GRABADOS ARENBERG 19.10.2019

An elegant drawing in which Esther is brought before the throne of Ahasuerus,
after which she became the queen of Persia (Book of Esther). The scene is set in an
antique-style palace. The drawing is very close in style to a drawing by Jost Amman
(1539-1591) of Daniel in the Museum of Braunschweig (inv. ZWB VII 64a). Aside
from the similarities in pictoral motifs such as the baldachin and the antique throne,
the rendering of the figures and general composition of the present sheet reflects
that of the Braunschweig drawing. In addition, many details such as the dog, the
headgear of the king, the s-curved pose of Esther and the scroll-work ornament on
the throne are all elements which can be traced to woodcuts designed by Amman.
101 [German school]
Follower of CANDID, Peter - Saint Francis in prayer. [Munich],
c. 1600.
Drawing, pen and black ink, brown and yellow wash, heigthened with white, 38,6
x 23,5 cm, yellow prepared paper with watermark, unsigned (borders repaired,
large horiz. folding crease at centre, some spots and stains, lead white partly
oxidized, small hole in lower right corner).
100 / 120 €
Dessins et peintures anciens – Oude tekeningen & schilderijen
associated with the Mortlake Tapestry Works, established by the Crown in
1619. Cleyn was known both for his narrative and technical skills as a painter
and draughtsman. This drawing, representing Christ kneeling and writing in the
sand before the adulterous woman in classical architecture, comes very close to
both the technical execution and style of Cleyn. The sheet can be compared to
sheets in the so-called Southampton Album (Southampton University), where
similar references were made to Raphaelesque compositions and figural types.
Ref. D. Howarth, «The Southampton Album: A Newly Discovered Collection of
Drawings by Francis Cleyn the Elder», Master Drawings 49 (2011), pp. 435-478.
- J. Wood, «Orazio Gentileschi and some Netherlandish artists in London: the
patronage of the Duke of Buckingham, Charles I and Henrietta Maria», Simiolus
28 (2000-2001), p. 124. - https://rkd.nl/explore/artists/17262.
The overall composition and technique of this drawing of a kneeling St Francis comes
close to attributed drawings by Peter Candid, also known as Peter de Witte (1546-
1628), was an artist born in Bruges and who worked most of his life at the court of
Munich. In particular a drawing with «St Wilhelm kneeling before the Virgin and
Child», now in a private collection, shows a similar composition and rendering of
volume and shade. The execution of the present drawing, however, is less dynamic.
Ref. T. Vignau-Wilberg, «In Europa zu Hause - Niedeländer in München um
1600», München 2006, no. C26.
102 [German school]
City view with gothic cathedral. C. 1750-1800.
Drawing, pen in black ink with grey and brown gouache, 28 x 37 cm, laid paper
with watermark (Heawood 1819), unsigned. Stuck under passe-partout.
200 / 300 €
Fine perspective view of a market square with fountain and stately houses
with Renaissance loggias. The background is dominated by a large church or
cathedral with a high choir and an octagonal spire. Possibly northern Germany.
104 [German school]
HACKERT, Jacob Philipp - «A Cajazzo». 1797.
Drawing, pen and brown ink, graphite pencil, brown wash, 46,7 x 61 cm, paper,
signed at lower right corner «a Cajazzo Filippo Hackert 1797». Stuck under passepartout,
under gilt frame.
1.200 / 1.500 €
Hackert (1737-1807) was one of the best-known romantic landscape artists
of his time. In 1768 Hackert went to Italy, basing himself mainly in Rome and
Naples, where he produced many works for Sir William Hamilton. He travelled
all over Italy, gaining a reputation as a talented landscape painter. He became
famous everywhere in Europe due to his works for Catherine the Great, the cycle
of paintings about Battle of Chesma, and Pope Pius VI. He was also a close
friend of Goethe, who mentions a visit to Hackert’s studio in his «Die Italienische
Reise», and who owned several of his works. The large format drawing
represents a wide panoramic view of Northern Italy with some shepherds on the
left foreground. Accompanied by a certificate (13.6.1984).
103 [German school]
Attributed to CLEYN II, Francis - Christ and the adulterous
woman. C. 1600-1658.
Drawing, black chalk, brown wash, heightened with white, 18,5 x 11,7 cm, laid
paper, unsigned (s. toned, frayed at the left edge, repaired and reinforced with
Japan paper on verso). Under passe-partout, under wooden frame.
300 / 320 €
Francis Cleyn the Elder (1582-1658) was a native of Rostock in Mecklenberg
and worked mainly at the Danish court of Christian IV and the English court of
James I and Charles I. After settling permanently in England in 1625 he became
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ARENBERG AUCTIONS • 19.10.2019 • 37