FLUSSUFER MIT STEINERNER BRÜCKE Öl auf Holz. Im Queroval 27 x 35,5 cm. In vergoldetem, rechteckigem Prunkrahmen. Wir danken Dr. Guido Jansen für freundliche Hinweise die Zuschreibung betreffend. Blick vom flachen Ufer mit drei Männern auf einen Fluss mit Findlingen, an denen sich das Wasser staut. Über dieses Gewässer führt eine hohe Brücke, über die zwei Hirten gerade ihre Ziegenherde treiben. Die ersten Tiere sind am anderen bergigen und teils bewaldeten Ufer angekommen, auf dem auch eine alte hellbraune Steinmauer mit Zinnen zu erkennen ist. Malerei in überwiegend beige-brauner und grüner Farbgebung. Teils Retuschen. (14023229) (18) Goffredo Wals, ca. 1595 Cologne - 1638 Calabria, Attributed RIVERSIDE WITH STONE BRIDGE Oil on panel. In horizontal oval: 27 x 35.5 cm. We would like to thank Guido Jansen for his kind advice regarding the attribution of the painting.
ITALIENISCHE LANDSCHAFT MIT RUINE UND HERDE Öl auf Kupfer. 17 x 10,5 cm. Verso mit Nummerierung „42“. In ebonisiertem Profilrahmen. Der gebürtige Kölner kam schon 1615 nach Rom und die hier angebotene reizvolle Ansicht ist typisch für seine dort entstandenen Landschaften, in denen der Mensch stets untergeordnet ist und die verschiedenen Elemente das Licht in weiche Flächen transformieren, die mit Architekturelementen, Tieren und hier und da einem Menschen belebt werden. Literatur: Vgl. Giovanna Capitelli, Il paesaggio italianizzante, in; La pittura di paesaggio in Italia, Mailand 2004, S. 213-231. (13804222) (13)
GODFREDO WALS (Cologne, 1595-1638) MARAIS PRÈS D'UN BÂTIMENT ROMAIN EN RUINES Cuivre, réduit à gauche Swamp near a ruined roman building, copper cropped on the left 17 x 14 CM - 6,7 x 5,5 IN.
WALS, GOTTFRIED ca. 1590/95 Cologne - 1638/40 Calabria attributed Title: River Landscape with Stone Bridge. Technique: Oil on wood. Measurement: In oval: 27 x 35,5cm. Frame: Framed. Provenance: Private ownership, Belgium. Explanations to the Catalogue
Work: 39,5 x 29 cm Goffredo Wals (Gottfried Waals, Gottfried Waeles, Goffredo Tedesco) was a German painter, draftsperson and etcher, born in the late 16th C. in Cologne. At an early age he moved to Italy, where he was active in a.o. Rome, Genoa and Naples. He was trained by Agostino Tassi. He focused mainly on (Italianizing) landscapes in small format, often circular and painted on copper. He himself was the teacher of Antonio Travi, and, more important, Claude Lorrain. He most probably died as a victim of an earthquake. (link) The reverse with some annotations.
Oil on oval linden panel, measurements: 34 x 26 cm, framed measurements: 47 x 40 cm. Collection number on the reverse: 272. Unusually rare painting in the shape of an oval. We see a herd of goats and their herdsmen on the bridge, one of the herdsmen is on horseback, the others are looking at the men near the river bank. Two standing figures are pointing and discussing with each other, while the other is sitting and relaxing after a long journey.
FLUSSUFER MIT STEINERNER BRÜCKE Öl auf Holz. Im Queroval 27 x 35,5 cm. In vergoldetem, rechteckigem Prunkrahmen. Wir danken Guido Janden für freundliche Hinweise die Zuschreibung betreffend. Blick vom flachen Ufer mit drei Männern auf einen Fluss mit Findlingen, an denen sich das Wasser staut. Über dieses Gewässer führt eine hohe Brücke, über die zwei Hirten gerade ihre Ziegenherde treiben. Die ersten Tiere sind am anderen bergigen und teils bewaldeten Ufer angekommen, auf dem auch eine alte hellbraune Steinmauer mit Zinnen zu erkennen ist. Malerei in überwiegend beige-brauner und grüner Farbgebung. Teils Retuschen. (13006617) (18) Goffredo Wals, ca. 1595 Cologne – 1638 Calabria, Attributed RIVERSIDE WITH STONE BRIDGE Oil on panel. In horizontal oval: 27 x 35.5 cm. We would like to thank Guido Jansen for his kind advice regarding the attribution of the painting.
(Colonia, 1595 - Calabria, 1638) Veduta con il Tempio di Ercole vincitore, detto di Vesta Olio su rame, cm 26,5X31,5 Il dipinto raffigura la veduta del Foro Boario con il tempio di Ercole vincitore detto tempio di Vesta visibile in primo piano e si può confrontare con la simile composizione attribuita all'artista da Luigi Salerno (cfr. L. Salerno, Pittori di Paesaggio del Seicento a Roma, Roma, 1977, vol. I, pag. 187, riprodotto p. 194, figg. 37.8 e 37.9) e recentemente esitato in asta presso Sotheby's di Londra il 27 novembre 2011, lotto 297). L'artista è stato una figura chiave per la pittura di paesaggio d'inizio Seicento e le sue opere furono di straordinario esempio per Claude Lorrain, Agostino Tassi, Filippo Napoletano e molti altri artisti attivi a Roma. Preponderante fu altresì la sua influenza su Antonio Travi, avvenuta quando appena giunto in Italia l'artista soggiornò a Genova frequentando la bottega di Bernardo Strozzi e Raffaello Soprani ne elogiava i dipinti raccontando che 'piacevano talmente all'occhio che guardando la veduta dipinta si dimenticava completamente quella vera'. Wals realizzò prevalentemente paesaggi di piccola dimensione, traducendo i suoi disegni altamente evocativi e che raramente hanno una narrativa identificabile. La sua attenzione agli effetti atmosferici preannuncia l'opera di Corot, per la loro aria rarefatta, la precisione descrittiva e la sensibilità atmosferica. Bibliografia di riferimento: M. G. Roethlisberger, From Goffredo Wals to the Beginnings of Claude Lorrain, in Artibus et Historiae, Vol. 16, n. 32 (1995), pp. 9-37 G. Capitelli, Gottfried Wals, in La pittura di paesaggio in Italia. Il Seicento, a cura di L. Trezzani, Milano, 2004, pp. 380-382
Attributed to Gottfried Wals (1595/1600-1638/40), An Italianate landscape with a donkey rider and a woman doing the laundry by a fountain, oil on copper, 16,5x21,5 cm,
Oil on panel. 25.5 x 41.3 cm. Restored. Framed. Counterpart to the previous lot. Gottfried Wals was born in Cologne. Early he travelled to Naples, from 1616 until 1618 he worked under Agostino Tassi in Rome. After his return to Naples he taught Claude Lor
Owner's seal verso. Oil on panel. 25.3 x 41.5 cm. Restored. Framed. Counterpart to the following lot. Gottfried Wals was born in Cologne. Early he travelled to Naples, from 1616 until 1618 he worked under Agostino Tassi in Rome. After his return to Naples
Oil on panel. 25.5 x 41.3 cm. Restored. Framed. Counterpart to the previous lot. Gottfried Wals was born in Cologne. Early he travelled to Naples, from 1616 until 1618 he worked under Agostino Tassi in Rome. After his return to Naples he taught Claude Lorrain from 1620 until 1622. Later he can be traced in Genoa, Savona and again in Naples. He lost his life during an earthquake in southern Italy in 1638 or 1640. Gottfried Wals is regarded as one of the early, important and influential masters of 'pure' landscape painting. Only a few works can be attributed to Gottfried Wals. In 1992 Roethlisberger counted about two dozen works that can be associated with the artist's oeuvre. Roethlisberger published for the first time the two now offered paintings by Wals. He emphasises the sophisticated light effects that distinguish both works as well as the relationship of the design of the trees with paintings by Adam Elsheimer. Roethlisberger dates the paintings to the early 1620s, the time when Claude Lorrain was Wals' student. Literature: Roethlisberger, Marcel G., From Goffredo Wals to Claude Lorrain - Recent discoveries, in: Apollo, vol. CXXXV, No 362, April 1992, pp. 209-214 (colour illustrations of the two offered paintings by G. Wals on p. 211). Provenance: Gallery Alex Wengraf, London (after 1992). - From the estate of a Hessian collector.
Owner's seal verso. Oil on panel. 25.3 x 41.5 cm. Restored. Framed. Counterpart to the following lot. Gottfried Wals was born in Cologne. Early he travelled to Naples, from 1616 until 1618 he worked under Agostino Tassi in Rome. After his return to Naples he taught Claude Lorrain from 1620 until 1622. Later he can be traced in Genoa, Savona and again in Naples. He lost his life during an earthquake in southern Italy in 1638 or 1640. Gottfried Wals is regarded as one of the early, important and influential masters of 'pure' landscape painting. Only a few works can be attributed to Gottfried Wals. In 1992 Roethlisberger counted about two dozen works that can be associated with the artist's oeuvre. Roethlisberger published for the first time the two now offered paintings by Wals. He emphasises the sophisticated light effects that distinguish both works as well as the relationship of the design of the trees with paintings by Adam Elsheimer. Roethlisberger dates the paintings to the early 1620s, the time when Claude Lorrain was Wals' student. Literature: Roethlisberger, Marcel G., From Goffredo Wals to Claude Lorrain - Recent discoveries, in: Apollo, vol. CXXXV, No 362, April 1992, pp. 209-214 (colour illustrations of the two offered paintings by G. Wals on p. 211). Provenance: Gallery Alex Wengraf, London (after 1992). - From the estate of a Hessian collector.
Circle of Goffredo Wals (Cologne c. 1590/5-1638/40 Calabria) An Italianate landscape with a goatherd resting beneath a tree; An... oil on copper 3 ¼ x 5 1/8 in. (8 x 12.9 cm.) (3)
LANDSCAPE ATTRIBUTED TO GOTTFRIED WALS (GERMANY/ITALY, 1590/95-1638/40). Oil on board, unsigned. Three figures, one on horseback in a landscape setting with mountains, river, and a small village. 8"h. 11"w., in a molded and gilded frame, 12"h. 15"w.
LANDSCAPE ATTRIBUTED TO GOTTFRIED WALS (GERMANY/ITALY, 1590/95-1638/40). Oil on board, unsigned. Three figures, one on horseback in a landscape setting with mountains, river, and a small village. 8"h. 11"w., in a molded and gilded frame, 12"h. 15"w.
Attributed to Goffredo Wals (Cologne c. 1590/5-1638/40 Calabria) A capriccio of classical ruins with figures conversing in the foreground oil on copper 5½ x 7 in. (14 x 17.8 cm.)
Attributed to Goffredo Wals (Cologne 1590/5-1638/40 Calabria) An Italianate landscape with a round, blind colonade temple, drovers with their cattle by cascades; and A coastal capriccio with a ruined tower oil on copper 6 5/8 x 8¾ in. (16.9 x 22.2 cm.) a pair (2)
Gottfried WALS ou Goffredo Tedesco (Cologne 1595 - 1638), attribué à Vue d'un port méditerranéen animé de personnages et de bateaux au mouillage Toile. Cachet en cire non reconnu au dos 23 cm x 37,5 cm Connu aussi comme Goffredo Tedesco pendant son séjour en Italie, Gottfried Wals fut un collaborateur d'Agostino Tassi à Rome, où il arriva vers 1615. Le style du peintre italien est, en effet, bien présent dans ce tableau inédit. Les figures, d'une très grande qualité, témoignent d'un caractère flamand, tandis que l'esprit et l'atmosphère suspendue du paysage se rapprochent des aeuvres de Tassi. Le petit format du tableau, quant à lui, est aussi caractéristique de la production de Wals.
Attribué à Gottfried WALS (1595-1638) Trois promeneurs dans un paysage Satyre jouant de la flûte dans un paysage Paire de panneaux ronds Diamètre : 18,5 cm
GOTTFRIED WALS, CALLED GOFFREDO TEDESCO COLOGNE 1590/95 - 1638/40 NAPLES AN ITALIANATE RIVER LANDSCAPE WITH SHEPHERDS WATERING THEIR FLOCK BENEATH A RUIN oil on copper, in a painted tondo 29.5 by 29.7 cm.; 11 1/2 by 11 3/4 in.
A capriccio of an Italianate harbour at sunset, with merchants, fishermen and stevedores on the shore in the foreground, men-o'-war at a quay beyond oil on canvas 16 x 21 7/8 in. (40.5 x 55.5 cm.) PROVENANCE Lieutenant-G‚n‚ral Jean-Baptiste-F‚lix-Hubert de Vintimille, comte du Luc, gouverneur de la Citadelle de Marseille; (+) sale, Julliot, Paris, 22 December 1777, lot 4 (to the dealer Jean-Baptiste-Pierre Lebrun, on behalf of Tolozan?). Claude Tolozan (1728-1796); (+) sale Paillet-Delaroche, Paris, 23 February 1801, lot 60, 'L'effet de ce pr‚cieux morceau, est pris … l'heure du soleil couchant, et rendu avec cette admirable intelligence de clair-obscur et de perspective, qui ont assign‚ … Claude le Lorrain, cette renomm‚e que donne un talent sup‚rieur.' (3,802 francs to J.J. Martin Laporte on behalf of Delessert). Etienne Delessert (1735-1816), by whom bequeathed to his son Jules-Paul-Benjamin, Baron Delessert (1773-1847), H“tel d'UzŠs, 176 rue Montmartre, Paris, by whom bequeathed to his brother Fran‡ois-Benjamin-Marie Delessert (1780-1868), H“tel Delessert, 176 rue Montmartre, Paris, and by descent to the present owners. LITERATURE Notice sur la collection de tableaux de MM. Delessert, Paris, 1844, no. 72, 2nd edn. 1846, no. 107. M. Kitson and M. R”thlisberger, 'Claude Lorrain and the Liber Veritatis', The Burlington Magazine, 1959, no. 680, p. 382, illustrated. M. R”thlisberger, Claude Lorrain, The Paintings, New York, 1979, I, LV27, pp. 147-8; II, fig. 74. B. AquilliŠre, 'Une Collection d'art au XVIIIŠme siŠcle: la collection Tolozan', Travaux de l'Institut de l'Histoire de l'Art de Lyon, 13, September, Lyons, 1990, pp. 29-30. EXHIBITION Paris, Orangerie des Tuileries, Le Cabinet de l'Amateur, February-April 1956, no. 53. NOTES Claude has long been known as the greatest of all painters of the 'ideal landscape' - painted images of nature that were intended to be more beautiful and better ordered than nature herself. To the genre, Claude made the distinctive contribution of using light as the principal means both of unifying a composition and of lending beauty to the landscape - a legacy that was to influence generations of subsequent artists, including Richard Wilson and Turner. Claude was born in a village near Nancy, but moved in his 'teens to Rome, and shortly after to Naples, where he studied under the German-born landscape painter Goffredo Wals. He then returned to Rome where he completed his artistic training in the workshop of Agostino Tassi. In 1625, Claude returned to Lorraine where he was taken on as assistant by Claude D‚ruet, the court painter to the duke. About a year later, he returned to Rome, where, with the exception of short trips to other parts of Italy, he was to remain for the rest of his long life. This painting belongs to a group of three harbour capricci of similar compositions by Claude. The earliest work, in the collection of the Duke of Northumberland, is dated 1637; another, dated 1639, is in the Louvre. The three pictures, bathed in a pink and orange sunset, share the same imaginary palace on the left and the group of three men conversing in the foreground. R”thlisberger suggests a date of 1638 for the present work, a date that is consistent with Claude's practice of painting on a small format (often on copper) in the 1630s. Many of Claude's pictures depict either sunrise or, as here, sunset. These were considered the most poetic times of day and the complementary hours of morning and evening were to be of special significance to the artist throughout his life. Indeed he would often juxtapose the two times of day in pairs of pictures. To his contemporaries, the most striking evidence of Claude's study of nature was his depiction of the sun. To show the sun in the sky was not of course unprecedented, but Claude was the first artist both to do so and (as here) to use the sun as the source of light for the whole picture. This work, which has remained in the same collection for the last two hundred years, is recorded in the Liber Veritatis, Claude's own chronologically arranged catalogue of 195 of his pictures. The catalogue takes the form of an album of drawings executed in pen and bistre wash in which the artist, from 1636 until his death, reproduced the image of the paintings he was selling and indicated the name of the patron or town or country of destination. The drawing corresponding to the present picture is inscribed on the back 'pour le secrtaire du marqu quev'. Professor R”thlisberger suggestes that the marquess is Fran‡ois-Annibal d'Estr‚es, marquis de Coeuvres (c. 1573-1670), subsequently the duc d'Estr‚es, the French ambassador in Rome from 1636 to 1641. The identity of his secretary, however, has not yet been identified. During his stay in Rome the marquis arranged for the shipment to France of many Roman pictures and antiques, amongst which may well have been the present work. Claude Tolozan (1728-1796) was the younger son of Antoine Tolozan, a commoner who having made a fortune in his native Lyons as a silk merchant and banker, bought an office of nobility in the Cour des Monnaies en Lyon, taking the title ‚cuyer et seigneur de Montfort from an eponymous estate that he acquired. His son followed his father as a courtier, going to Paris where he became Introducteur des Ambassadeurs … la Cour du Roi, and formed over the course of his life a notable collection of Old Masters (for which, see B. AquilliŠre, op. cit., pp. 27-33). AquilliŠre suggests that Jean-Baptiste Lebrun, a dealer and expert who advised most of the great collectors in Paris before 1789, was almost certainly Tolozan's advisor in the purchases of his pictures; an annotation in one of the surviving Tolozan sale catalogues notes that the picture had been owned by Lebrun - presumably an indication that he had bought the painting at auction, probably the du Luc sale, on Tolozan's behalf. The sale of his collection of Old Master Paintings in 1801 was in effect the last of the great sales of the eighteenth century, given the personality of the propretor and the time of the collection's assemblage. Amongst the many remarkable works sold were three paintings by Rembrandt, including an Adoration of the Shepherds (National Gallery, London) and a Portrait of a Man (Metropolitan Museum of Art, New York), two pictures by La Hyre including the Landscape with bathers (Louvre, Paris), Chardin's Serinette (Louvre, Paris), two Bourdons including a Christ amongst the children (Louvre, Paris) and Terborch's Music Lesson (National Trust, Waddesdon Manor). The sale raised the astonishing total of 335,613 francs. Among the buyers were the writer Dominique Vivant-Denon, the painters Jean-Fran‡ois He and Carle Vernet and the banker Etienne Delessert, who purchased the present picture along with thirty-two other works for a total of 33,085 francs. The Delessert collection was one of the most notable in Paris in the later nineteenth century. The family fortune was founded by (Gabriel-)Etienne Delessert (1735-1816), the son of a Lyons silk-merchant; having moved to Paris in circa 1775 he began lending money to sellers of luxury goods, and thereby became a banker, being one of the founders of the Caisse d'Escompte. His eldest son (Jules-Paul-)Benjamin Delessert (1773-1847) was in 1802 appointed R‚gent of the Banque de France and in 1812 was ennobled as baron Delessert. During the Bourbon Restoration he combined his function as d‚put‚ (intermittently between 1817 and 1842) with business interests, his most notable achievement being the creation of the Caisse d'‚pargne in 1818. A member of the Acad‚mie des Sciences, his considerable wealth enabled him to collect paintings, a field in which he showed individuality and distinction. His most spectacular purchase was made at the sale in 1843 of the collection of the Marqu‚s de Las Marismas de Guadalquivir, when he spent 27,250 francs on Raphael's Orl‚ans Madonna (Mus‚e Cond‚, Chantilly). Among other Old Master paintings, he owned a strong group of Dutch cabinet pictures, such as Pieter de Hooch's Merry Company (Metropolitan Museum of Art, New York), and eighteenth-century French paintings, including Greuze's Portrait of the engraver Jean-Georges Wille (1763; Mus‚e Jacquemart-Andr‚, Paris). Benjamin's younger brother, Fran‡ois-(Benjamin-)Marie Delessert (1780-1868), was successful as a businessman and banker and was a d‚put‚ between 1831 and 1848. He, too, collected paintings. Both Delessert collections were united on Benjamin's death, and the majority of the collection was subsequently sold at auction in Paris in 1869 (for which, see Charles Blanc, 'La Galerie Delessert', La Gazette des Beaux-Arts, 1869) although some of the pictures, including the present work, remained in the possession of the family.
