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6930.DenysCalvaertMysticMarriageofSaintCatherinePROVENANCEGalerieGrnwaldMunichprivatecollectionBelgiumpurchasedfromDayFaberLondon2000.ExHIBITIONBrusselsSocitGnraledeBanqueDessinsduXVeauXVIIIesiclesdanslescollectionsprivesdeBel-giquecat.byR.-A.dx19Hulstetal.1983cat.18ill.NOTES1.SaintCatherineappearsinaltarpiecesinSanGiacomoMaggioreBolognaseeTeresaMontellax1cDionisioCalvaertx1dinPitturabolognesedelx19500ed.VeraFortunatiPietrantonio2vols.BolognaGras1986vol.2p.706ill.andSimoneTwiehausDionisioCalvaertum1540x131619DieAltarwerkeBerlinReimer2002cat.A7ill.forwhichthereisapreparatorydrawinginthePrincetonUniversityArtMuseuminv.x1977-164seeTwiehaus2002g.17SantaMariadeiServiBolognaseeFortunatiPietran-tonio1986p.700ill.andTwiehaus2002no.A11ill.forwhichthereisarelateddrawingintheRoyalLibraryatWindsorCastleinv.5096seeTwiehaus2002g.30aswellaspaintingsintheGemldegalerieOldenburgseeFortunatiPietrantonio1986p.695ill.andtheMuseoCapitolinoRomeseeFortunatiPietrantonio1986p.697ill.andTwiehaus2002g.84forwhichadrawingispreservedintheMuseduLouvreParisinv.19836seeTwiehaus2002g.85.SeealsothepaintingsbyorafterCalvaertthatpassedthroughsalesatChristiex19sLondonApril102003lot15July112003lots5and24andDec.32008lot247aswellasfurtherauto-graphdrawingsintheRoyalLibraryinv.5506seeTwiehaus2002g.20andLouvreinv.2010seeTwiehaus2002g.21bothofwhichincludeSaintCatherinealongsideSaintsFrancisandRochthoughshewasultimatelyeliminatedforthenalaltarpieceof1598intheGemlde-galerieAlteMeisterDresdeninv.120seeTwie-haus2002g.19whichfeaturesSaintsFrancisandDominic.AmongadditionaldrawingswithSaintCatherinenotpublishedbyeitherTwie-hausorMontellaaresheetsintheMuseodelPradoMadridinv.D-2317seeNicholasTurnerMuseodelPradoCatlogodedibujosvol.5Dibujositalia-nosdelsigloXVIMadridMuseodelPrado2004cat.41ill.incoloranotherdated1581thatwasofferedforsaleatSothebyx19sLondononDec.71978lot42andtworedchalkdrawingsintheLouvreinv.11330seeCatherineLegrandLedes-sinBologne1580x131620LarformedestroisCarracciexh.cat.ParisRuniondesMusesNationaux1994cat.3ill.andinv.21409thelatterofwhichwasreproducedinthesamesenseinanengravingbyHieronymusWierix.2.CuriouslythispaintingwasoverlookedbybothTwiehausandMontello.3.OnepatronforwhomatleastsomeofthealtarpieceswithrepresentationsofSaintCatherineweredestinedincludingthatinSanGiacomoMaggioreBolognawasthewidowCatarinaZanettiBianchetti.4.Inv.14.210seeTwiehaus2002g.8.33.AnnibaleCarracciStudyofaTreec.1600PROVENANCEPossiblyConteCarloCesareMalvasiaPierreCrozathisinscribednumberpartlyerasedrecto57hissaleParisApril10x13May131741partoflots510511512or516Pierre-JeanMariettewithpartofhismountL.1852hissaleParisBasanNov.15x13Jan.301776lot307probablyB.deBoynehissaleParisMarch4x13191785anunidentiedcollectorx19smarkonthemountversoCFCbelowacoronetpossiblyconnectedwiththeCoccapanifamilyaccordingtoLoiselorpossiblyGermanwithshelfmarkFol.M.II.37MappeXV1S15anony-moussaleChristiex19sLondonApril81986lot63ill.anonymoussaleChristiex19sLondonApril91990lot32ill.boughtbyBrunodeBayserforaprivatecollectionFrancesaleChristiex19sNewYorkJan.281999lot23ill.privatecol-lectionVermontpurchasedfromW.M.BradyCo.NewYork2012.LITERATUREFranoiseViatteetal.Lecabinetdx19ungrandamateurP.-J.Marietteexh.cat.ParisRuniondesMusesNationaux1967undercat.288RoselineBacouIgrandidisegniitalianidellacollezioneMariettealLouvrediParigiMilanSilvana1982p.27JacquelineLabbandLiseBicart-SeLacollectionSaint-MorysauCabinetdesDessinsduMuseduLouvreParisditionsdesMusesNationaux1987p.522CatherineLoiselMuseduLouvreDparte-mentdesArtsGraphiquesInventairegnraldesdessinsital-iensvol.7LudovicoAgostinoAnnibaleCarracciParisditionsdesMusesNationaux2004p.317undercat.795.ExHIBITIONNewYorkW.M.BradyCo.MasterDrawings1530x131920cat.byLauraBennettandMarkBrady2012cat.5entrybyNicholasTurnerill..NOTES1.Inarecente-mailAidanWeston-LewisdoubtedAnnibalex19shandsuggestinginsteadthatthedrawingisacopyverylikelybyaFrenchart-istworkingtowardtheendoftheseventeenthcenturyafteralostoriginal.Thisviewishardtocredit.2.SeeLoisel2004pp.316x1317cat.795ill.3.WhenintheCrozatandMariettecollec-tionsAnnibalex19sdrawingwaspairedwithacom-panionStudyofTwoTreesnowintheLouvrealsoinpenandbrowninkoverblackchalkinv.no.7484Loisel2004pp.296x1397no.726ill..StrictlyspeakingthetwodrawingsarenotapairsincethedrawingintheLouvreisslightlylargerinsize.NeverthelessbothstudiesmusthaveoriginatedatmoreorlessthesametimeandsharemuchthesamesubjectmatterthoughtheParisdrawingseemsmuchlessintenseinhandling.4.Suchaccurateobservationfromnatureisunmatchedbythelessfocusedlandscapedraw-ingsofAnnibalex19sbrotherAgostinowhosetouchismoresystematicasmightbeexpectedofanengraverandlacksAnnibalex19stechnicalHair.5.Annibalewasnotalwaysfaithfultohispreliminaryindicationsinblackchalk.Forexampletowardthetopofthetreehisrstideashowedthefoliageextendingfarthertotheleftwithindicationsofcloudsbeyond.Alikelyreasonfornotcompletingthecloudswhichareoftenincludedinhisotherlandscapestudiesofthistimemaywellhavebeentokeepunclutteredthemotifofthemajestictree.36.GiovanniFrancescoBarbiericalledGuercinoTheInfantChristBlessingSalvatorMundic.1658PROVENANCEProbablyCasaGennariprobablyJohnBouv-erie10probablyhisnephewChristopherHerveyorhissisterElizabethBouverieprobablytheRt.Hon.SirJohnRushout4thBt.orJohnRush-out5thBt.and2ndLordNorthwickthencebydescenttheirsaleSothebyx19sLondonNov.11920lotunknownprivatecollectionthencebydescentpurchasedfromEmanuelvonBaeyerLondon2011.NOTES1.ThereisawatermarkinthepaperofabirdonthreemountsinacircleRome1572seeC.M.BriquetLesligranesDictionnairehistoriquedesmarquesdupapier4vols.Paris1907no.12250.2.ForBonaverix19sactivityasaprintmakerseePriscoBagniIlGuercinoeisuoiincisoriRomeU.Bozzi1988pp.126x1328andDenisMahon