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It Is Very Rare in the History of Art That an Artist Has Equal Talent for Painting and Sculpture

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It Is Very Rare in the History of Art That an Artist Has Equal Talent for Painting and Sculpture Lot 13 (detail) European Art & Old Masters AUCTION Sale 1656 Tuesday, February 18 at 12pm 2400 Market St Philadelphia PA freemansauction.com VIEWING TIMES Friday, February 14: 10am - 5pm Saturday & Sunday, February 15 & 16: 12pm - 5pm Monday, February 17: 10am - 5pm Tuesday, February 18: by appointment only DEPARTMENT David Weiss Senior Vice President | Head of Department [email protected], 267.414.1214 Alasdair Nichol Chairman | Division Head [email protected], 267.414.1211 Raphaël Chatroux Specialist [email protected], 267.414.1253 Opposite: Lot 34 (detail); Cover: Lot 48; Inside Front Cover: Lot 37 (detail); Inside Back Cover: Lot 38 (detail) Lot 12 (detail) The Rhinoceros is one of Albrecht Dürer’s rarest prints. This woodcut, executed in eight states, is 1 a visual record of an Indian rhinoceros brought Albrecht Dürer (German, 1471–1528) to Emanuel I, King of Portugal in 1513 and known The Rhinoceros to Dürer from a sketch by the painter Valentin Ferdinand. In 1515, Emanuel I sent the rhinoceros 1515. Woodcut on paper with a Single-Headed to Pope Leo X as a gift, though the animal died in a Eagle watermark (Meder 224), a good impression of the sixth state (of eight). Printed by Hendrick shipwreck. While Dürer never saw the rhinoceros, Hondius, The Hague, circa 1620. The Dutch text he refers to it in an inscription in the edition of the trimmed, as is common; with an inscription in French print with letterpress text as being “fast, impetuous on the reverse and cunning.” Dürer’s Rhinoceros is a highly stylized Image size: 8 3/8 x 11 3/4 in. (21.3 x 29.8cm) animal: its heavy skin appears like armor plating, Sheet size: 8 7/16 x 11 7/8 in. (21.4 x 30.2cm) [Bartsch 136; Meder/Hollstein 273] complete with rivets and a breastplate; it has an enlarged horn, a gorget, and a smaller spiral horn PROVENANCE Private Collection, New Jersey. on its back. Until the late 18th century, Dürer’s depiction of a rhinoceros was widely regarded as $12,000-18,000 being an accurate one. 2 Rembrandt van Rijn (Dutch, 1606-1669) Saskia with Pearls in Her Hair The subject of the present etching is Saskia Uylenburgh, daughter of a wealthy Leeuwarden 1634. Etching on laid paper, New Hollstein’s first state burgomaster. Orphaned, she went on to live with (of two), a very fine early impression with the finest lines her relative, the art dealer Hendrick Uylenburgh, printing very clearly, with good contrasts and trimmed margins who introduced her to Rembrandt—whom she Sheet size: 3 5/16 x 2 5/8 in. (8.5 x 6.7cm) married in 1634. Saskia with Pearls in Her Hair was Image size: 3 5/16 x 2 5/8 in. (8.5 x 6.7cm) executed during the couple’s first year of marriage, [Bartsch 347; Hind 112; Hollstein 347; New Hollstein 136] hence her outfit, which may be bridal attire as she PROVENANCE is depicted here with pearls woven into her hair Collection of Viscount Fitz-Harris, Earl of Malmesbury (per and hanging from her neck and ears, along with a pencil-inscribed name verso, not in Lugt). gown and stylish lace kerchief. Private Collection, Maryland. $6,000-10,000 3 Albrecht Dürer (German, 1471–1528) The Man of Sorrows with Hands Bound According to Erwin Panofsky this is Dürer’s 1512. Drypoint on laid paper, a very good earliest drypoint. It is also the only one of Dürer’s Meder A impression of this rare print; with three drypoints with a date and monogrammed various pencil inscriptions verso (unknown signature. A related drawing by Dürer, Man of collector, not in Lugt). Image size: 4 1/2 x 2 7/8 in. (11.4 x 7.3cm) Sorrows, is in the collection of The Louvre, Paris Sheet size: 5 1/8 x 3 7/16 in. (13 x 8.7cm) (W. 606). [Bartsch 21; Meder 21] PROVENANCE Private Collection, Oklahoma. $6,000-10,000 4 Circle of Quentin Massys the Elder (Dutch, 1466–1530) Lamentation Oil on cradled panel 34 x 27 1/2 in. (86.4 x 69.9cm) PROVENANCE Hôtel Drouot, Paris, sale of June 24, 1929, lot 8. Acquired directly from the above sale. Walter Andrew Newman, Philadelphia, Pennsylvania. Newman Galleries, Philadelphia, Pennsylvania (as Circle of Rogier van der Weyden, Flemish, 1399-1464). Acquired directly from the above in 2004. Private Collection, Philadelphia, Pennsylvania. EXHIBITED La Salle University, Philadelphia, Pennsylvania, 2005. NOTE The present painting was examined in 2004 by Dr. Larry Silver, Professor of History of Art at the University of Pennsylvania. It will be accompanied by a copy of a letter dated November 1, 2004, in which Dr. Silver authenticates the painting as a close contemporary copy of a lost original by Massys. $40,000-60,000 Traditionally regarded as the founder of the compositions can be found in the Koninklijk Antwerp School of Flemish painting, Quentin Museum in Antwerp and the Alte Pinakothek Massys was born in Leuven (in what is now in Munich, both probably painted after Massys’s Belgium) in 1466. The son of a clockmaker and death, as the present work. The Brussels painting architect, it is said that Massys was trained as an has a different background and a less fully ironsmith before eventually taking up painting. elaborated landscape than the present painting, As an artist, he fell under the influence of the with a foreground ledge that prominently displays local artist Dirk Bouts, also incorporating the the instruments of Christ’s Passion—particularly styles of the late Hans Memling and especially the crown of thorns and the nails. This ledge Rogier van der Weyden, who coined images and obscures the view of the lower extremities of the iconographies that Massys took as references figures that are in fact visible in our image. The and further elaborated. He officially settled in Antwerp picture reduces the pictorial field even Antwerp in 1491, the same year he became a further and only shows the two figures at bust- member of the city’s prestigious Guild of Saint length, almost like a close-up. Luke. During his career Massys became known as a skilled religious artist, producing many Yet in all three examples the tender embrace altarpieces and private devotional subjects like the between the Virgin and Christ is depicted—that present work for local collectors or churches. He is, the essential subject matter remains the same. also produced portraits influenced by the Italian While her hand placement varies in each, Mary is Renaissance and typical genre subjects. shown in each example wearing the same white linen cap and a garment whose sleeve is delimited This powerful and impressive Lamentation is a very by a grey fur cuff. The Munich image is closer close copy of a lost prototype that Massys executed to the present work in that it presents the exact in the 1520s. Here, the artist depicts a dead Christ same landscape of the three crosses and a view lying in his mother’s arms after his crucifixion on of the city of Jerusalem in the distance (without Calvary. Christ is shown naked, his sides flanked the figures). Yet, the Munich composition is by a white drapery that cushions his head, which inverted, with Mary facing left instead of right. the Virgin is supporting with both of her hands. This exception indicates that the original, lost Mary is shown fully veiled, wearing a red dress prototype was perhaps more in accordance with covered by a blue fur coat. She tilts her anguished the present work, which appears as the largest, face towards her son and tenderly brushes her fullest, and most inclusive record of all the Pietá mouth against his newly inanimate lips. In the images from Massys’ circle. upper right background stand the three crosses upon which Christ and the malefactors were Contrary to earlier Pietás that were rather small crucified, while to the left two figures are shown and opted for the full-length format, the artist marching on a dirt road, both dressed in oriental working in Massys’ circle here prefers to adopt a garments and carrying presents. In the distance more intense, portrait-style composition in order lays Jerusalem, with its distinctive city walls. to focus on the characters’ emotions. Ultimately, the work bears the hallmarks of Massys’ mature Several paintings either by or after Massys are œuvre in that it reflects the Italian influences comparable to the present work. Arguably the of Leonardo da Vinci through the aggravated closest related version of the subject is a half- sorrow and sadness of the Virgin Mary, while its length Pietá now in the Musées Royaux des Beaux- composition and feeling of intense religious piety Arts de Belgique in Brussels, which may have been is characteristic of the Netherlandish tradition, as painted during the artist’s lifetime. Other similar immortalized by Rogier van der Weyden. (detail) 5 Spanish School (Circa 1900 or earlier) Virgin and Child with Angel Musicians Oil with gold ground on cradled panel, in inscribed frame 19 3/8 x 30 7/8 in. (49.2 x 78.4cm) PROVENANCE Collection of Don Luis Ruiz, Madrid, Spain. His sale, American Art Association, Anderson Galleries, Inc., New York, sale of May 2, 1936, lot 75, as School of Seville, circa 1510. Acquired directly from the above sale. Collection of Samuel Yellin, Pennsylvania. By descent in the Yellin family. $4,000-6,000 6 Manner of Bon de Boulogne (French, 1649-1717) Diana and Actaeon Oil on cradled panel 17 1/2 x 27 in.
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