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Bartholomaüs Reiter (Active in Munich between 1583 - 1622)
The Entry of the Christ into Jerusalem
Pen and gray ink, gray wash, white gouache
169 x 130 mm (6 5/8 x 5 1/8 in.)
Dated and inscribed in pen and brown in upper left: 1611. Das erste Stück von den Evangelien

Provenance: Pieter Vischer, Basel (L.2116); Peter Vischer-Passavant; Jules Dupan, Geneva; Prince Wladimir Argoutinsky-Dolgoroukoff, Paris; Private collection, Germany

Painter, draftsman and engraver active in Munich around 1600, Bartholomaüs Reiter was considered one of the foremost artists of his time. Gray ink and gray wash are his favored techniques. The artist often annotated and dated his drawings in the upper margin as is seen in the present drawing.
Frans Francken II (1581 - 1642)
The Sacrifice of Isaac
Oil on marble
32,5 x 26 cm (12 3/4 x 10 1/4 in.), octagonal

The present painting is one of the only three known paintings executed on marble by the artist, the other being the Lamentation of Dead Christ in the Suermondt-Ludwig-Museum, Aachen, and The Crucifixion in a private collection in Italy. In the present painting, Francken uses the white ground of the marble to maximize the dramatic effects of the composition.
Georg Friedrich Schmidt (1712 - 1775)
Presumed Portrait of the Sculptor Paul Ambroise Slodtz
Black chalk, red chalk, white chalk, blue pastel
255 x 225 mm

Provenance: Private collection, Switzerland

In parallel with his engraving activity, Schmidt executed portraits drawn in “trois crayons” highlighted with pastel. During his stay in Paris, Schmidt drew portraits of members of the Royal Academy such as Maurice Quentin de la Tour, Nicolas Cochin or Étienne Poitreau. The facial traits of the sitter are similar to those of the sculptor Paul Ambroise Slodtz, professor at the Academy in 1743, the year Schmidt was also a member.
Abraham van Strij I (1753-1826)
Portrait of Jacob van Strij, the artist’s brother
Red chalk, black chalk, gray wash
167 x 114 mm (6 ½ x 4 ½ in.)
Signed by the artist with his monogram lower right

Provenance: Jacob Hendrik Wiegersma, dit Jaap Wiegersma (L. 1552b) ; E. Maurice Bloch; his sale, Christie’s New York, 9 january 1991, lot 23

Abraham van Strij and his brother, Jacob van Strij, were two of the most important artists active in Dordrecht in the second half of the eighteenth century. Abraham van Strij distinguished himself as an outstanding draftsman. He founded Pictura in 1774, a drawing society, which he was director of throughout his life. In the present drawing, he uses red and black chalk and gray wash, to carefully portrayed the warmth of his brother’s head, bringing description to life.
Henry Fuseli, circle of, Late 18th century
The Fall of the Titans
Pen and gray ink, gray wash, white heightening
707 x 512 mm (27 7/8 x 20 1/8 in.)

Provenance: W. T. Schindler, Luzerne
Johan Christiaan Wilem Safft (1778 - 1849)
Five Studies of Heads Wearing Hats
Red chalk
247 x 338 mm (9 3/4 x 13 1/4 in.)
Signed in red chalk higher right: J.C.W. Safft del
Provenance: unidentified collection (L. 2084)

A small number of Safft drawings are known. His drawings include both landscapes and figure studies. The present drawing is a repertory of head studies saved by the artist that could be referred to later when creating paintings for poses, gestures, or physiognomies.
Albert Küchler (1803 - 1886)
Young Italian Peasant Girl wearing a Tambourine on her Head
225 x 145 mm (8 7/8 x 5 3/4 in.)
Signed in graphite lower right: A. Küchler
Inscribed on the verso in graphite: Dominica/ Civitella

Albert Küchler was a Danish artist active in Rome in the nineteenth century. The present drawing is preparatory for the little girl in the artist's painting A Young Abbot Recites his Lesson to his Sister today in the museum Thorvaldsen, Copenhaguen. The painting was executed in 1838 and our drawing was likely made just prior to the painting. The inscription Dominica on the verso may be the name of the model. Civitella likely refers to where the drawing was executed.
Franz Xaver Winterhalter (1805 - 1873)
Young Italian Musician Counting her Pennies in a Tambourine
282 x 224 mm, 11 7/64 x 8 13/16 in.
Signed lower right: F Winterhalter

Winterhalter drew little, preferring to attack his canvases directly. The few known sheets, mainly in graphite, date from the beginning of his career and are inspired by the graphic technique of the Nazarenes. Our drawing also dates from the beginning of the artist's career. It may have been executed in Italy or at the start of his stay in Paris. Indeed, the pose of the woman has affinities with that of the painting Young Girl of Ariccia executed in 1838.
Théodor von Holst (1810-1844)
Lycidas ?
Black chalk, red chalk
193 x 322 mm

Provenance :
Private collection, France ;

Theodor von Holst was a nineteenth-century British literary painter and draftsman. Largely inspired by Fuseli, von Holst created mysterious, demoniac, supranaturel compositions animated by fantastic figures. In the present drawing, the pose of the figure seems directly inspired by the print Lycidas that was engraved by Moses Haughton in 1803 after a painting by Fuseli. Von Holst may have wanted to give his own version of Lycidas, a figure described by the poete Milton.
Henri Lehmann (1814 - 1882)
The Adoration of Christ
Black chalk, brown wash, white gouache
267 x 145 mm, curved shape, 10 ½ x 5 3/4

Provenance: Louis-Antoine and Véronique Prat (L.3617); Paul Prouté Gallery, Paris; Private collection, France

Our drawing of the Adoration of Christ is preparatory for a painting executed by the artist for the Chapel of the Compassion in Saint-Louis-en-l'Île church, Paris in 1850. Two other paintings by the artist adorn this chapel: the Virgin at the Foot of the Cross shown at the Salon of 1848 and the Assumption of the Virgin shown at the Salon of 1850.
Max Seliger (1865 - 1920)
View of a Forest near Ernsthöhe
Charcoal and white chalk on blue paper
305 x 235 mm (12 x 9 1/4 in.)
Signed, dated, and inscribed lower left: M.S. VIII 86/ Ernsthöhe

Painter, draftsman, illustrator, and engraver, Max Seliger also conceived architectural decorations. The present drawing, dated August 1886, gives evidence of the interest of Seliger for drawing outdoors. This view of forest, executed with a strong contrast of lights and shadows, shows the influence of the landscape drawings by Adolf von Menzel on the young Seliger. The inscription Ernsthöhe refers to a nearby region of Coburg in Bavaria where the drawing was executed.