- CARL POUL PETERSEN STERLING SERVERSA
CARL POUL PETERSEN STERLING SERVERSA Carl Poul Petersen sterling serving pieces, the bowl & tines showing a planished surface with reeded handles terminating to applied 'Bell Flower" pattern finials, maker's marks on reverse. Canadian, mid 20th century. Both measuring 8.5" long, combined weight of 161 grams.
- PORTRAIT OF A FEMALE DIGNITARY (CONTINENTAL
PORTRAIT OF A FEMALE DIGNITARY (CONTINENTAL SCHOOL, EAR...PORTRAIT OF A FEMALE DIGNITARY (CONTINENTAL SCHOOL, EARLY 17TH CENTURY) CIRCLE OF FRANS POURBUS THE YOUNGER
Oil on canvas, unsigned. Dated 1615 when the sitter was 28 years old, as indicated by the Latin inscription, the coats of arms probably those of Halsingland, Sweden. The subject in red dress with white collar meticulously adorned with lace; her right hand held to her chest holding a small pink carnation, a beribboned rosary spilling over a bible stationed at her right side, her left hand holding her gloves down at her side. Fine gold jewelry adorns her hands and a large, jeweled pendant hangs at her chest. The later ebonized, gothic style frame with the gilded date 1628 (probably a misinterpretation of the Roman numeral 28).
The sitter bearing resemblance to Constance of Austria who gave birth in January of 1616. Constance was a daughter of Charles II of Austria and Maria Anna of Bavaria. Her paternal grandparents were Ferdinand I, Holy Roman Emperor and Anna of Bohemia and Hungary (1503–1547). Anne was the only daughter of King Vladislaus II of Bohemia and Hungary and his wife Anne de Foix. Her maternal grandparents were Albert V, Duke of Bavaria and Anne Habsburg of Austria. Constance was also a younger sister of Ferdinand II, Holy Roman Emperor, Margaret of Austria, Leopold V of Austria and Anna of Austria. Her older sister Anna was the first wife of King Sigismund III Vasa, King of Sweden and Poland. After her sisters death Constance and Sigismund were married on December 11, 1605.
The final photo of the lot is a documented portrait painting of a young teenage Constance by Frans Pourbus the Younger. The pose, articles, and clothing bear a close resemblance.
Stretcher: 46 x 34 1/4 in. (116.8 x 87 cm.), frame: 56 1/4 x 43 3/4 in. (142.9 x 111.1 cm.)
- ITALIAN SCHOOL (17TH CENTURY,), THREE
ITALIAN SCHOOL (17TH CENTURY,), THREE PEN AND INK DRAWINGS:, ALL ON TISSUE-THIN TAN LAID PAPER MOUNTED TO THICKER CREAM LAID PAPER. MATTED 20” X 16”.ITALIAN SCHOOL, 17th Century, Three pen and ink drawings: 1) Male nude reclining atop a sphinx. Period inscription "57" in ink at upper right of the sheet mount. 6.75" x 9" (172mm x 228mm). 2) Male nude behind a rearing horse. Period inscription "59" in ink at upper right of the sheet mount. 8.75" x 6.75" (222mm x 172mm). 3) Rendering of the statue of Borghese Fisherman, at that time thought to be the statue "Dying Seneca" from the Borghese collection of 1613. Period inscription "76" in ink at upper right of the sheet mount. 11" x 6.5" (277mm x 165mm). Dimensions: All on tissue-thin tan laid paper mounted to thicker cream laid paper. Matted 20" x 16".
- FRANK WESTON BENSON (MASSACHUSETTS,
FRANK WESTON BENSON (MASSACHUSETTS, 1862-1951), “CANOEMAN”, 1919., ETCHING ON CREAM LAID PAPER, 7.75" X 6". MATTED 20" X 16".FRANK WESTON BENSON, Massachusetts, 1862-1951, "Canoeman", 1919. Edition of 150. Signed and numbered "47" in pencil lower margin. Paff 161. Dimensions: Etching on cream laid paper, 7.75" x 6". Matted 20" x 16".
- JAN JANSSON MAP OF BERMUDA. 1616.Based
JAN JANSSON MAP OF BERMUDA. 1616.Based on the Hondius map with plate mark and Latin text. There are wide margins. Jansson was a Dutch publisher and printer. Map has good coloring and an old repair top right that is not visible. It is in a modern frame with several small chips. Sight size 16" h x 21". Overall 23 1/4" x 28". Please note the listed date of 1616 may be incorrect and it may be several decades older.
- Attributed to Sir Peter Lely (Dutch
Attributed to Sir Peter Lely (Dutch working in England 1618-1680) "Seated Male Figure Looking to His Right" 1666 black chalk with white highlights (the latter applied selectively to drapery modeling and anatomy) on prepared brown wove paper without watermark unsigned but inscribed en verso "2 may 1666"; 22 7/8 x 15 3/4 in. colored in later purplish-white paint (apparently on original paper) in a 1 1/2 /2-inch inverted L-shaped strip extending approx. 20 in. along left edge ending in a similar 4 1/2 in.-long strip horizontally along edge of triangular repair at upper left. Provenance: James R. Lamantia Jr. New Orleans and New York. Note: This unusually large powerful and impressive drawing is dated on its verso in English; and the evident contemporaneity of that inscription is proven by its close similarity to the date of "1666" written at the bottom of the Ashmolean Museum's portrait drawing of John Aubrey by Lely's almost exact contemporary William Faithorne (1616-1691). It happens that 1666 is the very year that Lely inaugurated his most celebrated series of portraits the Admirals (or flag-officers who had served under the Duke of York at the Battle of Lowestoft 1665) now in the National Maritime Museum at Greenwich. There is no evidence that this is indeed one of Lely's standard "posture drawings" that were offered to sitters as aids to the selection of their attitudes in his portraits; but its style technique and materials are intimately close to theirs-though this sheet is in fact unusual in showing at least parts of an entire figure arranged in a pose that is manifestly more informal than either those of a studio pattern book or probably than those others which were made for a sitter's retention (in very large numbers and widely diverse types principally by Lely himself). Lely who grew up in The Hague and was trained at Haarlem came to London in the early 1640s and in 1661-62 became a naturalized British subject as well as First Painter to the King (that is Charles II who was restored to the throne after the English Civil War in 1660). Entirely by his own hand Lely produced many hundreds of paintings of the raffish worthies of the Restoration; with the help of the large army of assistants whom he employed the number of his studio works and replicas rises into the thousands. He became enormously rich and used most of his income to acquire works of art: he owned some twenty-five capital paintings by his great predecessor Van Dyck and also (according to the catalogue of a 1682 sale after his death) pictures and sculptures by such preeminent artists as Veronese Correggio Holbein Claude Lorrain and Bernini. His roughly 10 000 prints and drawings constituted probably the finest collection assembled to that time (it was catalogued in 1688 and 1694); the drawings included sheets by Leonardo Raphael Giulio Polidoro Parmigianino (some 100 studies) Primaticcio Barocci the Zuccari the Carracci and Rubens. The present sheet was thought by James Lamantia to bear some affinity to life studies by Guercino (1591-1666) and indeed the latter's Reclining Nude Youth of 1618/19 in the Royal Library at Windsor Castle (inv. no. 01227 MS inv. A. 125)-as well as in three other nearly identical "academy drawings " in Malibu Saint Louis and Genoa-are all similarly rendered in black and white chalk on brown paper close to the shade and size of this drawing. But the Guercino full-figure "academies" are discernibly different in the minutiae of their handling in precisely those respects in which this figure is most characteristic of Lely and his circle. So the label in English on this sheet (which does not simply record Guercino's death since he died at Bologna on 22 December 1666) tends to confirm its production by-or in the studio of-Peter Lely who might very well have used as a model one of the drawings by Guercino that he may himself have owned. References: John Woodward Tudor and Stuart Drawings London 1951 pp. 30-35 49-52 pls. 34-50; Sir Ellis Waterhouse Painting in Britain 1530 to 1790 Harmondsworth 1969 esp. ch. 6 "The Age of Lely;" Oliver Millar "Lely " Grove Dictionary of Art Jane Turner ed. London 1996 34 vols. vol. 19 pp. 119-125; Nicholas Turner Guercino: Drawings from Windsor Castle Washington 1991 pp. 30-32 no. 6.
- Another Spanish Silver Porringer With
Another Spanish Silver Porringer With deeply hand chased relief designs on the sides four indistinguishable hallmarks at the neck folded back rim with a cast "S" curve foliate handle with Spanish Eight Reale coin insert in the center bearing the date of 1618. One side of the coin reads "Hispania RVM REX 1618" (King of the Spanish) with two castles and lion ramparts in a quatrefoil design (arms of Castile & Leon) and the other bears the crowned Hapsburg shield.
- French cast iron fire back, 1613, fleur-de-lis
French cast iron fire back, 1613, fleur-de-lis decoration, initials "IMF" and date of 1613, French, possibly 17th century, 19 x 28-1/2 in. Extensive surface rust and corrosion consistent with age and use, minor losses at edges.