The Daulton Collection
European Art
"Death is a Haven, to which all winds drive..."

Jean Ganière (French, c. 1615-1666 Paris), after Artemisia Gentileschi
Memento Mori
1640 (published by Peter Stent, London, c. 1642-1665, with English inscription added)
engraving and stipple engraving on paper
15,5 x 22 cm

engraved inscription lower right within the image: "P. Stent excud."

engraved inscription below: "Fix this rare Emblem on thy Closet Dore, Death is a Haven, to which all winds drive, Be therefore wise, that when thy Corps shall lie And be in love with Vanity no more. And where at last each Mortall must arrive At Anchor thus thy Soule may mount on high." 

presumably to be read thus:

"Fix this rare Emblem on thy Closet Dore,
And be in love with Vanity no more:
Death is a Haven to which all Winds drive,
And where at last each Mortall must arrive;
Be therefore wise, that when thy Corps shall lie
At Anchor thus, thy Soul, may mount on high."

See Miscellanea sacra: or, A Curious Collection of Original Poems, upon Divine and Moral Subjects (London: printed for Henry Playford, 1698-1705).

an excellent, high-contrast impression with small margins around the depiction, trimmed below up to the text

condition: smoothed vertical center fold; minimally stained; short, carefully closed tear in the margin lower left; otherwise in very good condition

This print is believed to be based upon a lost painting by Artemisia Gentileschi (IFF 20).

The print appears to be quite rare.  It is not listed in Alexander Globe's 1985 catalogue raisonné of engravings published by Peter Stent. It is also missing from the comprehensive holdings of the British Museum; only the Victoria & Albert Museum in London lists this sheet in its collection (inv. no. E.1769-1991).

"Peter Stent was a printseller, who from the early 1640s until his death ran one of the biggest printmaking businesses of the day. In around 1642, he opened a shop in Giltspur Street, London, where he sold engravings printed on his own rolling presses. The civil wars presented Stent with the opportunity to purchase over 700 plates from a number of printsellers and artists, and he ended up holding over eight times as many plates as any of his predecessors. He published prints across a variety of subjects, from business forms to portraits."  National Portrait Gallery, London.
Unidentified Artist
The Last Missionary: Portrait of Missionary Giovanni Battista Sidotti
circa 1715-1720, probably southern Germany, Augsburg school
oil on canvas
118.8 x 88.5 cm

below the image the following inscription in Latin: 

"Joannes Sydoti presbyter Saec[ularis] prinum [i.e., primum] Manilae in Indiae oriendali [orientali] per 4 annos, dein per plures in Japonia missionarius, bis ab idolola[t] ris ad rogum, ut vivus combureretur ductus, bino miraculo conservatus." 

["The secular priest Giovanni Sidotti, who was a missionary first in Manila, East India, and then for several years in Japan, was twice taken to the stake by the idolaters to be burned alive, and both times was miraculously saved from death."]

This painting, recently discovered, is the only known portrait of Giovanni Battista Sidotti (Palermo 1668-1714 Tokyo) from the Baroque period, probably painted during the advocacy for his beatification, not long after he died in captivity in Japan at age 46.

Sidotti's importance lies in the fact that he is regarded as the last Christian missionary who was able to reach Japan and work there during the isolation of the Edo period. Martin Scorsese used motifs from Sidotti's story in his 2016 missionary film "Silence." 

The discovery of Sidotti's remains beneath a house in Tokyo in 2014, exactly 300 years after Sidotti's death, gave a great boost to his appreciation in modern-day Japan. And using the techniques of forensic facial approximation, it was possible to reconstruct his facial appearance from the skull bones; the head produced in this way can now be seen in the National Museum of Nature and Science in Tokyo.  The striking resemblance of the head reconstructed from the bones in Japan to our portrait over a period of almost three hundred pictureless years, in which no portrait of Sidotti was known at all, is truly remarkable, one might say miraculous:
Mariano Fortuny y Marsal (Spanish, 1838-1874)
Marocain assis [Seated Moroccan]
aquatint etching on China paper
proof impression before the addition of the title (state III of VI)
13,9 x 10,1 cm
on the base paper, a handwritten dedication by Henriette Fortuny, the artist's daughter-in-law
The Daulton Collection

Magnificent, strong impression with a wide margin around the clearly defined platemark.

Condition: slight foxing; faint signs of wear.

Catalogue raisonne: Rosa Vives i Piqué and Maria Luisa Cuenca Garcia, Mariano Fortuny Marsal, Mariano Fortuny Madrazo: grabados y dibujos, Cat. No. 19 III (of  VI).
Jacques Majorelle (French, 1886-1962, although he resided most of his working life in Marrakesh) 

"Tasgah, Grand Atlas, Vallée de Telouet"
["Tasga, High Atlas, Valley of Telouet"]

etching on firm wove paper
proof impression outside the numbered edition of 24
image 20,1 x 26,6 cm (sheet 31,5 x 44,7 cm)
in pencil titled, dated, and signed lower right: "Tasgah (Grand Atlas  Vallée de Telouet)," "1927," "JMajorelle"
The Daulton Collection

Magnificent impression with nicely drawn platemarks and a wide margin.

After a stay in Egypt, Jacques Majorelle, the son of the French art nouveau furniture designer Louis Majorelle, discovered Morocco. He was particularly impressed by the colors of the landscape and the Berber architecture, which influenced his work in subject and style. He settled in Marrakech in 1917, where he built a villa with a studio. 

Gérard Laenen (Belgian, 1899-1980)
Portrait of Maurice Collis (1889-1973), author and colonial administrator in Burma
oil on canvas
27.5 x 31.5 in. 
signed lower left: GLaenen
The Daulton Collection

Fabio Rieti (Rome 1927--)
Portrait of a Woman with a Rose
acrylic on canvas-textured panel
69 x 85 cm
signed and dated lower right: "Fabio Rieti 67"
The Daulton Collection
Gertrude Degenhardt (German, 1940 --)
Der Tod mit kleinem Lebenslicht [Death holding a Small Light of Life]
black ink and watercolor on velum paper
23,6 x 23,7 cm
signed and dated in black ink lower right: "Gertrude Degenhardt 69."
The Daulton Collection
The Daulton Collection
Los Altos Hills, California