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9 Bernardo Bellotto This rare view of Munich as seen from Gasteig hill was recently rediscovered in a private collection. Bernardo Bellotto, who worked under the nameCanaletto like his famous uncle, Giovanni Antonio Canal, painted first in his native Italy and later in Dresden under the aegis of the Saxon elector Frederick Augustus II. During his time in Munich in the 1760s, the artist painted several city views commissioned byMaximilian III Joseph,ElectorofBavaria. Bernardo Bellotto, called Canaletto (1722–1780), and Lorenzo Bellotto (1744–1770). View of Munich from the east. Circa 1762–1767. Oil on canvas. 69 × 119 cm. Estimate on request Cornelis Bega Bega grew up surrounded by art and artists, and was listed as a member of the Haarlem painters’ guild beginning in 1654. He is known for outstanding colouration and sublime brushwork. The woman depicted here modelled for several of Bega’s paintings. She is shown holding a glass and wearing an open jacket – the latter indicates her status as a courtesan. The small table in the foreground and the majolica jug also appear in other works by Bega. This excellent portrait has a noble provenance, having belonged to Pierre Marquis de Colbert (1834–1905), owner of the Château du Saussay, located south of Paris. In 1911, the property passed from his daughter to the Bourbon-Busset family, who still occupy the stately castle today. Cornelis Bega (1631/32–1664). Young woman in an interior, holding a glass of wine. Oil on canvas. 26.7 × 22.2 cm. Estimate: CHF 150 000/200 000 Govaert Flinck Goevart Flinck was one of the most talented artists of Rembrandt’s circle in Amsterdam. He was Rembrandt’s pupil in 1635–36 and then established his own studio. He adapted the style of his master with virtuosity, also including the ‘tronie’ in his repertoire: a form of portrait that is not a realistic representation of a specific model, but rather exemplifies a character type. This bearded old man incorporates idealised images from biblical history and, although not identified by any attributes, might represent one of the prophets. Apparently Rembrandt, Flinck and other painters in their circle used the same model, who can be recognised in various paintings. At the same time, this work from Flinck’s late period, with a loosely fluid brushstroke, represents the artist’s increasing detachment from the style of his famous teacher. Govaert Flinck (1615–1660). Tronie of a bearded man. 1650. Oil on canvas. 61.5 × 50.7 cm. Estimate: CHF 700 000/900 000 FOR FURTHER INFORMATION OLD MASTER PAINTINGS Karoline Weser weser@kollerauctions.com ONLINE CATALOGUES www.kollerauctions.com