NEW YORK, NY.- Following the success of the second annual TEFAF New York Spring in May, TEFAF is offering a “first look’ at the works that will be showcased this Fall. With a focus on fine and decorative arts and jewelry from antiquity through the early 20th century, TEFAF New York Fall returns to the historic Park Avenue Armory from October 27-31. 

As the conversation and climate for historic art in America continues to grow, TEFAF New York Fall is at the forefront of the renewed interest in this area, highlighting the beauty and relevance of historic art within the current marketplace and providing an engaging platform for collectors and enthusiasts to view, explore and purchase the highest quality works across collecting categories. 

“We’re looking forward to the third iteration of TEFAF New York Fall in October; it is a pleasure to see the New York Fairs take root in the US’, said Patrick van Maris, CEO of TEFAF. “TEFAF exhibitors continually exhibit extraordinarily high quality works by some of art history’s finest artists, backed by the world leading standards of vetting TEFAF sets for each Fair. The recently released exhibitor list includes exciting new additions, adding to the compelling mix of galleries and collecting areas. We’re pleased to supplement our exhibitors offering with engaging and thought provoking programming, all of which provides a dynamic experience for our visitors.” 

New Exhibitors for TEFAF New York Fall 2018 are: 

Antonacci Lapiccirella Fine Art (Italy) – based in Rome, specialists in Italian paintings and sculpture



Giovanni Boldini (Ferrara, 1842 - Paris, 1931), Portrait of a lady (recto); nude of a lady (verso). Watercolor and pencil on paper, 49 x 35.5 cm (19.3 x 14 in.). Signed 'Boldini' lower right. Image courtesy Antonacci Lapiccirella Fine Art / Stand 377.

Provenance: Private collection, Paris. 


Federico Beltrán Masses (Guaira de la Melena, 1885 - Barcelona, 1949), Lady Michelham, circa 1920. Oil on canvas, 145 x 160 cm (57 x 63 in.) Signed lower left 'F. Beltran Masses'Image courtesy Antonacci Lapiccirella Fine Art / Stand 377.

Provenance: Estate of the artist; To his widow; To her heirs; Private collection, Spain

Literature: Stendhal Art Galleries, Exhibition of Paintings by the Spanish Master Federico Beltrán-Massés, The Fiesta Ballroom, The Ambassador Hotel, Los Angeles, 27- June - 9 July 1925, pl. 10, as 'Lady M' 
Paul George Konody, The Art of Federico Beltrán Massés, Apollo, 1929, no. 9, pp. 335-341 
Museu Diocesa, Federico Beltrán Massés: un pintor a la corte de Hollywood, Barcelona, 2011, p. 130 
Museos de arte de Barcelona, Federico Armando Beltrán Massés, Anales y boletín de los Museos de arte de Barcelona, Barcelona, 1951, IX, p. 229 
Torreón de Lozoya, Federico Beltrán Massés, Caja Segovia, 2008, p. 67 
Wildenstein Galleries, Exhibition of Paintings by Federico Beltrán-Massés, New York, December 1924, no. 32, as 'Portrait of Lady X' 
Real Academia de Bellas Artes de San Fernando, Federico Beltrán Massés: Castizo cosmopolita, Madrid, 2012, p. 121 

Exhibited: Exhibition of Paintings by Federico Beltrán Massés, Wildenstein Galleries, New York, December 1924; The Society of the Arts, Whitehall, Palm Beach, February 1925; Exhibition of Paintings by the Spanish Master Federico Beltrán Massés, Stendhal Art Galleries, The Fiesta Ball Room, The Ambassador Hotel, Los Angeles, 27 June – 9 July 1925; Federico Beltrán Massés, New Burlington Galleries, London, under the patronage of His Majesty the King of Spain, 14 June – 6 July 1929; Federico Beltrán Massés, Torreón de Lozoya, Caja Segovia, 2008; Federico Beltrán Massés: un pintor en la corte de Hollywood, Museu Diocesa, Barcelona, 2011; Federico Beltrán Massés: Castizo cosmopolita, Real Academia de Bellas Artes de San Fernando, Madrid, 2012.


Ippolito Caffi (Belluno, 1809 - Battle of Lissa, 1866), The Grand Canal in Venice with Santa Maria Della Salute, circa 1842Oil on canvas, 47 x 60.9 cm (18.5 x 24 in.) Signed 'CAFFI' lower right. Image courtesy Antonacci Lapiccirella Fine Art / Stand 377.

The imposing dome of Santa Maria della Salute emerges from a purplish fog that is gradually lifting, dissolving in the early morning sunshine as the sun timidly casts its first rays on the buildings and waters of the Grand Canal. The warm light of dawn spreads out, chasing away the dark, while a clear and limpid blue sky begins to form in the distance. The first rays of the sun strike the canal with its host of boats and figures and the water embraces them, allowing itself to be pierced by them and reflecting them as it changes its colour from murky grey into a sharp, bright green. This is the scene depicted in The Grand Canal in Venice with Santa Maria della Salute, a hitherto unpublished painting.

The careful distribution of color coupled with the masterly handling of shadow and backlight in the foreground enhance the luminosity of the background and draw the eye into the early light of dawn and into those wonderful reflections on the water. And it is that same sharp yet timid light that strikes the mast of a crewless ship from the side, revealing its Moorish windows, warming the colored stone of the warm yellow and pink palazzi, lending substance to the bluish sun blinds on their façades and, last but not least, surprising the city's early-risers. A gondolier crosses the Grand Canal in the distance, while men seem to be moving about on a group of boats that appear to have been tied together, laden with goods, and elegant gentlemen sporting top hats and holding walking sticks are waiting for someone or something on the quayside.

This picture is among the works that Caffi painted between 1840 and 1850, in which he explores the "repertoire of most varied subjects: fog in cities, eclipses, snowfalls, fireworks, and festivities by night and by day" (Pittaluga 1971, p.47) that served to present a different approach to the Venetian veduta. In this work, the composition and structure of the scene plunge us without hesitation into the cycle of paintings closest to ours in terms both of its theme and of its artistic character, namely the series of Views of the Grand Canal in the snow which are unanimously held to rank amongst his masterpieces and in which Caffi alone has succeeded in the masterly rendering in paint of a sense of intense participation in the natural event, of attention to atmosphere, of the modulation of light, of the sense of silence, and of the suspended mood that envelops the scene and the figures depicted.

Numerous versions are known of his Views of the Grand Canal in the snow (see the bibliography below), but we shall only mention here that they were painted throughout the 1840s, thus revealing the extent to which Caffi felt at home with his subject matter and that the first series can identified as the one dated 1841 and now in the Museo di Belluno. It is very difficult to establish the exact chronological sequence of our versions, but we should stress that even though the perspective of the composition may appear to be the same in the various versions, the thing that changes, apart from the positions of the boats and the figures, is the way in which the scenes are lit, and also the "viewpoint", which draws in or moves out like a camera zooming in on, or away from, its subject. And the aspect that is characteristic of the Belluno painting is precisely this smoky, foggy sky in movement, this attention on the "close-up" approach to the scene's composition and to the daily life being played out in it.

The atmosphere, the perspective, the position of the boats and the figures, the privileged viewpoint and the church of Santa Maria della Salute in the background, closing the scene with the panache of a stage set, all suggest that this previously unpublished work belongs precisely to this period, allowing us to argue with a fair degree of conviction that the painting may be close in date to that in Belluno, thus falling somewhere between 1842 and 1845.

Literature: Caffi I., Lezioni di prospettiva pratica, Santarelli, Rome, 1854 
Gazzetta di Venezia, Ippolito Caffi, 30 October 1866 
Mikelli V., Strenna veneziana, Ippolito Caffi. Venezia degli Italiani, Venice, 1867 
Avon Caffi G., Ardita, Un pittore soldato del Risorgimento, March 1921 
Mancini E., Annuario, Annuario 1925/26 del R. Istituto Magistrale Giustina Renier, Belluno, 1925-6 
Avon Caffi G., Rivista di Venezia, Il pittore Ippolito Caffi, June 1931, 195-203 
Damerini G., Gazzetta del Popolo, Un pittore a Venezia perito a Lissa, 23 August 1931 
De Grassi M., Gazzetta di Venezia, Ippolito Caffi, 14 May 1942 
Somaré E. (Curator), Ippolito Caffi, exhibition catalogue, Modena, 1949 
Bianchi, E., Gazzetta Ufficiale di Venezia, Sulle Quattro prospettive esposte dal ca. Ippolito Caffi in queste Sale del Ridotto, 13 May 1963 
Comemo-Gerstenbrand L., Ippolito Caffi, Venice, 1966 
Fiocco G., Il Gazzettino, Un maestro solitario: Ippolito Caffi, 29 July 1966 
Avon Caffi G., Ippolito Caffi: 1809-1866, Amicucci, Padua, 1967 
Perocco G (Curator), Ippolito Caffi, exhibition catalogue, Venice, 1966 
Pittaluga M., Il pittore Ippolito Caffi, Neri Pozzi Editore, Vicenza, 1971 
Masciotta M., Pittaluga M., Antichità Viva, 1, Ippolito Caffi, Vecenza, 1972, 67-8 
Perocco G., (Curator), Ippolito Caffi 1809 – 1866: raccolta di 154 dipinti, exhibition catalogue, Marsilio Editore, Venice, 1979 
De Biasi M., Ateneo Veneto, CLXXI, 22, 1-2, Giuseppe Avon Caffi, 1984, 325-6 
Scotton F., Ippolito Caffi, Viaggio in Oriente 1843 – 1844, exhibition catalouge, Comune di Venezia, Assessorato alla Cultura, Mestre, Istituto di Cultura “S. Maria delle Grazie, 3 July – 15 September 1988 
Magnani F., Entry for Caffi Ippolito in La pittura…, 1990, 723-4 
Romanelli G.D. (Curator), Caffi. Luci del Mediterraneo, Belluno, Palazzo Crepadona, 1 October 2005 - 22 January 2006 
Scarpa, A., Ippolito Caffi: dipinti di viaggio tra Italia e Oriente, Venice, Marsilio, 2015 
Peretti F., Ippolito Caffi, De Luca editori d’arte, Rome, 2016 
Scarpa A., Ippolito Caffi. Tra Venezia e Oriente, Museo Correr, Venezia, 28 May – 20 November 2016



Giulio Aristide Sartorio (1860 - Roma - 1932), "From the Great Discoveries, through the Gloomy Ages, to the Living Revival of the Race" and "From the Myth of Brute Forces tamed to the most recent Achievements of Science", 1906. Oil on canvas, Approx. 98 x 161 cm (38.6 x 63.4 in.) each. Image courtesy Antonacci Lapiccirella Fine Art / Stand 377.

Marga Sartorio collection, Rome; Private collection, Rome.

LiteratureEsposizione di Milano 1906, Mostra Nazionale di Belle Arti, illustrated catalogue, Milan, p. 39 
Dalla caduta di Roma imperiale alle conquiste ultime della scienza. Fregio decorativo di G. A. Sartorio, Danesi editore, Rome, 1906, pp. 107-114 
Ugo Fleres, Ciò che Roma manda a Milano, in Milano e l’Esposizione Internazionale del Sempione 1906, Cronaca illustrata dell’esposizione compilata a cura di E. A. Marescotti e Ed. Ximenes, Fratelli Treves editori, Milan, 1906, pp. 107-114 
La decorazione della sala del Lazio, in Ibidem, pp. 183-186 
Raffaello Barbiera, L'illustrazione italiana, Le belle arti all’esposizione internazionale di Milano, Milan, 28 April 1906, pp. 374-375 
Ugo Ojetti, L’arte all’esposizione di Milano. Note e impressioni, Fratelli Treves editori, Milan, 1906, p. 46 
A. Milani, Natura e Arte, XVI, Note critiche sull’Esposizione Internazionale d’arte di Venezia. Le pitture di Sartorio e una pregiudiziale, Milan, 15 June 1907, pp. 12, 13, 17 
M. de Benedetti, Nuova antologia, Giulio Aristide Sartorio Pittore, Rome, 16 April 1907, a. XXXVII, vol. CXXVIII, p. 593-600 
Vittorio Pica, L'illustrazione italiana, Il nuovo palazzo del parlamento italiano, Milan, 22 November 1908, pp. 490-494 
Luigi Serra, Emporium, XXIX, Il fregio di G. A. Sartorio per la nuova aula del Parlamento, Bergamo, 1909, No. 169, pp. 281 – 296 
I saloni d’onore della Regia nave Italia: crociera nell’America latina, Stabilimento Grafico Reggiani, Milan, 1924 
Mostra delle pitture di Giulio Aristide Sartorio nella regia Galleria Borghese, Rome, 9 March-24 April 1933, p. 54 
Pasqualina Spadini, Un fregio di Giulio Aristide Sartorio, Galleria dell’Emporio Floreale, Rome, 1974 
Giulio Aristide Sartorio, 1860-1932, exhibition catalogue, De Luca editore, Rome, 1980 
Anna Maria Damigella, L’aula di Montecitorio, Basile, Sartorio, Calandra, Il Fregio di Aristide Sartorio, Franco Maria Ricci editore, Milano, 1986, p. 29 
Anna Maria Damigella, Giulio Aristide Sartorio. Figura e decorazione, Sartorio e la pittura decorativa simbolica, Rome Palazzo Montecitorio, sala della Regina, 2 February – 11 March 1989, pp. 62 - 65 
Teresa Sacchi Lodispoto, Sartorio cantore della Storia d’Italia, in Sartorio 1924. Crociera della regia nave Italia nell’America Latina, exhibition catalogue, De Luca editore, Rome, 1999, pp 56 – 62 
Maria Paola Maino, Giulio Aristide Sartorio (1860 – 1932), exhibition catalogue, La vita avventurosa di un’opera, Maschietto, Mandragora editore, Florence, 2006, pp. 97 - 103 
Renato Miracco, Giulio Aristide Sartorio e “la veste vivente della divinità”, in Il fregio di Giulio Aristide Sartorio, Leonardo international editore, Milano, 2007, p. 32, 90

ExhibitedSala del Lazio, Esposizione Internazionale del Sempione, Milan, 1906; Crociera Regia Nave Italia 1924; G. A. Sartorio, Galleria del Levante, Milan, 1974; Un fregio di Giulio Aristide Sartorio, Rome, Galleria dell'Emporio Floreale, 1974; Giulio Aristide Sartorio. Figura e decorazione, Rome, Palazzo Montecitorio, Sala della Regina, 1989.

Galerie Cybele (France) – specialists in ancient Egyptian art as well as art from the Mediterranean basin.


Handle of a mirror in the form of a young girl, Egypt, New Kingdom, Dynasty 18, Reign of Amenhotep III, ca. 1390-1353 BC. Wood. Height 14.6 cm (5.7 in.). Image courtesy Galerie Cybele / Stand 316.

A naked girl, standing on a quadrangular base, in the attitude of walking. She has her left arm along her body and carries her right hand, her fist closed, on her right shoulder. The sculptor has declined in the wood curves of the juvenile female body with exacerbated sensuality. The gracious and smiling face has fine and stretched eyes. The heavy wig, formed of long locks, covers the left shoulder and disengages the right, revealing an important earring; it is surmounted by a pierced "modius" intended for the insertion of a reflective metal disc.

Provenance: Private collection, Léon de Laborde (1807-1869), Neuilly sur Seine; thence by descent through the family.

Literature: J. Vandier d’Abbadie, Catalogue des objets de toilette égyptiens, Paris, Musée du Louvre, 1972, cat. no. 794, pp. 180-181.


Ibex head finial from a cosmetic spoon or cosmetic dish, Egypt, New Kingdom, Dynasty 18, 1550–1295 BC. Light blue 'Egyptian blue' composition, 4 x 2 cm (1.6 x .75 in.). Image courtesy Galerie Cybele / Stand 316.

Provenance: Private collection, France, from Dr. Girard, Clermont Ferrand, 1968.

Giacometti Old Master Paintings Srl (Italy) -- specialist in Italian old master paintings, drawings and sculptures by Italian and European masters from the 16th to the early 20th century.


Luca Giordano (1634 - Naples - 1705), Moses and the Brazen Serpent, 1655-1657. Oil on canvas, 181 x 301 cm (71.3 x 118.5 in.). Image courtesy Giacometti Old Master Paintings Srl / Stand 374.

Provenance: Vandeneynden collection, probably Naples, 1688 (according to the inventory); Noble private collection, Naples, until the 20th century; private collection, Milan, since 2013 

Literature: Riccardo Lattuada, Sheila Barker, ed. by, "Artemisia Gentileschi in a Changing Light", "Unknown Paintings by Artemisia in Naples, and New Points Regarding her Daily Life and Bottega", Turnhout, 2017, pp. 187-216, in part. p. 211, fig. 52 and p. 212 


Francesco Guarino Da Solofra (Sant’Agata Irpina, Solofra, 1611 - Gravina di Puglia, 1654), Saint Nicholas of Tolentino, circa 1640. Oil on canvas, 51 x 35 cm (20.1 x 13.8 in.). Image courtesy Giacometti Old Master Paintings Srl / Stand 374.

ProvenanceGravina, Orsini Palace, 15 February 1707, no. 23: “Un altro alto p.mi 2 e largo 1 ½: S. Nicola da Tolentino, mano di Guarini di valor. Sc. Quindeci con cornice intagl. Dorata”, en pendant with a ‘St .Peter weeping’ by Giovan Tommaso Guarino (ibidem, no. 24. See G. Rubsamen, "The Orsini Inventories", Malibu 1908, respectively nos. V.23 and V.24; see also R. Lattuada, "Francesco Guarino da Solofra nella pittura napoletana del Seicento (1611-1651)", Naples (2000), 2012, p. 298, no. 12); Rome, private collection


Francesco Solimena (Canale di Serino, 1657 - Barra di Napoli, 1747), Saints Tecla, Archelaa and Susanna taken to their martyrdom, circa 1680. Oil on canvas, 52 x 63 cm (20.5 x 24.8 in.). Image courtesy Giacometti Old Master Paintings Srl / Stand 374.

This scene is a bozzetto for the fresco in the Chiesa di San Giorgio, Salerno. 

ProvenancePrivate collection, England.

Sebastian Izzard LLC (USA) – New York-based gallery specializing in Japanese and Korean art.


Katsushika Hokusai (1760 - Tokyo - 1849), In  the hollow of the wave of Kanagawa (Kanagawa oki nami-ura)Japan, circa 1830-31. Color woodblock print, ink and color on paper, 26 x 38.8 cm (10.3 x 15.3 in.). Image courtesy Sebastian Izzard LLC / Stand 343.

ProvenanceWerner Schindler


Nabeshima Serving Dish, Japan, circa 1680. Porcelain with underglaze blue and celadon. Diameter 32.8 cm (12.8 in.)Image courtesy Sebastian Izzard LLC / Stand 343.


Utagawa Toyokuni (1769 - Japan - 1825), Courtesan tying her obi, Japan, circa 1810, Ink, color, and gold pigment on silk, 92.0 x 33.6 cm (36.2 x 13.2 in.). Signed 'Utagawa Toyokuni ga' and sealed 'Ichiyosai'. Image courtesy Sebastian Izzard LLC / Stand 343.

Provenance: Ito Shinsui (1898-1972)

Literature: Mianichi Newspapers, ed., Orimpuku Tokyo taikai kinen nikuhitsu ukiyoe meisakuten/The Exhibition of Ukiyoe Hand-Paintings in commemoration of the Tokyo Olympics, Tokyo, Mainichi Newspapers, 1964, cat. no. 123 

Exhibited: Tokyo, Isetan Department Store, 'Orimpuku Tokyo taikai kinen nikuhitsu ukiyoe meisakuten '(The Exhibition of Ukiyoe Hand-Paintings in commemoration of the Tokyo Olympics), October 8-18, 1964, cat. no. 123

Bruce Kapson Gallery (USA) – Los Angeles-based specialist in the vintage works of photographer Edward S. Curtis


Edward S. Curtis (Whitewater, 1868 - Los Angeles, 1952), Mosa - MohaveCopper photogravure printing plate, 45.72 x 33.65 cm (18 x 13.25 in.), Engraved in plate, verso. Plate 61- 1903. Image courtesy Bruce Kapson Gallery / Stand 104.

ProvenanceEdward S. Curtis, Curtis Gravures Company, New York, NY 1906 - 1909; Edward S. Curtis, J.P. Morgan and J.P. Morgan, Jr., The North American Indian, Inc., New York, NY 1909 - 1923; J.P. Morgan, Jr., The North American Indian, Inc., New York, NY 1923 - 1935; Charles E. Lauriat Company, Boston, MA 1935 - 1972; The North American Indian, Inc., Massachusetts 1973 - 1976; Classic Gravure Corporation, California 1976 - 1982; ZAK Partnership, California 1982 - 2015; Bruce Kapson Gallery, Los Angeles, California 2015

ExhibitedLos Angeles, DEPART Foundation, "The Works of Edward S. Curtis," November 17, 2016 - January 23, 2017.


Edward S. Curtis (Whitewater, 1868 - Los Angeles, 1952), Shot In The hands - ApsaorkeCopper photogravure printing plate, 44.45 x 29.21 cm (17.5 x 11.5 in.), Engraved in plate, verso. Plate 133 - 1908. Image courtesy Bruce Kapson Gallery / Stand 104.

Provenance: Edward S. Curtis, Curtis Gravures Company, New York, NY 1906 - 1909; Edward S. Curtis, J.P. Morgan and J.P. Morgan, Jr., The North American Indian, Inc., New York, NY 1909 - 1923; J.P. Morgan, Jr., The North American Indian, Inc., New York, NY 1923 - 1935; Charles E. Lauriat Company, Boston, MA 1935 - 1972; The North American Indian, Inc., Massachusetts 1973 - 1976; Classic Gravure Corporation, California 1976 - 1982; ZAK Partnership, California 1982 - 2015; Bruce Kapson Gallery, Los Angeles, California 2016

Exhibited: Los Angeles, DEPART Foundation, "The Works of Edward S. Curtis," November 17, 2016 - January 23, 2017.


Edward S. Curtis (Whitewater, 1868 - Los Angeles, 1952), Wolf - ApsaorkeCopper photogravure printing plate, 45.72 x 34.29 cm (18 x 13.5 in.), Engraved in plate, verso. Plate 142- 1908. Image courtesy Bruce Kapson Gallery / Stand 104.

ProvenanceEdward S. Curtis, Curtis Gravures Company, New York, NY 1906 - 1909; Edward S. Curtis, J.P. Morgan and J.P. Morgan, Jr., The North American Indian, Inc., New York, NY 1909 - 1923; J.P. Morgan, Jr., The North American Indian, Inc., New York, NY 1923 - 1935; Charles E. Lauriat Company, Boston, MA 1935 - 1972; The North American Indian, Inc., Massachusetts 1973 - 1976; Classic Gravure Corporation, California 1976 - 1982; ZAK Partnership, California 1982 - 2015; Bruce Kapson Gallery, Los Angeles, California 2015

Exhibited: Los Angeles, DEPART Foundation, "The Works of Edward S. Curtis," November 17, 2016 - January 23, 2017.

Stephen Ongpin Fine Art (UK) – specializes in Master drawings, watercolors and oil sketches dating from the 16th through 20th centuries.


Jean-Honoré Fragonard (Grasse, 1732 - Paris, 1806), A statue in the garden. Pen, brush and brown ink and brown and grey wash, over traces of an underdrawing in black chalk, with framing lines in brown ink, 173 x 233 mm. (6 3/4 x 9 1/4 in.), Inscribed 'frago' in brown ink at the lower left. Image courtesy Stephen Ongpin Fine Art / Stand 355.

Provenance: Galerie Cailleux, Paris, by 1981; Juan (Johnny) de Beistegui, Château de Groussay, Montfort-l’Amaury, by 1987; His sale (‘Château de Groussay’), Montfort-l’Amaury, Poulain Le Fur and Sotheby’s, 2 June 1999, lot 64; Pandora Old Masters, New York, in 2004; Private collection

Literature: Emmanuelle Brugerolles, ed., Entry by Diederik Bakhuÿs, Suite française: Dessins de la collection Jean Bonna, exhibition catalogue, Paris and Geneva, 2006-2007, no. 47, p. 203 
Pinkney L. Near, Three Masters of Landscape: Fragonard, Robert, and Boucher, exhibition catalogue, Richmond, 1981, no. 10, p. 23 

Exhibited: Richmond, Virginia Museum of Fine Arts, 'Three Masters of Landscape: Fragonard, Robert, and Boucher', 1981, no. 10; Paris, Galerie Cailleux, 'Rome 1760-1770: Fragonard, Hubert Robert et leurs Amis', 1983, no. 22; Paris, Galerie Cailleux, 'Aspects de Fragonard: Peintures – Dessins – Estampes', 1987, no. 44


François Boucher (1703 - Paris - 1770), Neptune rescuing AmymoneBlack chalk, with stumping, and white chalk on blue paper faded to buff, with framing lines in brown ink, 27.8 x 37.5 cm (11 x 14.8 in.), Laid down on an 18th century French mount, with the blind stamp of the mountmaker Jean- Baptiste Glomy (Lugt 1085, showing his full surname) applied twice, once near the lower right corner of the mount and again in the centre, just below the bottom of the oval composition. Inscribed ‘F.Boucher’ in brown ink near the lower right corner of the mount. Image courtesy Stephen Ongpin Fine Art / Stand 355.

Provenance: : Abel-François Poisson de Vandières, Marquis de Marigny et de Menars, Paris; His posthumous sale, Paris, Place des Victoires, Hôtel de Menars (Basan & Joullain), 18 March 1782 onwards, part of lot 289 (‘L’Aurore & Céphale, & la Colere de Neptune. Ces deux morceaux sont aux crayons noir & blanc, sur papier bleu.’, both sold framed for 91,2 livres); Veil-Picard collection, Paris; Anonymous sale, Paris, Artcurial, 19 June 2007, part of lot 21; Wildenstein, New York

Literature: Alexandre Ananoff and Daniel Wildenstein, L’opera completa di François Boucher, Milan, 1980, no. 509, p. 127 
Alexandre Ananoff and Daniel Wildenstein, François Boucher, Lausanne and Paris, 1976, Vol. II, no. 483/1, fig. 1363, p. 161 
L. Soullié and Ch. Masson, François Boucher, Catalogue raisonné de l’oeuvre peint et dessiné de François Boucher, Paris, 1906, no. 533 (as Neptune, Colère de), p. 31 
Alexandre Ananoff, L’oeuvre dessiné de François Boucher (1703-1770), Paris, 1966, Vol. I, no. 920 (as La Colère de Neptune), p. 239 
Edith Appleton Standen, European Post- Medieval Tapestries and Related Hangings in The Metropolitan Museum of Art, New York, 1985, Vol. I, no. 57, pp. 393-394. 


Jean-Antoine Watteau (1684, Valenciennes - Novent-sur-Marne, 1721), Studies of a woman spurning a man’s advances and a woman leaning backBlack chalk, graphite and red chalk, heightened with touches of white chalk, and traces of grey wash, on buff paper, 16 x 14.3 cm (6.3 x 5.6 in.). Image courtesy Stephen Ongpin Fine Art / Stand 355.

ProvenanceContat-Desfontaines collection, Paris; Raoul Dastrac, Paris, by 19571; Mme. Roland Lacroix, née Hélène Ryaux; private collection, France; anonymous sale (‘Six Drawings by Antoine Watteau from a French Private Collection’), London, Christie’s, 6 July 1999, lot 165; Katrin Bellinger, Munich and London; Acquired from her in 2007 by Saretta Barnet, New York

Literature: Pierre Rosenberg and Louis-Antoine Prat, Antoine Watteau: Catalogue raisonné des dessins, Milan, 1996, Vol. II, no. 546, pp. 924-925 
K. T. Parker and Jacques Mathey, Antoine Watteau: Catalogue complet de son oeuvre dessiné, Paris, 1957, Vol. II, no. 553, fig. 553, p. 310 
Christie's, Old Master Drawings, Six Drawings by Antoine Watteau from a French Private Collection (Lots 165-170). Watteau and his Collectors, London, 6 July 1999, p. 159 
Gérard Bauer, Dessins français du dix-huitième siècle: La figure humaine, Paris, 1959, pl. 14 
Katherine Baetjer, ed., Entry by Perrin Stein, Watteau, Music, and Theater, exhibition catalogue, New York, 2009, no. 27, pp. 76-77 
Marianne Roland Michel, Watteau: An Artist of the Eighteenth Century, London, 1984, p. 136, ill. in colour p. 143, pl. XXIX 

Exhibited: Paris, Galerie Cailleux, 'Le dessin français de Watteau à Prudhon', 1951, no. 163; Paris, Galerie Cailleux, 'Watteau et sa génération', 1968, no. 58; New York, The Metropolitan Museum of Art, 'Watteau, Music, and Theater', 2009, no. 27.


Jean-Baptiste Oudry (Paris, 1686 - Beauvais, 1755), Belphegor, a tale by Macchiavelli, Roderic and Honnesta. Brush, black ink and grey wash, heightened with white, within a simulated mount drawn in blue and grey wash with pen and brown ink, on blue paper, Image 23.9 x 18.8 cm (9.3 x 7.3 in.) with fictive mount 25.9 cm (12.2 x 10.3 in.), Signed and dated in brown ink at the lower left 'JB. Oudry / 1734', inscribed in brown ink on the verso '133. tom.2'. Image courtesy Stephen Ongpin Fine Art / Stand 355.

Engraved by Louis-Simon Lempereur for Jean de La Fontaine, Fables choisies, mises en vers, Vol. IV, Paris, 1759.

ProvenanceSold by the artist, together with all of his drawings illustrating the Fables of La Fontaine, to Jean-Louis Regnard de Montenault, circa 1751; included in one of two albums containing all of Oudry’s drawings for the Fables of La Fontaine, with the booksellers Jean-Jacques and Marie-Jacques de Bure (Frères de Bure), Paris, by 1828; Jean-Jacques de Bure, Paris; his sale, Paris, 1-18 December 1853, lot 344 (bt. Thibaudeau for 1,800 francs); Comte Adolphe-Narcisse Thibaudeau, Paris; possibly given by him to the actress Mme. Eugénie Doche, and then sold by her for 2,500 francs to the bookseller Auguste Fontaine, Paris; Acquired from them for 5,000 francs in 1856 by Solar Aaron Euryale, known as Félix Solar, Bordeaux; his sale, Paris, Charles Pillet, 19 November – 8 December 1860, lot 627 (sold for 6,100 francs to Cléder for Baron Taylor); Baron Isidore Taylor, Paris; Émile Pereire, Paris; The booksellers Damascène Morgand and Charles Fatout (Morgand et Fatout), Paris, probably by 1876; Acquired from them for 30,000 francs by Louis Roederer, Reims, by 1877; By descent to his nephew, Léon Olry-Roederer, Reims and Paris; Sold through Thomas Agnew and Sons, London, to Dr. A. S. W. Rosenbach, Philadelphia, in 1922; The Rosenbach Company, Philadelphia; Acquired from them by Raphael Esmerian, New York, in c.1946; His sale, Paris, Palais Galliera [Ader Picard Tajan], 6 June 1973, part of lot 46 (two albums sold for 2,000,000 francs); One album with Art Associates Partnership (Dr. Claus Virch), New York and Bermuda, by whom the album disbound and the drawings contained therein – including the present drawings – thence sold separately; Private collection, Geneva; Adrian Ward-Jackson, London; Kate de Rothschild, London, and Didier Aaron Inc., New York, in 1993; Private collection 

LiteratureLouis Gougenot, Mémoires inédits sur les artistes français, Jean-Baptiste Oudry, France, 1854, Vol. II, pp. 379-380 
Hal N. Opperman, Jean-Baptiste Oudry, Ph.D dissertation, University of Chicago, (pub. New York and London, 1977), 1972, Vol.II, p.710, nos.D492-D494 
Roger Gaucheron, Arts et métiers graphiques, La preparation et le lancement d’un livre de luxe au XVIIIe siècle. Les Fables de La Fontaine, dites d’Oudry, France, December 1927, pp. 77-82 
Baron Roger Portalis, Les dessinateurs d’illustrations au dix-huitième siècle, Paris, 1877, Vol.II, pp.483-489 
Marquis de Girardin, Bulletin du bibliophile et du bibliothécaire, L’édition des fables dite d’Oudry de La Fontaine, France, 1913, pp. 330-332 
Jean Locquin, Archives de l’art français, Catalogue raisonné de l’oeuvre de Jean-Baptiste Oudry, peintre du roi (1686–1755), France, 1912, nos. 933-1209, pp. 152-173.

ExhibitedNew York, The Pierpont Morgan Library, 'Fables from Aesop to Thurber', 1965 (as part of an album); New York, Paris and London, Kate de Rothschild and Didier Aaron at Didier Aaron, Inc., 'Master Drawings', 1993, part of no. 15.


André-Jean Le Brun (1757, Paris - Vilnius, 1811), An Allegory of the Arts vanquishing Time, surmounted by a medallion portrait of King Stanislaw August of Poland as patron of the ArtPen, brown ink and brown wash, over an underdrawing in black chalk, 45.4 x 64.2 cm (17.8 x 25.3 in.), With a watermark 'Fleur-de-lys' in a shield, surmounted by a crown. Image courtesy Stephen Ongpin Fine Art / Stand 355.

Provenance: : Baron Adalbert von Lanna, Prague (Lugt 2773), his stamp on the verso; Anonymous sale, Paris, Christie’s, 22 March 2007, part of lot 90; W. M. Brady & Co., New York, in 2008; Private collection

LiteratureLouis-Antoine Prat, Le dessin français au XVIIIe siècle, Paris, 2017, p. 289 
W. M. Brady & Co., Old Master Drawings and Oil Sketches, New York, 2008, no. 24 
Katarzyna Mikocka- Rachubowa, André Le Brun: “pierwszy rzezbiarz” króla Stanislawa Augusta, Warsaw, 2010, no. 94, pp. 446-447 
Clifford S. Ackley, Splendor and Elegance: European Decorative Arts and Drawings from the Horace Wood Brock Collection, exhibition catalogue, The Intuitive Eye: Drawings and Paintings from the Collection of Horace Wood Brock, Boston, 2009, pp. 89 and 158, ill. p. 137 and as frontispiece on p. 4.


Baron Dominique Vivant Denon (1747, Chalon-sur-Saone - Paris, 1825), A seated woman wearing a feathered hat. Pen and brown ink, over a black chalk underdrawing, 14.4 x 8.2 cm (5.6 x 3.3 in.), Inscribed 'Denon' in pencil on the album page on which the drawing has been attachedImage courtesy Stephen Ongpin Fine Art / Stand 355.

 Provenance: : Part of a large group of drawings by or associated with Denon, assembled in the 19th century; anonymous sale, London, Christie’s, 4 July 1989, part of lot 150; W. M. Brady & Co., New York; Private collection.


Karl-Ernest-Rodolphe-Heinrich-Salem Lehmann, called Henri Lehmann (Kiel, 1814 - Paris, 1882), Study of the head of a bearded manBlack and red chalk, 11.5 x 13.1 cm (4.5 x 5.2 in.), Dated in pencil lower center '17 avril', stamped with studio stamp (not in Lugt) at the lower right 'H. LEHMANN'. Image courtesy Stephen Ongpin Fine Art / Stand 355. 

ProvenanceGalerie de Bayser, Paris, in 1982; Laura Pecheur, Paris; private collection, Paris. 

LiteratureMarie-Madeleine Aubrun, Henri Lehmann 1814-1882: catalogue raisonné de l’oeuvre, Nantes, 1984, Vol. I, no. D.948A, Vol. II, fig. D.948A, p. 227 and p. 216 
Marie-Madeleine Aubrun, Henri Lehmann 1814-1882: Portraits et décors parisiens, exhibition catalogue, Paris, Musée Carnavalet, 1983, no. 240, p. 125.

Exhibited: Paris, Galerie de Bayser, 'Henri Lehmann 1814-1882', 1983, no. 70.


Maximilien Luce (1858 - Paris - 1941), Study of a nude batherBlack chalk, pastel and pencil, with framing lines in pencil, 25.4 x 46.8 cm (10 x 18.4 in.), Stamped with the artist’s signature Luce (not in Lugt) in black ink at the lower right, and with the atelier stamp Luce in a circle (not in Lugt) in red ink at the lower left. Stamped with a drystamp Maximilien Luce / J. Bouin-Luce (not in Lugt) at the lower right. Further stamped COLLECTION / JEAN-BOUIN LUCE (not in Lugt) in black ink and numbered CR 954 in pencil on the versoImage courtesy Stephen Ongpin Fine Art / Stand 355.

ProvenanceGalerie By descent in the family of the artist to Jean Bouin-Luce (with his collection drystamp, not in Lugt, at the lower right); anonymous sale, Paris, Hôtel Drouot (Thierry de Maigret), 23 May 2007, lot 94; Jean-Luc Baroni Ltd., London, in 2008; private collection, London.

Frascione Arte (Italy) – Florence-based specialists in 14th through 17th century Italian paintings



Pacino di Buonaguida, Initial Letter O: The Instruments of Passion venerated by the Members of the Compagnia di Sant'Agnese, circa 1340. Tempera and gold leaf on parchment, 37 x 34 cm (14.6 x 13.4 in.). Image courtesy Frascione Arte / Stand 323.

Inscriptions: Recto: LXXIII - "[gal]lilea chol padre essendo / alla peschera giesu lo / sguardo chiara smera. / vochollo asse per grande / amore".

Verso: "Ognuomo / ad alta boce / laudi la vera croce. / Quante degna da lauda/re. Core no lo puo pensa/re. Lingua no lo puo..."

ProvenanceCompagnia di Sant'Agnese, Florence, c. 1340; Carlo Bruscoli, Florence; Private collection, Florence.

LiteratureBarbara Drake Bohem, Paintings and Illumination in Early Renaissance Florence 1300-1450 (edited by Laurence B. Kanter, Barbara Drake Bohem, Carl Brandon Strehlke, Gaudenz Freuler, Christa C. Meyer Thurman, Pia Palladino), The laudario of the Compagnia di Sant'Agnese, New York, 1994, pp. 58-80. 
Francesca Pasut, Da Giotto a Botticelli: Pittura fiorentina tra Gotico e Rinascimento (edited by Francesca Pasut and Johannes Tripps), Pacino di Bonaguida e le miniature della 'Divina Commedia': un percorso tra codici poco noti, Firenze, 2008, p. 47, fig. 9. 
Richard Offner, A critical and Historical Corpus of Florentine Painting, New York, 1956, sect. 3, vol. 6, p. 194, pl LIV. 
Agostino Ziino and Francesco Zimei, Rivista italiana di musicologia, Quattro frammenti inediti del disperso laudario di Pacino di Bonaguida, Milano, 1999, 34, n.1, pp. 3-46. 
Christine Sciacca, Florence at the Dawn of the Renaissance. Painting and Illumination 1300-1350 (edited by Christine Sciacca), Reconstructing the Laudario of Sant'Agnese, Los Angeles, 2012, pp. 254-255, n. 45.10.

Exhibited: Los Angeles, The J. Paul Getty Museum, Florence at the Dawn of the Renaissance. Painting and Illumination 1300-1350, November 13th, 2012 - February 10th, 2013 Toronto, The Art Gallery of Ontario, Florence at the Dawn of the Renaissance. Painting and Illumination 1300-1350, November, March 16th – June 16th, 2013.



 Giacomo Ginotti (1845 - Turin - 1897), La pétroleuse vaincue, 1887. Bronze, 65 x 54 x 34 cm (25.6 x 21.3 x 13.4 in.), Signed 'G.Ginotti' and with foundry mark 'G. Mazzola fuse 1887'. Image courtesy Frascione Arte / Stand 323.

ProvenancePrivate collection, Genoa; Private collection, Turin.

Benjamin Proust Fine Art Ltd (UK) – focuses on European works of art and sculpture. 


Circle of Desiderio Da Settignano (Settignano, 1428 - Florence, 1464), Bust of a boy, Florence, circa 1480. Marble, 27 x 23 x 17 cm (10.6 x 9 x 6.7 in.). Image courtesy Benjamin Proust Fine Art Ltd / Stand 307.

ProvenancePrivate collection, Florence, until 1933; French Art Market, until 2012; private collection, Switzerland.

Librairie Amélie Sourget (France) – French specialists in rare and precious books from the 15th to 19th century.






George Edwards, A natural history of uncommon birds. Gleanings of natural historyLondon, 1743-1764. Binding in green morocco, 28 x 23 x 3 cm (11 x 9 x 1 in.). Image courtesy Librairie Amélie Sourget / Stand 105.

"At its date the Natural History and gleanings was are of the most important of all Bird Books, both as a Fine Bird Book and a work on ornithology. It is still high on each list." (Fine Bird Books).

A copy with 362 engravings of birds, mammals and plants, water colored at the time, preserved in its contemporary green morocco bonding.

Stoppenbach & Delestre (UK) – dealers in important Barbizon, Impressionist, post-Impressionist and Modern French paintings and works on paper.


Charles-François Daubigny (1817 - Paris - 1878), Les gardiennes d'oies1874. Oil on panel, 38.9 x 67.1 cm (15.3 x 26.4 in.), Signed and dated lower right ‘1874’. Image courtesy Stoppenbach & Delestre / Stand 321.

To be included in the second supplement to the Catalogue Raisonné of Charles François Daubigny being prepared by Francois Delestre.

Charles-François Daubigny was a pioneer of plein-air painting who provided a bridge between the painters of the Barbizon School and the Impressionists. Using unique light effects and brushstroke, the artist wanted to convey a feeling of spontaneity and truthfulness in his work.

His experiments with colours and lights will entice impressionist artists to reflect on new subject matters and techniques.

Born into a family of painters and taught by his father Edmond François Daubigny and by his uncle, a miniaturist, Pierre Daubigny, Daubigny began painting en plein air from around 1843 when he moved to Barbizon, in the footsteps of Corot. In 1866 Daubigny visited England, returning because of the Franco-Prussian war in 1870. He had met Claude Monet in London and together they left for the Netherlands. Daubigny was to provide both inspiration and support to Monet and his fellow Impressionists during their long years of struggle, a lone voice in their favour on the Salon juries of the 1860s. He later met Paul Cézanne in Auvers-sur-Oise, where a number of works were executed. His work focuses on an emotional response to the landscape, breaking away from the traditional ‘salon’ paintings depicting historical scenes and portraits.

In this particular painting, Daubigny uses light brushstrokes to depict the marvellous reflections in the water of the ponds. The contrasting and nuanced colours of the sky capture the fleeting impression of the shifting clouds, giving this painting a sense of timelessness.

ProvenancePrivate collection, USA.


Charles-François Daubigny (1817 - Paris - 1878), L'inondation1875. Oil on panel, 38.3 x 67 cm (15 x 26.3 in.),Signed and dated lower left. Image courtesy Stoppenbach & Delestre / Stand 321.

Provenance: Alexander Young, Esq; sales Christie’s London June 30th 1910, number 48 (reproduced); Thos Agnew purchased for 1575 guinées; E. Van Wisselingh; Collection Southam, Ottawa.

LiteratureRobert Hellebranth, Charles-Francois Daubigny, Catalogue Raisonné, France, 1976, cat. no. 841, p. 275.


Armand Guillaumin (Paris, 1841 - Orly, 1927), Vue de l'Hay-les-Roses, Ile-de-France, circa 1873. Oil on canvas, 53.8 x 64.8 cm (21.3 x 25.6 in.), Signed lower righImage courtesy Stoppenbach & Delestre / Stand 321.

From 1875, Armand Guillaumin exhibits his work with fellow impressionists and in 1877, while working with his friend Paul Cézanne, he presents eight of his Parisian landscapes.

His preferred scenes are panoramic views of Paris and southwest of Paris including Clamart, which are nowadays hardly recognizable because of the city’s expansion, and the topographic liberties of the painter.

This view of L’Haÿ-les-roses is evocative of Camille Pissarro’s landscapes of the l’Oise region and Auguste Renoir’s views of Marly. The brush strokes are very free and the colours vivid but the multiple planes still belong to the classic approach of the beginning of Impressionism.

A similar work entitled Paysage de plaine is in the collection of the Musée d’Orsay.

ProvenanceCollection Chapelier-Clergue.

Galerie Florence de Voldère (France) – Paris-based gallery renowned for dealing exclusively in Flemish Old Master Paintings of the 16th and 17th centuries.

Wildenstein & Co. (USA) – a diverse range of artists, genres, and mediums, from the 17th century to the present with a historical focus on French Impressionists and Old Masters.


Claude Gellée, called Claude Lorrain (Champagne 1600 – 1682 Rome), A Panoramic Landscape at Dusk with Rustic Dancers, Rome, circa 1634. Oil on canvas, 98.8 x 135.4 cm (38.9 x 53.4 in.) Signed and dated on end of the log, lower left 'CLAVDIO • GELLEE / 16[34]'. Image courtesy Wildenstein & Co. Inc. / Stand 103.

ProvenanceWelbore Ellis Agar (1735-1805), Commissioner of Customs, London, as of 1784; Bequeathed by him to his two sons, Welbore Felix Agar and Emmanuel Felix Agar (1781-1866); Consigned by them to Christie's, London, 1806 (Catalogue raisonné de la collection de feu Monsieur Welbore Ellis Agar, dont la vente se fera par J. Christie en sa grande salle dans Pall Mall à Londres, le Vendredi 2 Mai 1806 et Jour suivant, p. 17, lot 30); acquired before the actual sale, en bloc with the entire Agar collection, by William Seguier, acting as agent for Robert Grosvenor, 2nd Earl Grosvenor (as of 1802), and later (as of 1831) 1st Marquess of Westminster (1767-1845), London; by descent in the Westminster collection at Grosvenor House, London, and Eaton Hall, Cheshire, to Gerald Hugh Grosvenor, 4th Duke of Westminster (1907-1967); his estate sale, London, Christie's, December 7, 2010, lot 51, ill. in color in cat.

LiteratureM. Roethlisberger, L’Opera completa di Claude Lorrain, Milan, 1975, no. 66, p. 92 
G.F. Waagen, Treasures of Art in Great Britain, II, London, 1854, no. 7, p. 171 
M.G. Roethlisberger, Burlington Magazine, CLX, No. 1382, "Claude Lorrain: dances, pastorals and the early chronology", London, May 2018, fig. 1, pp. 376-377 
J. Young, A Catalogue of the Pictures at Grosvenor House, London; with Etchings from the Whole Collection…, London, 1821, no. 27, p. 11 
M. Röthlisberger, Claude Lorrain: The Paintings, I (Critical Catalogue), New Haven, 1961, nos. LV13, LV82, 208, pp. 123, 235, 471-472 
G.F. Waagen, Works of Art and Artists in England, II, London, 1838, pp. 314-315 
M. Roethlisberger, Tout l’oeuvre peint de Claude Lorrain (2nd, revised ed.; trans. from the Italian by C. Lauriol), Paris, 1986, nos. 63, 64, p. 92.

Exhibited: Belfast, National Gallery of Northern Ireland, July 1959.


Pierre Bonnard (Fontenay-aux-Roses, 1867 - Le Cannet, 1947), The blue dress, Two women and a basket of fruits, circa 1922. Oil on canvas, 57.2 x 48.3 cm (22.5 x 19 in.), Stamped lower left 'Bonnard'. Image courtesy Wildenstein & Co. Inc. / Stand 103.

ProvenanceEstate of Pierre Bonnard; Private Collection.

LiteratureJ. Bouret, "Bonnard séductions", Lausanne, 1967, illustrated p. 15 (color) 
J. and H. Dauberville, "Bonnard: catalogue raisonné de l'oeuvre peint, IV" (1940-1947 et Supplément, 1887-1939), Paris, 1974, Illustrated, p. 416, no.02163 bis 
N. Le Foll, Connaissance des Arts (No. 573), "Pierre Bonnard en l'an 2000", Paris, June 2000, p. 20, illustrated (color) 
The Pace Gallery, "Fifty Years at Pace", New York, 2010, p. 80, illustrated (color).

Exhibited: London, Royal Academy of Arts, "Pierre Bonnard" (cat. by D. Sutton), January 6-March 13, 1966, p. 54, no. 151 Oslo, Kunstnerforbundet, "Pierre Bonnard", March 24-April 26, 1966, no. 17 New York, PaceWildenstein, "Bonnard, Rothko: Color and Light" (cat. by B. Rose), February 19-March 22, 1997, p. 20, no number. Illustrated p. 21 (color) Paris, Fondation Dina Vierny, Musée Maillol, "Pierre Bonnard", May 31-October 9, 2000, p. 100, no. 34. Illustrated p. 55 (color) New York, Wildenstein, "Pierre Bonnard (1867-1947): Oils and Works on Paper", April 30-June 11, 2004, no. 19 (no catalogue).