Sotheby's
achieved a turnover of just over 15 million pounds for its sale of Old
masters held in London on December 9, 2009.
A self-portrait
by Flemish artist Anton Van Dyck (1599-1641) sold for 8,329,250 GBP (buyer's
premium included) against a high estimate of 3 million. The property of the
Earl of Jersey's Trust, this oil on canvas measuring 59,7 x 47,3 cm was held in
an important 17th Century Italianate Mannerist style English frame.
It was possibly in the collection of Sir Peter Lely and his sale in 1682, two
years after his death until it came in the possession of Sir Francis Chiled the
Younger (1684-1740) and then by descent to his nephew Robert Child (1739-1782)
of Osterley Park; by descent to his grand-daughter Lady Sarah Sophia Fane
(1785-1867) who married George Child-Villiers, 5th Earl of Jersey and 8th
Viscount Grandison (1773-1859) of Osterley Park, Middlesex and Middleton Park,
Oxfordshire.
A painting
by Dutch artist Cesar Boetius Van Everdingen (1616?-1678) showing a girl
holding a basket of plums (92,2 x 81,7 cm) smashed it high pre-sale estimate of
70,000 GBP to reach 1,161,250 GBP.
Probably painted between 1645 and 1650, this
remarkable oil of canvas was hitherto unrecorded and unpublished, thus
providing a rare addition to the known oeuvre of one of this most important
Dutch classicist painters of the mid-17th century. A native of Alkmaar, Cesar
van Everdingen was trained in Utrecht under Jan Gerritsz. van Bronckhorst
before returning to his native city. A painter of portraits, histories and
genre subjects, his finest work was however painted in The Hague. Here, thanks
to the connections he had formed in Utrecht with the painter and architect
Jacob van Campen (1595-1657) he was among the select group of painters invited
to decorate the Great Hall or Oranjezaal in the Huis ten Bosch between 1647 and
1652. Following a programme devised by Constantijn Huygens and Van Campen, the
Hall was painted for Amalia von Solms with paintings and murals celebrating the
life of Prince Frederick Henry of Orange (1584-1647) who had recently died, and
remains the most important artistic programme of its type in the Netherlands.
Although the precise subject of this enigmatic
painting is yet to be made clear, Paul Huys Janssens has pointed out its
manifest affinities with the work Everdingen and others were doing in the
Oranjezaal in these years. Very similar baskets to that held by the girl in
this painting feature in his enormous Allegory of the birth of Frederick
Hendrick on the west wall of the Oranjezaal, where they are borne aloft by
putti.These clearly echo those painted on the north-west
wall, which included objects brought back from Brazil and provide a celebration
of Holland's colonial expansion in Brazil and West Africa at this date (fig.1).
The expedition of Johan Maurits of Nassau-Siegen (1604-1679) to Brazil in 1637,
and in particular the paintings brought back by the artists in his entourage
Frans Post (c.1612-1680) and Albert Eeckhout (c.1610-1666) all greatly
stimulated interest and pride in Dutch colonial expansion in this period. Such
baskets were found not only in Brazil but also in West Africa, and a similar
basket of fruit is depicted by Eeckhout in his Portrait of a native woman,
painted in Brazil in 1641 and now in Copenhagen.4 It is quite
possible that Everdingen's model - who is clearly Dutch and a working girl -
has an allegorical or symbolical meaning along these lines, or simply reflects
the new passion at home for colourful and decorative objects from the New
World. Everdingen had made something of a speciality of allegorical female
figures, typically shown at half-length such as in the present work, and good examples
include the Allegory of Winter in the Rijksmuseum in Amsterdam or the Young
Girl at her toilet in Pommersfelden.5 In each of these, as in
the present work, Everdingen displays to full effect his skill in the depiction
of fabrics and details of the still-life elements. The former dates from after
1645 and the latter around 1650 and it is likely that this painting was
executed at a similar date.
Meanwhile,
a painting by Sir Edwin Henry Landseer titled “Return from the staghunt” (35,5
x 160 cm) fetched 937,250 (with buyer's premium) against a high estimate of
1,200,000 GBP.
Sotheby's
achieved a turnover of just over 15 million pounds for its sale of Old
masters held in London on December 9, 2009.
A self-portrait
by Flemish artist Anton Van Dyck (1599-1641) sold for 8,329,250 GBP (buyer's
premium included) against a high estimate of 3 million. The property of the
Earl of Jersey's Trust, this oil on canvas measuring 59,7 x 47,3 cm was held in
an important 17th Century Italianate Mannerist style English frame.
It was possibly in the collection of Sir Peter Lely and his sale in 1682, two
years after his death until it came in the possession of Sir Francis Chiled the
Younger (1684-1740) and then by descent to his nephew Robert Child (1739-1782)
of Osterley Park; by descent to his grand-daughter Lady Sarah Sophia Fane
(1785-1867) who married George Child-Villiers, 5th Earl of Jersey and 8th
Viscount Grandison (1773-1859) of Osterley Park, Middlesex and Middleton Park,
Oxfordshire.
A painting
by Dutch artist Cesar Boetius Van Everdingen (1616?-1678) showing a girl
holding a basket of plums (92,2 x 81,7 cm) smashed it high pre-sale estimate of
70,000 GBP to reach 1,161,250 GBP.
Probably painted between 1645 and 1650, this
remarkable oil of canvas was hitherto unrecorded and unpublished, thus
providing a rare addition to the known oeuvre of one of this most important
Dutch classicist painters of the mid-17th century. A native of Alkmaar, Cesar
van Everdingen was trained in Utrecht under Jan Gerritsz. van Bronckhorst
before returning to his native city. A painter of portraits, histories and
genre subjects, his finest work was however painted in The Hague. Here, thanks
to the connections he had formed in Utrecht with the painter and architect
Jacob van Campen (1595-1657) he was among the select group of painters invited
to decorate the Great Hall or Oranjezaal in the Huis ten Bosch between 1647 and
1652. Following a programme devised by Constantijn Huygens and Van Campen, the
Hall was painted for Amalia von Solms with paintings and murals celebrating the
life of Prince Frederick Henry of Orange (1584-1647) who had recently died, and
remains the most important artistic programme of its type in the Netherlands.
Although the precise subject of this enigmatic
painting is yet to be made clear, Paul Huys Janssens has pointed out its
manifest affinities with the work Everdingen and others were doing in the
Oranjezaal in these years. Very similar baskets to that held by the girl in
this painting feature in his enormous Allegory of the birth of Frederick
Hendrick on the west wall of the Oranjezaal, where they are borne aloft by
putti.These clearly echo those painted on the north-west
wall, which included objects brought back from Brazil and provide a celebration
of Holland's colonial expansion in Brazil and West Africa at this date (fig.1).
The expedition of Johan Maurits of Nassau-Siegen (1604-1679) to Brazil in 1637,
and in particular the paintings brought back by the artists in his entourage
Frans Post (c.1612-1680) and Albert Eeckhout (c.1610-1666) all greatly
stimulated interest and pride in Dutch colonial expansion in this period. Such
baskets were found not only in Brazil but also in West Africa, and a similar
basket of fruit is depicted by Eeckhout in his Portrait of a native woman,
painted in Brazil in 1641 and now in Copenhagen.4 It is quite
possible that Everdingen's model - who is clearly Dutch and a working girl -
has an allegorical or symbolical meaning along these lines, or simply reflects
the new passion at home for colourful and decorative objects from the New
World. Everdingen had made something of a speciality of allegorical female
figures, typically shown at half-length such as in the present work, and good examples
include the Allegory of Winter in the Rijksmuseum in Amsterdam or the Young
Girl at her toilet in Pommersfelden.5 In each of these, as in
the present work, Everdingen displays to full effect his skill in the depiction
of fabrics and details of the still-life elements. The former dates from after
1645 and the latter around 1650 and it is likely that this painting was
executed at a similar date.
Meanwhile,
a painting by Sir Edwin Henry Landseer titled “Return from the staghunt” (35,5
x 160 cm) fetched 937,250 (with buyer's premium) against a high estimate of
1,200,000 GBP.
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