French School, 17th century

Anonymous sale, New York, Sotheby's, 15 January 1993, lot 58 (as Hispano-Neapolitan School, 17th Century);
There purchased by the present collectors. 

The paintings present bright and impressive images and would be ready to hang in their current state. The canvases have been relined and, though the Pharoah and Artemisia have a very slight buckle on their upper edge, they are stable on their stretchers and this is not distracting. Overall there is very good retention of paint surface and impasto. In Artemisia, there are some areas of retouching in the fleshtones that have now discolored slightly with age, in the left cheek, chest and legs but these are only apparent upon close inspection. Examination under UV light overall reveals mostly cosmetic retouches here and there, as mentioned already in Artemisia, and a few more are apparent in Sphiron's robes strengthening the shadows and there is some retouching to the legs and red drapery. There is some retouching to the edges as one might expect from canvases of this size and age. The paintings are good overall condition and are ready to hang and are offered in decoratively carved and gilt wood frames.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

This set of imposing figure paintings almost certainly formed part of a group of seven representing the wonders of the ancient world with associated historical figures as their anthropomorphic representatives. The inscription in the upper left-hand corner of each canvas identifies the personage depicted and the cartouches at bottom list and number the admiratio or wonder shown in the background. 

The paintings are based on prints by Gilles Rousselet (1610-1686), which in turn were designed by Claude Vignon, though no prime painted examples are currently known. 

The Great Pyramid of Egypt is depicted with the figure of "Pharaon,", undoubtedly meant to represent the Pharoah Cheops or Khufu, identified by the historian Herodotus as the builder of that great structure. The second in this group represents Queen Artemesia with the great tomb she built for her husband, Kins Mausolus of Caria. The third, of the giant chryselephantine statue of Zeus at Olympia (made by the sculptor Phidias), is associated with the enigmatic figure of Sphiron. The final canvas here depicts the second Macedonian pharoah of Egypt, Ptolemy II Philadelphus, before his great Lighthouse of Pharus in the harbor of a suspiciously Naples-like Alexandria. 

Although three of the series are presumed missing, the aforementioned print series reveals the remaining three compositions as follows:

I. Hanging Gardens of Babylon (Queen Semiramis)
II. Temple of Diana at Ephesus (Antiope)
V. Colossus of Rhodes (Theagenes of Rhegium)