Louis de (1594) Caullery Sold at Auction Prices

LOUIS DE CAULLERY (WERKSTATT/SCHULE) BANKETTSZENE MIT VENUS

WORKSHOP OR SCHOOL OF LOUIS DE CAULLERY ( 1594 first mention Cambrai - 1621 Antwerp BANQUET SCENE WITH VENUS Oil on oak panel, two reverse sponki. 47.5 x 34 cm (F. 60 x 45 cm). Part. old rest., part. dam., part. old retouching. Frame. Provenance: Berlin private collection. LOUIS DE CAULLERY (WERKSTATT/SCHULE) 1594 (erste Erwähnung) Cambrai - 1621 Antwerpen BANKETTSZENE MIT VENUS Öl auf Eichenholztafel, zwei Rückseitensponki. 47,5 x 34 cm (R. 60 x 45 cm). Part. altrest., part. besch., part. Altretuschen. Rahmen. Provenienz: Berliner Privatsammlung.

LOUIS DE CAULLERY

(Caullery, 1580 ca. - Anversa, 1621/1622) Allegra compagnia Olio su tavola, cm 42,5X52,5 Provenienza: Milano, Porro & C. Art Consulting, 29 maggio 2014, lotto 2 (come Louis De Caullery) Colonia, Lempertz, 16 maggio 2015, lotto 1041(come Louis De Caullery) Collezione privata Bibliografia: RKD: https://rkd.nl/images/277795 Questa scena di interno raffigurante una festa con musici presenta nel suo tenore narrativo i caratteri tipici di Louis de Caullery (Caullery, 1580 ; Anversa, 1621). L'artista di origini francesi si trasferì precocemente ad Anversa dove lavorò probabilmente nella bottega di Frans Francken II e nel 1594 è documentato quale allievo di Joos de Momper il Giovane, nel 1602 lo sappiamo accolto come maestro nella gilda di San Luca. Successivamente il pittore trascorse un lungo periodo in Italia, recandosi a Venezia, Firenze e Roma dove conobbe Adam Elsheimer, Annibale Carracci e frequentò probabilmente Caravaggio e Pieter Paul Rubens. L'opera è corredata da una scheda critica di Raffaella Colace. Bibliografia di riferimento: F. C. Legrand, Les Peintres flamands de kind au XVIIe Siècle, 1963, p. 76 J. De Maere, M. Wabbes, Dizionario illustrato dei pittori fiamminghi del XVII secolo, 1994, ad vocem

LOUIS DE CAULLERY

(Caullery, 1580 circa - Anversa, 1621) Allegoria della Guerra con scultura di Marte Olio su tavola, cm 47X36 Provenienza: Collezione privata Questa scena allegorica presenta nel suo tenore narrativo caratteri ben confrontabili con le opere di Louis de Caullery (Caullery, 1580 ; Antwerp, 1621), artista francese documentato dal 1594 ad Anversa, di cui è noto un possibile viaggio in Italia e l'influenza della cultura pittorica di Fontainebleau. Queste indicazioni possono aiutare a datare il nostro dipinto ai primi decenni del XVII secolo e a proporre l'attribuzione all'elegante artista di origini francesi. Bibliografia di riferimento: F. C. Legrand, Les Peintres flamands de genre au XVIIe Siècle, Bruxelles 1963, p. 76 J. De Maere, M. Wabbes, Illustrated Dictionary of 17th Century Flemish Painters, Bruxelles 1994, ad vocem

LOUIS DE CAULLERY

LOUIS DE CAULLERY (Caulery circa 1580–1621 Antwerp) The crucifixion. 1606. Oil on copper. Signed right below the horse: Louis de Caulery. f: an. 1606. 37 × 28.4 cm. Provenance: - Jabineau Collection, 1784 (inscribed verso). - Sale Schuler, Zurich, 13.9.2012, Lot 4307. - Private collection, Switzerland. --------------- LOUIS DE CAULLERY (Caulery um 1580–1621 Antwerpen) Kreuzigung Christi. 1606. Öl auf Kupfer. Rechts unter dem Pferd signiert: Louis de Caulery. f: an. 1606. 37 × 28,4 cm. Provenienz: - Sammlung Jabineau, 1784 (verso bezeichnet). - Auktion Schuler, Zürich, 13.9.2012, Los 4307. - Schweizer Privatbesitz. ---------------

LOUIS DE CAULLERY: VENUS, BACCHUS AND CERES IN THE GARDEN OF LOVE

Louis de Caullery Venus, Bacchus and Ceres in the garden of love oil on panel 54.5 x 89.5 cm private property, Europe

Louis de Caullery Venus, Bacchus und Ceres im Garten der Liebe

Louis de Caullery Venus, Bacchus and Ceres in the garden of love oil on panel 54.5 x 89.5 cm private property, Europe

Louis de Caullery, View of the Piazzetta in Venice

RefMas121121 The Piazzetta in Venice, the square leading from St Mark's Square to the Grand Canal, is the stage on which Louis de Caullery has elegantly dressed men and women perform. In the foreground one sees black gondolas from which figures disembark. The square is depicted in strict central perspective, emphasising the depth of the pictorial space. The Doge's Palace on the right, the Biblioteca Marciana built by Jacopo Sansovino and the Campanile on the left, St Mark's Basilica at the back - and the two columns with St Mark´s winged Lion and St Theodore - this was the magnificent, overwhelming scenery travellers saw when they arrived in Venice.

Louis de Caullery

Louis de Caullery (Um 1580 Caulery - 1621 Antwerpen) attr.; Triumph der Ceres als Allegorie des Sommers Vor dem Hintergrund einer bewaldeten, flämischen Landschaft mit goldenem Weizenfeld, das gerade geerntet wird, ist die Göttin in einem von Reihern gezogenen Streitwagen dargestellt, welcher von zwei Kindern mit Feldfrüchten flankiert wird. Ceres, in einem leuchtendroten Kleid und dunkelblauem Umhang gewandet, hält ein Bündel Weizenähren im Schoß, um den Beginn der Ernte anzukündigen. Eine sie umringende Schar jubelnder Bauern feuert sie an, singt Lobeshymnen und tanzt zum Klang eines Dudelsackes. Außergewöhnlich ist die Ikonographie, die einen altrömischen Brauch mit einer populären Szene und einer heimatlichen flämischen Landschaft zu Anfang des 17. Jhs. verbindet. Was dieses, in frischer, teilw. intensiver Farbigkeit und fein lasierender Malweise ausgeführte Tafelbild des Manierismus besonders auszeichnet, ist der flämische Realismus mit der Schilderung ländlichen Lebens in der Tradition von Pieter Brueghel d. Ä.; Louis de Caullery wurde 1594 Schüler von Joos de Momper d. J. in Antwerpen und 1604 Meister in der Gilde. Außer biblischen Szenen und Genrebildern schilderte er mehrfach in vergleichbarer Weise Bacchus und Ceres als Jahreszeitenallegorien. Edwin Buijsen (Kurator beim RKD, heute Sammlungsleiter im Mauritshuis, Den Haag) schrieb das Gemälde im Jahr 2000 Caullery zu. Diese Zuschreibung wird durch das Motiv der Figurengruppe der Ceres mit dem Triumphwagen unterstützt, die auch auf einem Gemälde Louis de Caullerys wiederkehrt, das Dr. Margreet Wolters vom RKD im Kunstmagazin "Oud Holland" (Heft 125, 2012, S. 5-27), publizierte. Öl/Eichenholztafel, parkettiert. 35 cm x 55,5 cm. Wohl Original-Rahmen. Abgebildet in: FAZ, Kunstmarkt, Nr. 48, 26.02.2000, S. 54. Provenienz: Sammlung Friedleben, Frankfurt; Auktion Sotheby's, London, 08.07.1999, Lot 111; Galerie "Alte Kunst Jörg Schuhmacher", ausgestellt auf der "art antique", Düsseldorf, 2000; norddeutsche Privatsammlung. Attributed to Louis de Caullery (circa 1580 - 1621). Oil on cradled oak panel.

ATTRIBUTED TO LOUIS DE CAULLERY (CAMBRAI C.1580 -1621 ANTWERP) The Piazzetta, Venice, seen from the Bacino di San Marco

ATTRIBUTED TO LOUIS DE CAULLERY (CAMBRAI C.1580 -1621 ANTWERP) The Piazzetta, Venice, seen from the Bacino di San Marco oil on panel 187⁄8 x 26 in. (47.9 x 66.1 cm.) Please note this lot is the property of a private individual. Provenance Mrs M.H. Gibbs, Grange Park, Ealing; Christie's, London, 10 February 1936, lot 85, as 'Vanvitelli', 8 gns. to, E.S. Buchanan. with Dover Street Gallery, London, from whom acquired in 1959 by, Giuseppe dall'Oggio, Rome. with Carlo de Carlo, Florence, as 'il Pozzoserrato'. with de Jonckheere, Paris, 1991, where purchased by the current owner.

LOUIS DE CAULLERY | Elegantly-dressed figures promenading in a garden and riding in gondolas, serenaded by musicians

oil on oak panel

Louis de Caullery (Caullery circa 1585-1622 Antwerp) A banquet with an elegant company pen and brown ink and watercolour 7 ½ x 12 in. (18.9 x 30.6 cm)

Louis de Caullery (Caullery circa 1585-1622 Antwerp) A banquet with an elegant company pen and brown ink and watercolour 7 ½ x 12 in. (18.9 x 30.6 cm)

LOUIS DE CAULLERY

(Caullery - Cambrai, 1580 ca. - Anversa, ? 1621/1622) Tosatura delle pecore (luglio) Festa di carnevale (febbraio) Olio su rame, cm. 28,5X38 (2) Provenienza: Parigi, Gallerie Dejonckheere Opere di notevole fascino e qualità raffigurano i mesi di luglio e febbraio mentre lo stile, pur verificando l'ispirazione bassanesca, consente di attribuirne l'esecuzione al pittore di origini francesi Louis de Caullery. Luigi Salerno nel suo volume dedicato ai pittori di vedute in Italia lo dice allievo di Joos de Momper ad Anversa nei primi anni del XVII secolo (cfr. L. Salerno, 'I Pittori di Vedute in Italia', Roma 1991, p. 389, S. 2) e scorrendo il catalogo delle opere a lui riferite,  possibile pensare ad un suo viaggio, come dimostrano la 'Veduta notturna di Castel Sant'Angelo' (Sotheby's Londra, 4 dicembre 2008), la 'Veduta fantastica del Bacino di San Marco' (Finarte Milano, 22 novembre 2005), 'Piazza della Signoria' (Bonhams Londra, 7 luglio 2004), segnando per inciso il percorso tipico che affrontavano gli artisti forestieri giungendo nella nostra penisola. La peculiarità di queste opere risiede nella loro precoce datazione, in analogia di stile con Antonio Tempesta, Paul Brill, Wilhelm van Nieulandt, ma anche la volontà di interpretare i migliori esempi degli artisti da lui incontrati, senza tuttavia escludere che i rami qui presentati siano stati desunti dalla celebre serie di stampe realizzate da Johan and Raphael Sadeler. Tuttavia, appare alquanto realistica l'idea che Caullery giunto a Venezia sia stato accolto da Lodewijk Toeput detto il Pozzoserrato (Anversa o Malines, 1550 circa - Treviso, 1604 o 1605) e abbia avuto la reale opportunità di cimentarsi con l'arte italiana sentitamente pi prossima alla sensibilità nordica.

Attribué à Louis de Caullery (?), vers 1580 - Anvers, 1621 La Crucifixion Huile sur cuivre

Attribué à Louis de Caullery (?), vers 1580 - Anvers, 1621 La Crucifixion Huile sur cuivre (Petit enfoncement en bas vers la gauche) h: 39,50 w: 30 cm

LOUIS DE CAULLERY Elegante musizierende Gesellschaft im Park

LOUIS DE CAULLERY Elegante musizierende Gesellschaft im Park, im Hintergrund ein, Fluss. Öl auf Holz, parkettiert. 40 : 54,6 cm. Gerahmt., Das Gemälde ist unter der Abbildungsnummer 1001197253 beim RKD, Den Haag, verzeichnet. Provenienz: Galerie d'Art Saint-Honoré, Paris (1997), Christie's, London, Auktion 2.12.2008, Los 10, Privatbesitz, Süddeutschland., Louis de Caullery, der dem Umkreis von Frans Francken d.J. zuzurechnen ist, ist neben seinen Stadtansichten von Rom und Venedig vor allem als Maler galanter Szenen mit Darstellungen von Banketten und Festen in Erscheinung getreten. Häufig kommt diesen Szenen auch eine allegorische Bedeutung zu. Hier könnte auch eine Allegorie des Gehörs versinnbildlicht sein. Eine fast identische, dem Künstler zugeschriebene Fassung befindet sich im Museum Narodowe w Poznaniu, Poznan, Inv.-Nr. 126.

ATTRIBUTED TO LOUIS DE CAULLERY | Elegant figures strolling in a Renaissance town

oil on oak panel

Louis de Caullery, Mount Calvary

CertificateJan de Maere, 26 June 1995.Louis de Caullery hailed from Cambrai in France, but moved to Antwerp whilst he was quite young. There he became a pupil of Josse de Momper and joined the Guild of Saint Luke in 1602. His works are influenced more by Sebastian Vrancx and Hieronymus Francken I than by Momper. He was primarily a painter of courtly genre scenes and allegories, with relgious subjects playing a lesser role in his oeuvre. However, he did create several very similar calvary scenes, the most famous of which is kept in the Museo del Prado and also depicts the crucifixion as a densely populated tableau (cf: M. Díaz-Padrón in: Boletín del Museo del Prado, vol. XIV 1993, p. 41 ff).

Attribué à Louis de Caullery (1580-1621) Série de six cuivres en deux ensembles Sur l'un: Orchestre autour de la statue de Venue, La...

Attribué à Louis de Caullery (1580-1621) Série de six cuivres en deux ensembles Sur l'un: Orchestre autour de la statue de Venue, La halte autour de la statue de Cnossos, Musiciens et mathématiciens autour de la statue de Jupiter. Sur l'autre: Audience devant une statue d'Apollon, Scène de marché au poisson devant la statue de Diane, Lecture et peinture devant la statue de Mercure. ATTRIBUTED TO LOUIS DE CAULLERY (1580-1621). A SET OF SIX COPPERS IN TWO PARTS. Chaque cuivre: 16 x 14 cm. (EACH COPPER: 6 5/16 x 5 1/2 IN).

Elegant company dancing, conversing and making music in an interior

Attributed to Louis de Caullery (Cambrai 1555-1622 Antwerp) Elegant company dancing, conversing and making music in an interior dated '1615' (centre left, on the centre window) oil on panel 26 1/8 x 36 ¾ in (66.4 x 93.3 cm.)

Attributed to Louis de Caullery Caullery 1582 - Antwerp 1621 The triumph of Venus

Attributed to Louis de Caullery Caullery 1582 - Antwerp 1621 The triumph of Venus Oil on board 48.5x63.5 cm Atribuido a Louis de Caullery Caullery 1582 - Amberes 1621 El triunfo de Venus Óleo sobre tabla 48,5x63,5 cm

Louis de Caullery, An Interior with Merry Company

Louis de Caullery, An Interior with Merry Company Louis de Caullery

Louis de Caullery, Judith with the Head of Holofernes

Louis de Caullery was born in Caulery near Cambrai. He was accepted as a pupil of Joos de Momper in Antwerp and joined the Guild of Saint Luke in 1602. The guild is known to have paid for his burial following his death in 1621. No trip to Italy is recorded, but it is thought that he must have been there due to the appearance of Venetian events and scenes that take place in Italianate palaces in many of his works. His palette also betrays a penchant for Veronese green and burgundy, and his figures a knowledge of Venetian painting. The inclusion of the many delicate and finely painted figures is typical of his oeuvre. Figures such as these can be found in works depicting Venus and allegories of spring as well as densely populated Calvary scenes. Louis de Caullery

LOUIS DE CAULLERY (CAMBRAI VERS 1565 - ANVERS1622) Scène de bal dans un palais architecturé

LOUIS DE CAULLERY (CAMBRAI VERS 1565 - ANVERS1622) Scène de bal dans un palais architecturé Panneau de chêne, une planche, non parqueté 51,5 x 66 cm Sans cadre On pourra rapprocher notre tableau du Concert dans les jardins d'une villa italienne, vente Paris, Hôtel Georges V, Mes Ader Picard Tajan, 28 juin 1988 (Panneau 54.5 x 75.5 cm, n° 49) ainsi que du panneau conservé au musée de Quimper (panneau 54.5 x 78,5cm). Provenance: Vente aux enchères Bruxelles. Galerie Georges Giroux les 20/21/22 novembre 1958. (n°596 reproduit planche XV. Vendu 830 000 frs français (84 000 frs belges). Reproduit dans Connaissance des Arts n°85, mars 1959, page 116. Collection privée Bruxelles, restée dans la famille depuis l'acquisition en 1958

Attribué à Louis de CAULLERY (1580 - 1621) Le festin de Balthazar Panneau de chêne, parqueté 75 x 107 cm Restaurations anciennes

Attribué à Louis de CAULLERY (1580 - 1621) Le festin de Balthazar Panneau de chêne, parqueté 75 x 107 cm Restaurations anciennes

Louis de Caullery Cambrai, vers 1565 - Anvers, 1622 L'hommage à Cérès Cuivre

Louis de Caullery Cambrai, vers 1565 - Anvers, 1622 L'hommage à Cérès Cuivre (Petits manques et restaurations) h: 22,50 w: 17 cm

Louis de Caullery, HOMAGE TO VENUS - ALLEGORY OF SPRINGHOMAGE TO CERES - ALLEGORY OF SUMMER

Louis de Caullery, HOMAGE TO VENUS - ALLEGORY OF SPRINGHOMAGE TO CERES - ALLEGORY OF SUMMER Probably born in the village of Caullery near Cambrai, the painter was trained in Antwerp under Joos de Momper around 1594. Only five paintings bear his signature, most of his production being attributed to him based on stylistic analysis. He painted cityscapes of Rome and Venice which has often led to believe that he travelled in Italy. But his most favorite themes are galant scenes with elegant company appearing in Banquet scenes, balls, carnivals, subjects frequently entrusted with an allegorical meaning. He must have had a large audience as evidenced by the number of his paintings in the 17th century Antwerp collections. The themes of the Homage to Venus and the Homage to Ceres are well know in his oeuvre. He repeated them many times (see e.g. Sotheby New York, 6.6.2012, lot 16 and Artcurial, Paris, 19.6.2012, lot 12). The two compositions were created to form pendants, each goddess being placed in the centre on a high pedestal above the crowd of admirers and before an elegant park lined with caryatids along green niches. The tall figures, elegant costumes and sophisticade postures are characteristic of Caullery's style. 53 x 67 cm each

Attribué à Louis de CAULLERY (vers 1580 – 1621) Couple de patineurs Panneau de chêne, deux planches, renforcé 64 x 48,5 cm Au revers...

Attribué à Louis de CAULLERY (vers 1580 – 1621) Couple de patineurs Panneau de chêne, deux planches, renforcé 64 x 48,5 cm Au revers du panneau, la marque du pannelier PS et les deux mains d’Anvers Fente Dans un cadre en bois sculpté et doré, travail français vers 1700

ATTRIBUE A LOUIS DE CAULLERY (CAULLERY VERS 1580-1621 ANVERS)

ATTRIBUE A LOUIS DE CAULLERY (CAULLERY VERS 1580-1621 ANVERS) Festin dans le parc d'un château huile sur panneau 53,2 x 73,5 cm. (21 x 29 in.)

LOUIS DE CAULLERY

CAMBRAI  AVANT  1582  -  1621  ANVERS ELGANTS  DANS  LE  PARC  D'UN  PALAIS  CLASSIQUE LOUIS  DE  CAULLERY  ;  ELEGANT  IN  THE  PARK  OF  A  CLASSIC  PALACE  ;  OIL  ON  PANEL Huile  sur  panneau 56  x  77  cm  ;  22  by  30  1/3    in

LOUIS DE CAULLERY, HOMAGE TO VENUS - ALLEGORY OF SPRING HOMAGE TO CERES - ALLEGORY OF SUMMER

Probably born in the village of Caullery near Cambrai, the painter was trained in Antwerp under Joos de Momper around 1594. Only five paintings bear his signature, most of his production being attributed to him based on stylistic analysis. He painted cityscapes of Rome and Venice which has often led to believe that he travelled in Italy. But his most favorite themes are galant scenes with elegant company appearing in Banquet scenes, balls, carnivals, subjects frequently entrusted with an allegorical meaning. He must have had a large audience as evidenced by the number of his paintings in the 17th century Antwerp collections. The themes of the Homage to Venus and the Homage to Ceres are well know in his oeuvre. He repeated them many times (see e.g. Sotheby New York, 6.6.2012 lot 16 and Artcurial, Paris, 19.6.2012, lot 12). The two compositions were created to form pendants, each goddess being placed in the centre on a high pedestal above the crowd of admirers and before an elegant park lined with caryatids along green niches. The tall figures, elegant costumes and sophisticade postures are characteristic of Caullery's style.

Attributed to Louis de Caullery (Cambrai 1555-1622 Antwerp) Elegant company dining in a garden oil on panel 16½ x 23 in. (41.9 x 59 cm.)

Attributed to Louis de Caullery (Cambrai 1580-1621 Antwerp) - oil on panel - Elegant company dancing in an interior 19.75in x 28in

Attributed to Louis de Caullery (Cambrai 1580-1621 Antwerp) oil on panel, Elegant company dancing in an interior, 19.75 x 28in

Louis De Caullery Caullery 1582- Antwerp 1621

Louis De Caullery Caullery 1582- Antwerp 1621 Oil on board The triumph of Dionysus. 49X64,5 cm Louis de Caullery Caullery 1582 - Amberes 1621 El triunfo de Baco Óleo sobre tabla 49x64,5 cm

Louis De Caullery Caullery 1582- Antwerp 1621

Louis De Caullery Caullery 1582- Antwerp 1621 Oil on board The triumph of Venus. 48,5x63,5 cm Louis de Caullery Caullery 1582 - Amberes 1621 El triunfo de Venus Óleo sobre tabla 48,5x63,5 cm

LOUIS DE CAULLERY

LOUIS DE CAULLERY CAMBRAI BEFORE 1582 - 1621 ANTWERP AN EXTENSIVE WOODED RIVER LANDSCAPE WITH ELEGANT FIGURES CONVERSING ALONG A PATH TO THE RIGHT, AND OTHER FIGURES MERRY-MAKING IN A VILLAGE TO THE LEFT oil on panel 75 by 164.5 cm.; 29 1/2 by 64 3/4 in.

Louis de Caullery , Cambrai before 1582 - 1621 Antwerp A banquet scene oil on panel

oil on panel

Louis de Caullery , Cambrai before 1582 - 1621 Antwerp Rome, a view of Castel Sant'angelo with figures revelling outdoors, with fireworks and a catherine wheel above them oil on copper

stamped on the reverse with the maker's mark of Peeter Stas oil on copper

Louis de Caullery (active Antwerp 1590-1620)

Louis de Caullery (active Antwerp 1590-1620) Elegant company making music in a garden with a river beyond oil on panel 16 x 21¼ in. (40.6 x 54 cm.)

Louis de Caullery (Cambrai before 1582-1621 Antwerp)

A firework display at the Castel San' Angelo, Rome oil on copper, stamped with the maker's mark of Peeter Stas 19 1/8 x 26 3/8 in. (48.6 x 67 cm.)

LOUIS DE CAULLERY CAMBRAI BEFORE 1582 - 1621 ANTWERP

ROME, A VIEW OF THE CASTEL SANT'ANGELO DURING THE 'GIRANDOLE' WITH ELEGANT FIGURES WATCHING AND PROMENADING IN THE FOREGROUND ROME, A VIEW OF THE CASTEL SANT'ANGELO DURING THE 'GIRANDOLE' WITH ELEGANT FIGURES WATCHING AND PROMENADING IN THE FOREGROUND measurements note 53.6 by 75.1 cm.; 21 1/8 by 29 5/8 in. oil on panel NOTE This is one of only a small number of imaginary views of Rome painted by Louis de Caullery and an unusually early depiction of the Eternal City. The scene represents the fireworks (or 'girandole') from the Castel Sant'Angelo staged each year to celebrate Easter Monday and the feast of Saints Peter and Paul (on 29th June), which according to contemporary sources drew huge crowds of onlookers. There is no evidence to suggest that De Caullery left Antwerp, where he entered into the guild of Saint Luke in 1593-94, to journey south to Italy, and it seems probable that his source for the present work was an engraving, one such as that inscribed and dated 'Ioannes Orlandi formis Roma 1602', which records the event from the same viewpoint and reveals a similar overall mise-en-scène (see J. Garms, Vedute di Roma. Dal Medioevo all'Ottocento, Naples 1995, vol. II, p. 56, no. B2, reproduced). A variant of the present work (on panel, 47.5 by 71 cm.) given to De Caullery, with a different disposition of the staffage in the foreground, was formerly with Galerie R. Finck, Brussels (see the exhibition catalogue, Le Siècle de Bruegel, Brussels, Musée des Beaux-Arts, 27 September - 24 November 1963, p. 78, no. 65, reproduced fig. 235). De Caullery's early views of Rome link him with a small group of northern artists, such as Herman van Cleve and Jacob van Swanenburgh, who were among the first artists to make urban views a subject for depiction. Although De Caullery cannot be considered a vedutista in the purest sense, his interest in the depiction of cities and monuments as diverse as Antwerp, Venice, Rome and the Escorial, positions him as a forerunner to the likes of Gaspar van Wittel and the great vedutisti of the 18th century.

LOUIS DE CAULLERY (BEFORE 1582 - 1621) THE CRUCIFIXION 104.7 by 73 cm. Oil on panel Condition Note: The panel has two battons, and is is broken to the right side. It is in need of inmediate attention. There is a restored crack to the lower left,

LOUIS DE CAULLERY (BEFORE 1582 - 1621) THE CRUCIFIXION 104.7 by 73 cm. Oil on panel Condition Note: The panel has two battons, and is is broken to the right side. It is in need of inmediate attention. There is a restored crack to the lower left, measuring 10 cm. The painting is covered in a old and dirty varnish. The paint surface is in very good condition, no damages except for theloose right plank. Inspection under ultra-violet light reveals some retouching to the brown colours and the scattered throughout the background. No further damages appearant. Offered in a later ebonised frame, good condition. The composition is known in several autograph versions; see, for example, that sold London, Sothebys, 15 April 1999, lot 26, for œ7000. Provenance: Fideikommis-Galerie 1905; Old Blankenburg circa 1929 Inv. Nr. 1252; Blankenburg circa 1929 Inv. Nr. 0853.

Louis de Caullery (Cambrai 1555-1622 Antwerp)

The Road to Calvary oil on panel 15 3/8 x 22 in. (39.2 x 55.8 cm.).

*LOUIS DE CAULLERY

*LOUIS DE CAULLERY (ACTIVE 1594-1620) ELEGANT FIGURES GATHERED ON A TERRACE LISTENING TO MUSIC bears monogram at left center HDC oil on panel 15 1/2 by 34 in. 39.4 by 86.4 cm.

*LOUIS DE CAULLERY

*LOUIS DE CAULLERY (ACTIVE 1594-1620) ELEGANT FIGURES WALKING IN A GARDEN oil on panel 22 1/4 by 36 in. 56.5 by 91.4 cm.

*LOUIS DE CAULLERY

*LOUIS DE CAULLERY (ACTIVE 1594-1620) ELEGANT FIGURES DINING IN A GARDEN BY A CANAL oil on panel 21 1/4 by 29 1/2 in. 54 by 74.9 cm.

LOUIS DE CAULLERY (active 1584-1620)

A carnival in a town square oil on panel 391/2 x 53 in. (100.3 x 134.6 cm.) PROVENANCE Anon. Sale, Sotheby's, New York, 30 January 1997, lot 209 ($43,125). NOTES For another treatment of this subject by the artist, see the painting in the collection of the Hamburger Kunsthalle, Hamburg (J. de Maere and M. Wabbes, Illustrated Dictionary of 17th Century Flemish Painters, 1994, I, p. 232).