Cristoforo de Predis | Titian | A Safavid in Rome | Ter Brugghen | Wright of Derby | Gainsborough Guido Reni in Orléans | Medieval Women | Italian Renaissance Drawings | Scottish Furniture
Peinture par Marie-VicToire jaquoToT (1772-1855), circa 1813 Porcelaine dure, émaux, or, métal doré
Au dos des pièces, références d’inventaires du Musée du Louvre (alors renommé musée Napoléon)
Provenance
Livré au Palais des Tuileries pour être offert en présent de jour de l’an 1814 et gardé par l’Impératrice Marie-Louise (1791-1847)
L’Impératrice offre plus tard le service à la Maréchale Louise Lannes, Duchesse de Montebello (1782-1856), dame d’honneur de l’Impératrice Marie-Louise
JACQUES-ÉMILE BLANCHE (1861–1942)
Portrait of Georges de Porto-Riche (1849–1930), 1889
Recently acquired by the Musée d’Orsay, Paris
MICHEL ANGUIER (1612–1686)
Farnese Hercules
57 cm (22½ in.) high
Terracotta
JOHN CHEERE (1709–1787)
Samson Slaying a Philistine Bronzed lead
48 cm (19 in.) high
54 cm (21¼ in.) high, overall
TIZIANO VECELLIO, CALLED TITIAN Madonna and Child with St. Mary Magdalene oil on canvas
104.7 × 93 cm; 411/4 × 365/8 inches
MAASTRICHT
For more details please visit tefaf.com
Woman with a blue bow (Isabelle Lemonnier), by Édouard Manet (1832–83). c.1876–79. Pastel (and oil?) on canvas, 55 by 46 cm. David Tunick Inc., New York. Stand 371.
Console table, attributed to Giuseppe Maria Bonzanigo (1745–1820).
c.1790. Painted and microcarved parcel gilt walnut with grey Valdieri marble top, 95 by 151 by 66 cm. Burzio, London. Stand 157.
Allegorical portrait of a young man, by Mirabello Cavalori (1520–72). 1565–70. Oil on canvas, 182 by 105 cm. Trinity Fine Art, London. Stand 361.
ARGUABLY THE PREMIER event in the art world calendar, TEFAF returns to Maastricht this spring for its 38th edition. With an unparalleled reputation for quality, the event brings together the most discerning private collectors, museum curators and over 250 top dealers for a week of exchange, scholarship and celebration. Exquisite works of fine art, antiques and design from across the world abound.
Each year the TEFAF Museum Restoration Fund supports the preservation of artistic and cultural heritage through monetary awards. The 2025 recipient is the Musée Condé, Château de Chantilly, for the restoration of its Très Riches Heures du Duc de Berry (c.1412–16), one of the most important medieval illuminated manuscripts.
Launched last year, the TEFAF Summit returns in 2025, with a focus on ‘Reimagining philanthropy: new models for private funding in the arts’. Five panel discussions will explore alternative avenues for supporting non-profits, communities and artists in Europe who have faced a lack of public funding in recent years. Taking place on the Monday, the Summit is just one aspect of the impressive TEFAF programme that also includes talks and conversations between industry experts throughout the week. All events are free with a valid ticket, but registration is required. Other highlights include a loan exhibition from the Royal Museum of Fine Arts, Antwerp (KMSKA) on the Belgian Modernists James Ensor, Rik Wouters and Jules Schmalzigaug.
For more information please visit TEFAF.com
Charity, by Lorenzo Bartolini (1777–1850). 1846. Marble, height 184 cm. Walter Padovani, Milan. Stand 126.
JAMES BARRY (1741 Cork – 1806 London), Self-portrait, c.1802.
Inscribed in pen and ink “Barry Fecit / James Barry Esq. late P.P.+ R.A. of / the Royal Academy and member of Clementine Academy at Bologna”. Mezzotint. Size of sheet: c.46 x 34.8 cm.
Exhibiting at TEFAF Maastricht, 15-20 March 2025, Stand 619, and Paris Print Fair, 27-30 March 2025, Stand 13
cecilcourt@evbaeyer.com art@evbaeyer.com
S tephen O ngpin F ine A rt
Old Master, 19th Century and Modern Drawings
TEFAF Maastricht
15–20 March 2025 • Stand 603
JEAN-BAPTISTE GREUZE (1725-1805)
The Triumph of Silenus
Pen and brown and black ink and grey wash, over an underdrawing in black chalk. Inscribed J. B. Greuze at the lower right. 538 x 378 mm. (21¹⁄₈ x 14⁷⁄₈ in.)
Previously known only through descriptions in 18th and 19th century auction catalogues, this large and impressive sheet is a recently discovered and highly significant addition to the corpus of drawings by Greuze. Given its large scale and degree of finish, it is likely to have been made as an independent work of art for sale. Furthermore, this Triumph of Silenus, which may be dated to the late 1760s, may be counted among the very few mythological subjects treated by Greuze as a draughtsman. The drawing has a distinguished provenance that can be traced back to the artist’s lifetime. The first known owner of this drawing was the 18th century French art dealer Vincent Donjeux (d.1793), about whom relatively little is known. This Triumph of Silenus is next recorded in the collection of the amateur artist Baron Charles de Vèze (1788-1855). At de Vèze’s posthumous sale in 1855 the drawing was acquired by the politician, scientist and writer François Hippolyte Walferdin (1795-1880), who formed a remarkable collection that included at least fifty drawings by Greuze.
MAASTRICHT
Portrait of a Capuchin Friar, by Giacomo Ceruti, called Il Pitocchetto (1698–1767). c.1730. Oil on canvas, 93 by 78 cm. Galerie Canesso, Paris and Milan. Stand 360.
Interior of a harem, by Francesco Hayez (1791–1882). 1840. Oil on canvas, 84 by 108 cm. Antonacci Lapiccirella Fine Art, Rome. Stand 318.
Adoration of the shepherds, attributed to Girolamo Ticciati (1676–1744). c.1700. Modelled terracotta, 41 by 97 cm. Alessandro Cesati, Milan. Stand 171.
Triumph of David, from a Book of Hours, by the Master of Mary of Burgundy. Ghent, c.1480. Tempera on parchment, 15.3 by 11 cm. Les Enluminures, New York, Chicago and Paris. Stand 216.
Portrait of a woman, facing left, by Monogrammist I.S. (active 1651–58).
c.1630s. Oil on canvas laid onto panel, 34 by 27 cm. Nicholas Hall Fine Art, New York. Stand 363.
Punchinello and his family spinning flax, by Giovanni Domenico Tiepolo (1727–1804). c.1790–1800. Pen and brown ink and wash, over an underdrawing in black chalk, 34.5 by 46.4 cm. Stephen Ongpin Fine Art, London. Stand 603.
Tric-trac
São Roque
lisbon · PORTUGAL
Portuguese Continental and Overseas Expansion Art
TEFAF Maastricht, march 15–20, Stand 179
For over 30 years São Roque has held an undisputed reputation in the world of Art and Antiques for the rarity and exclusivity of its artworks, in an unmatched symbiosis of quality and guaranteed authenticity. A reference for both private and institutional collectors as well as for international Museums, São Roque’s team of specialists ensure that it maintains its preeminent position in an evergrowing and globalized Art and Antiques market.
A Sino-Portuguese Ming Saint Peter
Southern China, Ming Dynasty, 17th century
Gilt wood
Height.: 62.0 cm
Provenance: Private collection, France
Rare standing up sculptural depiction of Saint Peter. e saint is portrayed in a contemplative, yet hieratic, manner after the Chinese tradition of representing bodhisattvas and arhats for the adornment of Buddhist temples and monasteries. Its quintessential Chinese characteristic, however, is the presence of pierced rocks, analogous to scholar’s rocks from lake Taihu.
Made for a Christian community, the sculpture, modelled after a European prototype, is a unique piece of carved art.
Salver from King D. Fernando II collection Iberian colonial, 17th century
Silver
Dim.: 37.8 × 38.0 × 4.0 cm
Weight: 114 g
Inscriptions: crowned Gothic ‘F’ on the centre front; ‘19’ on the centre back
Provenance: King Fernando II of Saxe-Coburg and Gotha (1816–1885); sold at auction (1892); Arthur de Sandão collection, Oporto e present salver is a signi cant testimony of the collecting pursuits of King Fernando II of Portugal, who amassed an important collection of Portuguese silver that rivalled that belonging to the Crown.
With a well-documented provenance, this dish is made from various cast sections soldered together and set on a similarly made openwork
ring foot. e style of the casting panels resembles similar elements also produced in this way, mainly wings of chimerical form that we see in objects with 17th century mounts, these are invariably cast en ronde bosse.
Charles urston ompson, Fruit dish, Palace of Necessidades, Lisbon, 1866; albumen print; V&A, inv. 58563.
MAASTRICHT
For more details please visit tefaf.com
The
Renaissance cup in the form of a Gothic pointed shoe. South Germany, 1567. Leather, copper, fire-gilt and engraved, 10 by 18 cm. Georg Laue Kunstkammer, Munich. Stand 204.
A medallion of Aphrodite Hellentistic, c.2nd–1st century BCE. Gold, diameter 4.9 cm. Kallos Gallery, London. Stand 504.
Large futabana (two-flower) vase with butterfly handles. Edo period. Bronze, height 33.5 cm. Joost van den Burgh, London. Stand 156.
Still life with terracotta Púcaros, by Josepha Ayalla (1630–84) and Baltazar de Óbidos (1604–74). c.1670. Oil on canvas, 24.6 by 30.4 cm. Rafael Valls, London. Stand 333.
virgin, by Adolfo Wildt (1868–1931). 1925. Marble, 33.8 by 29 cm. Stuart Lochhead Sculpture, London. Stand 108.
Kankamkankami, by Rover Thomas Joolama (1926–98). 1990. Natural earth pigment and brush gum on linen, 90 by 180 cm. D’Lan Contemporary, Melbourne. Stand 431.
MAASTRICHT
For more details please visit tefaf.com
no speaking is left in me, by Edmund de Waal (b.1964). 2013.
Fourteen porcelain vessels on aluminium shelf, 31 by 100 by 24.3 cm.
Piano Nobile, London. Stand 463.
Imperial vase fuseau, painted with a portrait miniature of Caroline Murat (1782–1839), by Antoine-Charles Le Guay (1762–1846) and Antoine Beranger (1785–1867) for Sèvres Porcelain Manufactory. 1810–12. Hard-paste porcelain, enamels, gold, height 54.5 cm. Camille Leprince, Paris. Stand 182.
A Safavid blue and white charger. Iran, 17th century. Fritware decorated in underglaze cobalt blue, diameter 48.2 cm. Amir Mohtashemi, London. Stand 251.
Lady Mary Sadleir, née Lorymer, by Mary Beale (1633–99). 1685. Oil on canvas, 76.2 by 63.5 cm.
The Weiss Gallery, London. Stand 346.
On the edge of Fontainebleau forest, by Alfred Sisley (1839–99). 1868. Oil on canvas, 96.8 by 86.4 cm. C19 Gallery, Westlake TX. Stand 328.
A Gujarati chest, India, 2nd half of the 16th century. Teak, black mastic, mother-of-pearl and shellac with gilt copper fittings, 39 by 64 by 38 cm.
São Roque, Lisbon. Stand 179.
Laurent Delvaux
(Ghent 1696 – Nivelles 1778)
BOZZETTO OF HERCULES
MODEL FOR THE STATUE IN THE PALACE OF CHARLES-ALEXANDRE DE LORRAINE IN BRUSSELS
Terracotta and traces of gilding Brussels, 1768
PROVENANCE: By descent, from the family of L.Delvaux
is delighted to announce the establishment of a new series of annual lectures on old master drawings in honour of David Scrase
The lectures are generously supported by the Rick Mather David Scrase Foundation
The inaugural lecture, on the drawings of Jusepe de Ribera (1591–1651), will be delivered by Sir Gabriele Finaldi, Director of the National Gallery, London, on the 5th of December 2025
Details about how to book a ticket will be announced later in the year
A trilobedbAsin, bacilebronzoatreangoli, decorAtedwithfourscenesof Joseph’s historyin egypt fromthe Figuredel Vecchio testamento by bernArd sAlomon
Circa 1565-1575
Tin-glazed earthenware
Measurements: 47 x 45 x 5 cm.
Provenance
Eugen Gutmann (1840-1925), Munich (since 1911 at least) then Amsterdam
Maybe his son, Friedrich « Fritz » Bernhard Eugen Gutmann (1886-1944), Heemstde (Pays-Bas), since 1925
Fritz Mannheimer (1890-1939), Amsterdam, since before 1932
Title transferred to the Mendelssohn Bank, Amsterdam, since 1934, but remained in Mannheimer House
Bought in October 1941 by Adolf Hitler with the Dienststelle Mülmann by order of Hans Posse for the Führermuseum in Linz – that was never finished
Discovered by the Monuments men in a saltmine in Bohemia or Austria
Received February 15th 1946 at the Munich Central Collecting Point (Bundesarchiv, B323/651 ; Restitution Card file n° 1572/16)
Returned to the State of Holland February 15th 1946
Veneziani Gallery, Rome (in 1964 at least)
Private Collection (Christie’s London, 12 juin 1995, « The property of a lady », n° 367, illustrated) Private Collection, Italy
Prize for Research on South Netherlandish Art 1400–1800
In partnership with the
A new annual prize of £1,000 will be awarded, with publication in The Burlington Magazine’s annual issue dedicated to Northern European Art, plus a subscription to The Burlington Magazine
This annual prize is intended to inspire the development and publication of innovative object-based scholarship on South Netherlandish Art, 1400–1800
Further details are available on the Burlington Magazine website: burlington.org.uk/jobs-noticeboard/academicnoticeboard
We seek previously unpublished essays of 1000–1500 words from early career scholars worldwide. Preference will be given to object-related scholarship such as is published in The Burlington Magazine
Deadline for applications: Monday 1st September 2025
Submissions and queries should be directed to: burlingtonprize@aha.cam.ac.uk
SCULPTURES XIX - XX - XXI
TEFAF Maastricht (March 13-20, 2025)
Stand 180
Charles CORDIER (Cambrai 1827-1905 Alger)
Mauresqued’Algerchantant
Before 1870
Life size bust H. 74 cm
We are currently seeking submissions of new research on art made after 1960 for future issues of Burlington Contemporary Journal. Journal article submissions, which should be between 3,000 and 5,000 words, must be based on original, unpublished research. All articles will be subject to peer review.
Before submitting an article, potential contributors should send a 150-word synopsis to the Contemporary Art Editor, Kathryn Lloyd: lloyd@burlington.org.uk
For the full submission criteria, please visit contemporary.burlington.org.uk/about
Call for articles
Journal Issue 12
Submission deadline: Monday 14th April
Articles must be submitted by email to burlingtoncontemporary@burlington.org.uk
Palais Brongniart
Place de la Bourse
75002 Paris
Lucas CRANACH le Jeune (att. à), Maurice, duc de Saxe
Palais Brongniart, Place de la Bourse, 75002 Paris
For the full programme of events, please visit salondudessin.com
A young man, by Claude Hoin (1750–1817). 1802. Pastel on paper mounted on canvas, 39 by 31 cm.
DIDIER AARON & CIE, PARIS AND NEW YORK
INTERNATIONALLY RENOWNED FOR its annual presentation of drawings, Salon du Dessin gathers thirty-nine exhibitors showing old-master, Impressionist, modern and contemporary works on paper for its 33rd edition. The Salon champions drawing – its collection, its scholarship and its conservation – through a programme of events. This includes a two-day symposium, Les Rencontres Internationales du Salon de Dessin, which will take place after the fair preview on the 25th March. Led by Marco Simone Bolzoni, Curator of Old Master and 19th Century drawings at the Debra and Leon Black Collection in New York, this year’s iteration will focus on the theme of ‘Traveling artists and travel drawings’ from the eighteenth century to present day – a continuation of the previous symposium under the same theme.
The Salon’s two guests of honour in 2025 will be the Musée des Beaux-Arts de Reims and the Tavolozza Foundation, each will have a designated exhibition space inside the Palais. Forty-six drawings from the Museé’s collection, including thirteen portraits by Lucas Cranach the Younger, will be on display; while the drawings on view from the Tavolozza Foundation explore the theme of ‘the artist at work’.
Study of a seated shepherd, by Parmigianino (1503–40).
c.1524–27. Pen and brown ink on paper, 15.8 by 11.8 cm.
GALERIE
TERRADES, PARIS
The fair partners with over twenty institutions to organise La Semaine du Dessin, an art week dedicated to paper-based arts in Paris. Visitors to Salon du Dessin can benefit from reduced ticket prices to the concurrent Drawing Now Paris art fair and private tours at such prestigious galleries as the Musée du Louvre, Musée d’Orsay, Petit Palais and Académie des Beaux-Arts.
Please visit salondudessin.com for more information.
Highlights selected by Alexandra Gajewski, Deputy Editor, The Burlington Magazine
Black nude, by Georges Dorignac (1879–1925). Black chalk and black watercolour on paper, 56 by 43 cm.
GALERIE DE BAYSER, PARIS
Tiger, by Eugène Delacroix (1798–1863) and Frédéric Chopin (1810–49). Pen and brown ink on a music stave, 5.5 by 22 cm. GALERIE ÉRIC COATALEM, PARIS
View of Antibes, by Henri Edmond Cross (1856–1910). 1908. Watercolour on paper, 17.4 by 24.6 cm.
GALERIE DE LA PRÉSIDENCE, PARIS
Salon du Dessin
Project for a painted mural n°2, by Luigi Spazzapan (1889–1958). 1923. Tempera on paper applied to Masonite, 24 by 35 cm. BOTTEGANTICA, MILAN
26th to 31st March 2025
Palais Brongniart, Place de la Bourse, 75002 Paris
For the full programme of events, please visit salondudessin.com
Allegory on iron forge, by David Vinckboons (1576–c.1632). c.1613.
Woman on a balcony, by Maurice Denis (1870–1943). 1893. Watercolour and Indian ink on paper, 17.5 by 13 cm.
GALERIE BERÈS, PARIS
Three hamlets, two villages, by Boris Kosarev (1897–1994). 1921. Watercolour on paper, 24 by 19 cm.
JAMES
BUTTERWICK, LONDON
Pen and brown ink, brush and brown ink, brown wash, heightened with white, gold ink framing lines on green prepared paper, 13.8 by 13.1 cm. ONNO VAN SEGGELEN, ROTTERDAM
Two people, by Wifredo Lam (1902–82). 1978.
Watercolour and pastel on paper, 30.5 by 47.5 cm.
GALERIE TRAITS NOIRS, PARIS
London night scene, by Émile Claus (1849–1924). 1915. Conté crayon on paper, 12.3 by 18.3 cm. AMBROISE DUCHEMIN, PARIS
ANTIQUE - MOYEN AGE - ARTS PRIMITIFS - DESSINS
TABLEAUX - SCULPTURES - OBJETS D’ART
LOMBARD SCHOOL Circa 1500 God the Father
Pen and brown ink on green-washed paper, 14 x 21 cm.
E XHIBITION: NEW ACQUISITIONS
including a group of watercolours by Nadejda Budkovska (1874–1952) Open from Thursday 20th to Saturday 31st March (closed Sunday 23rd)
In the current issue of Simiolus, Philip Muijtjens reveals a previously unknown source on Rogier van der Weyden’s famous Justice panels in Brussels (Haboldt-Mutters Prize 2024) and Bernhard Ridderbos addresses fundamental questions regarding Hugo van der Goes’s oeuvre. Victor Schmidt corrects a longstanding misidentification in a Lucas van Leyden print, Elizabeth Mattison presents an unknown inventory of the Liège Prince-Bishop Érard de la Marck’s silver collection, and Lara Yeager-Crasselt and Suzanne Baverez elucidate Bentveughel Simon Ardé’s career in Rome. Finally, Tessel Bauduin reflects on the particular position of Dutch Surrealism. The issue also contains reviews of Paul Holberton’s monumental book on Arcadia by Jean Michel Massing and the recent Vermeer exhibition and publications by Frans Grijzenhout, and a correction on Thoré-Bürger’s importance for early Vermeer scholarship by Frances Suzman Jowell.
Institutions pay €100 a year and individuals pay €60. Visit simiolus.nl for the conditions of subscription and information on how to advertise, where to send your copy and how to order back issues not yet available via JSTOR . We are now also accepting submissions for the 2025 Haboldt-Mutters Prize.
Deadline: 15 November 2025 $5000
for best new and unpublished essay on a drawings topic (of any period) by a scholar under the age of 40
Go to masterdrawings.org/ricciardi-prize/ for further details.
TING XU
Xu has over 30 years of mastery in regular, cursive and clerical scripts. Her latest body of work gracefully reimagines traditional calligraphic elements through a contemporary lens.
2025 scholarship
For the study of French 18th-century ne and decorative art
INVITATION FOR APPLICATIONS
The Burlington Magazine is pleased to announce its eighth annual scholarship which has been created to provide funding over a 12-month period to those engaged in the study of French 18th-century ne and decorative art to enable them to develop new ideas and research that will contribute to this eld of art historical study.
Applicants must be studying, or intending to study, for an MA, PhD, post-doctoral or independent research in this eld within the 12-month period the funding is given. Applications are open to scholars from any country. A grant of £12,000 will be awarded to the successful applicant
Deadline for applications is 30 March 2025 and the successful applicant will be noti ed by 31 May 2025.
For application guidelines and terms and conditions please visit www.burlington.org.uk
TRINITY FINE ART
TRINITY FINE ART
15 old bond street london w 1 s 4 ax www.trinityfineart.com
