance by the auctioneer or his servants, agents or contractors, in packing or removal shall be rendered as a courtesy and without any liability to them. 15. The auctioneer acts solely as agent for the consignor and makes no representation as to any attribute of, title to, or restriction affecting the articles consigned for sale. Without limitation, the buyer understands that any item bought may be affected by the provisions of the Cultural Property Export Act (Canada). 16. The auctioneer reserves the right to refuse admission to the sale or to refuse to recognize any or all bids from any particular person or persons at any auction.


Selling at Waddington's waddington’s commission rates Items

insurance

Items selling for $2,501 to $7,500 15%

cites

selling for $7,501 or more 10%

Items selling for $251 to $2,500 20% Items selling for $250 or less 25% *There is a minimum handling charge of $20 per item

canadian art department commission rates Items selling for $7,500 or more 10% Items selling for $2,501 to $7,499 15% Items selling for $2,500 or less 20% *There is a minimum handling charge of $20 per item Paintings, drawings, prints, furniture, jewellery and all forms of decorative arts and collectibles may be brought to our Toronto office where we can provide you with preliminary auction estimates and consignment procedures. Please visit our website at www.waddingtons.ca for details on our various departments and how to contact the specialists. We also accept mailed and emailed requests for advice on the marketability of objects. A photograph and phone number must accompany a full description of each item. Our specialists regularly travel to major Canadian cities to meet with prospective consignors. For further information, or to arrange an appointment, please contact our Toronto office. Property normally arrives at Waddington’s at least three months before the sale in order to allow our specialists time to research, catalogue, photograph and promote the items. Consignors will receive a contract to sign, setting forth terms and fees for our services.

A 1% insurance charge, based on the hammer price of the property, will be applied to all accounts.

Restrictions exist regarding the import and export of species protected under CITES (Convention on International Trade in Endangered Species). This includes but is not limited to items made of or containing bone (whalebone etc.), ivory, tortoise shell, seal skin, rhinoceros horn and any other animal part and is strictly controlled or forbidden by most countries. Please review your country’s laws before bidding on pieces made of or containing these restricted items. It is the sole responsibility of the buyer to inquire about and obtain the proper permits for artwork purchased that may contain restricted materials, if such permit can be obtained. Please contact the department for further assistance. All Narwhal Tusks must have a Marine Harvest Number or a Marine and Mammal Transport number to be sold at Waddington’s. For more information please visit: www.cites.org


Conditions of Sale

All lots will be offered and sold subject to the Conditions of Sale which appear in this catalogue as well as any Glossary and posted or oral announcement. By bidding at auction, bidders are bound by those Conditions and Glossary, as amended by any oral announcement or posted notices, which together form the contract of sale between the successful bidder (buyer), Waddington’s™ and the consignor (seller) of the lot. Descriptions or photographs of lots are not warranties and each lot is sold “as is” in accordance with the Conditions of Sale.

condition of lots

All of the items are to be considered, unless otherwise noted in the description, in good condition. The definition of “good” when used in reference to condition, describes an object as having had no major damage or repair but as with the nature of the material, may show minor surface wear, discolouration etc., which indicates the acceptable wear that the piece may acquire with age. If you are particular about minor flaws, you should examine the pieces in person or have our staff answer any questions before bidding. Sizes are approximate. It is the sole responsibility of the bidder to inquire as to the condition of a lot before bidding. Condition reports are available upon request by phone, fax, email or in person. You are advised to make any requests well in advance of the sale.

bidding

To bid in person at the auction, you must register for a bidding number by showing identification acceptable to the Auctioneer upon entering the salesroom. Your number will identify you if you are the successful bidder. You will be responsible for all lots purchased on your bidding number. Banking information may be requested by Waddington’s™. You may submit an Absentee Bid Form if you are unable to attend the sale. Bidding by telephone, in limited circumstances, can be arranged prior to the sale. While we are pleased to offer absentee and telephone bidding as a service to our clients, and take great care in their commission, the Auctioneer will not be responsible for technical difficulties, errors or failure to execute bids. The Auctioneer may also execute bids on behalf of the consignor to protect the reserve. The reserve is the confidential minimum price the seller is willing to accept for his or her property, below which it will not be sold.

shipping

Frames on artwork are not included as part of purchase or condition.

The Auctioneers will not undertake packing or shipping. The purchaser must designate and arrange for the services of an independent shipper and be responsible for all shipping, insurance expenses and any necessary export permits that may apply. The Auctioneers will, upon request, provide names of professional packers and shippers but will not be held responsible for the service or have any liability for providing this information. Reliable pre-auction estimates of shipping costs of lots offered in this sale may be obtained from:

buyers premium

PakShip

A premium of 20% of the successful bid price of each lot. Canadian Art Auction Invaluable Live! clients will be charged a buyer’s premium of 25% of the successful bid price of each lot. Concrete Contemporary Art Auction ARTSY clients will be charged a buyer’s premium of 25% of the successful bid price of each lot. A charge of 13% HST (Harmonized Sales Tax) is applicable on the hammer price and buyer’s premium, except for purchases exported from Canada. In the case where purchases are shipped out of the province of Ontario, the HST or GST is charged based on the tax status of that province.

payment

Payment for purchases must be by cash, INTERAC direct debit (Cdn clients in person only), certified cheque (U.S. & Overseas not applicable), travelers cheque, bank draft, electronic transfer (fee applies), VISA or Mastercard (up to $25,000). ALL PRICES IN CANADIAN FUNDS

905.470.6874 / 905.470.6875 / 416.293.8225

taurus@pakship.ca www.pakship.ca Envoy 416.299.3367, 416.299.9750 ph@envoy.ca www.envoypackandship.com Fero Transport 514.453.1462, 514.543.7585 www.ferotransport.ca

removal of purchases

Purchases must be paid for within 48 hours of the date of the sale, and removed from premises within 10 days of the date of sale (see Conditions of Sale, conditions 8 to 15). Clients are advised that packing and/or handling of purchased lots by our employees or agents is undertaken solely as a courtesy for the convenience of clients.


Waddington’s 275 King Street East, Second Floor Toronto, Ontario M5A 1K2

tel: 416-504-9100 toll free: 1-877-504-5700 www.waddingtons.ca

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Old Masters Online Auction | Mar. 3 - 8, 2018  

Auction dates are March 3 - 8, 2018

Old Masters Online Auction | Mar. 3 - 8, 2018  

Auction dates are March 3 - 8, 2018