5381 - 5728 FINE ARTS - 16th-19th CENTURY DRAWINGS, WATERCOLOURS and PAINTINGS
- Small closed tear in left margin; sl. yellowed. = Attractive watercolour.
= Cutty Sark was a British clipper ship. Built on the River Leven, Dumbarton, Scotland in 1869 for the Jock Willis Shipping Line, she was one of the last tea clippers to be built and one of the fastest, coming at the end of a long period of design development, which halted as sailing ships gave way to steam propulsion.
ADDED: E. KENTLEY, Curry Sark. The last of the Tea Clippers (Greenwich, 2012, col. ills., orig. cl. w. dustwr., 4to).
- Tiny restoration in lower left corner, touching the collector's mark; sl. (water?)stained/ fingersoiled in left margin; vague attribution in later pencil in lower right corner.
= With the collector's mark of Nicos Dhikeos in lower left corner (Lugt 3529).
= On 16th century laid paper with watermark showing a double feather or quil with the initial FA and below a C. Perhaps after Polidoro da Caravaggio. SEE ILLUSTRATION PLATE LXXV.
- Laid down; narrow inkstain along edges, probably caused when later a framing line was added.
= With a modern attribution to Wolf Huber and an annotation indicating a similarity between the man with the fire arm and the rifle man in a woodcut composition of the Master of the Miracles of Mariazell ("Ain Man ward mit ainer Puren durch den Leib geschossen (...)"). SEE ILLUSTRATION PLATE LXXVI.
- Doubled w. very thin paper on verso, closing various tiny holes and tears, mostly caused by ink acid biting.
= On 16th century (?) laid paper w. watermark showing monogram GB within a shield. SEE ILLUSTRATION PLATE LXXVI.
- Heavily restored drawing, i.a. doubled, closed holes and tears.
= Remarkable drawing. A very similar drawing by almost certainly the same artist was part of the collection of Bernard Houthakker. This drawing was formerly associated with the works of Polidoro da Caravaggio but according to Fuhring is likely from Northern Italy, from the third quarter of the sixteenth century and designed for a feast at a court or for theatre purposes. Cf. Fuhring, Design into Art, 515.
= On 16th century laid paper, with part of unidentified watermark (circle with initial?). SEE ILLUSTRATION PLATE LXXVI.
- Laid down on later paper; closed hole in lower left corner, not affecting drawing.
- Laid down on mount; unevenly browned; partly worn; annots. in pen on verso.
= Attributed to Cristofano Roncalli il Pomerancio (1552-1626). With collector's mark of Albert Finot (Lugt 3627) in lower left corner. SEE ILLUSTRATION PLATE LXXVI.
= SEE ILLUSTRATION PLATE LXXVII.
- With small inscription "Jiad/ 1841" [?] in lower margin. Surface dam. in lower left corner (w. loss of collector's mark?); verso strengthened w. paper in right margin.
= SEE ILLUSTRATION PLATE LXXVII.
- Partially laid down; closed tear; creases and many tiny foxed spots.
= With a later (?) manuscript annotation in pen and ink attached to the leaf: "Le poussin"(?). On laid paper, which appears to be from the late 16th/ early 17th century. The museum of fine arts of Budapest holds a painting from a Poussin-follower with a very similar composition, especially the billowing of her robes.
= Drawing after a late medieval wall painting or manuscript. With the collector's mark of Giuseppe Vallardi (Lugt 1223).
- Doubled and browned; old middle-fold; some (water)stains and oxidation of the white paint.
= Recot with the collector's mark of i.a. Michel Gaud (Lugt 3482) in lower left corner. SEE ILLUSTRATION PLATE LXXVII.
- Laid down on mount. = SEE ILLUSTRATION PLATE LXXVIII.
- Laid down on later paper; pieces torn off in lower part, affecting the dress of one of Lot's daughters ; soiled.
= SEE ILLUSTRATION PLATE LXXVIII.
- Acid biting; sl. foxed/ dustsoiled.
= With attribution to Pietro Perugino (1446-1523) on mount. SEE ILLUSTRATION PLATE LXXIX.
= Laid paper with unidentified watermark showing a coat of arms (?) with a cross pattée and a fish(?). Perhaps the prophet Elijah in the fiery chariot. SEE ILLUSTRATION PLATE LXXIX.