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PRIVATE COLLECTION (LOTS 1-5, 14 & 57) AFTER JAN GOSSAERT, CALLED MABUSE Holy Family oil on panel, unframed 51.3 x 36.8 cm. After the picture in The Museum of Fine Arts, Houston, with variations. £1,000-£1,500
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MANNER OF QUENTIN MASSYS Madonna and Child inscribed 'Elisabetta Sirani-Born in the year 1638 / Died in the year 1665 / Born at Bolo
/ Mother and Child / On .....said to be painted by this lady' (on a label on the reverse); inscribed 'This picture has been / in our family over / a hundred years / G. A. Patton' (on a label on the reverse); inscribed 'Duck Lane Wardour Street / Mr G. Morril. liner / Sirani Elizabetta / born at Bologna in 1638 / she imitated the best style of Guido' (on a label on the reverse) oil on panel, shaped top 41.6 x 30.3 cm. Provenance: By descent to G. A. Patton (according to an old label on the reverse). Mr G. Morril (according to an old label on the reverse). £3,000-£5,000
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MANNER OF AELBRECHT BOUTS The Mater Dolorosa oil on panel, unframed 36.1 x 25.8 cm. Relates to the picture of the mid 1490s in Fogg Museum, Cambridge, United States of America, with variations. £1,000-£1,500
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GREEK SCHOOL, 18TH CENTURY Quadripartite icon of The raising of Lazarus; St George and the Dragon; The dog-headed St Christopher and St Demetrios inscribed in Greek painted and gilded on panel, unframed 63.7 x 45.6 cm. £3,000-£5,000
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CONTINENTAL SCHOOL, 16TH CENTURY Classical figures carrying a woman onto a boat, probably The Rape of Helen verre églomisé, probably painted on glass 8.7 x 9.7 cm. Possibly from a casket or devotional piece. Provenance: (probably) Sir Alfred Beit; Sotheby's, London, 7 October 1948, lot 25. £300-£500
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AFTER CORNEILLE DE LA HAYE, CALLED CORNEILLE DE LYON Portrait of Jean d'Albon, Lord of Saint-André (1472-1549) oil on panel, unframed 17 x 14.5 cm. After the picture in the Louvre of c.1550. £500-£700
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CIRCLE OF GORTZIUS GELDORP (LEUVEN 1553-1616) Portrait of a lady, three-quarter-length, in a black dress and fur-lined coat, lace ruff and cap with the sitter's coat-of-arms (upper right) oil on panel 84.3 x 62 cm. Provenance: Anonymous sale; Christie's, London, 16 April 1999, lot 67. £4,000-£6,000
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AFTER SIR PETER PAUL RUBENS Self-Portrait oil on canvas 84.5 x 61 cm. After the picture of 1623 in the Royal Collection. £1,000-£1,500
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FOLLOWER OF JACOB JORDAENS Man holding a glass oil on panel 25.7 x 22.1 cm. £300-£500
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FOLLOWER OF SIR PETER PAUL RUBENS Portrait of a gentleman, traditionally identified as Sir Peter Paul Rubens (1577-1640) oil on canvas, unframed 79 x 63.2 cm. Provenance: Frank Guymer, Kingston on Thames; Christie's, London, 19 November 1948, lot 132 (£21 to Clappins). £1,000-£1,500
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ITALIAN SCHOOL, EARLY 17TH CENTURY Portrait of a gentleman, half-length, in a brown doublet oil on canvas 73.5 x 62.2 cm. £700-£1,000
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AFTER REMBRANDT HARMENSZ. VAN RIJN Portrait of a gentleman, half-length, in a black coat and hat watercolour heightened with gum arabic and scratching out on paper 28.5 x 25 cm. After an oil painting formerly attributed to Rembrandt in a Private Collection, London. The original portrait is now attributed to the Studio of Rembrandt and possibly to pupil Carel Fabritius (Middenbeemster 1622-1654 Delft). £250-£350
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CIRCLE OF PIETER NEEFS II (ANTWERP 1620-AFTER 1685) Mass in a Gothic church oil on panel 24.5 x 19.7 cm. £1,500-£2,000
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PRIVATE COLLECTION (LOTS 1-5, 14 & 57) AFTER GERARD TER BORCH The card players oil on panel, unframed 27 x 21 cm. After the picture of 1645-50 in the Collection of Oskar Reinhart, Winterthur. £1,000-£1,500
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CIRCLE OF MICHIEL VAN MIEREVELT (DELFT 1566-1641) Portrait of a gentleman, bust-length, with a ruff collar oil on panel 49 x 39.6 cm. £2,000-£3,000
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DUTCH SCHOOL, 17TH CENTURY Roses in a glass vase on a wooden ledge oil on panel 44 x 34.5 cm. Provenance: Mary A. Oakley, 1883 (according to an old label on the reverse). £2,000-£3,000
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ENGLISH SCHOOL, 17TH CENTURY Portrait of Sir Richard Hutton (1560-1639), Justice of the Common Pleas, bust-length, in his robes oil on panel 58 x 43.9 cm. Provenance: Sir John Musgrave, Eden Hall, 1797, by descent to, Sir Richard George Musgrave, his sale; Christie's, London, 4 December 1925, lot 55 (purchased on behalf of the sixth Earl of Harewood), his sale; Christie's, London, 22 June 1951, lot 32. his sale; Christie's, London 12 October 1951, lot 71. Anonymous sale; Christie's, London, 1 March 1985, lot 157. Literature: T. Borenius, Catalogue of the Pictures in the Collection of the Earl of Harewood, 1936, p.122, no.268. Another version of this portrait is in Gray's Inn, London. £1,500-£2,000
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STUDIO OF SIR GODFREY KNELLER (LÜBECK 1646-1723 LONDON) Portrait of King William III (1650-1702), half-length, in robes of state, holding the orb inscribed and dated 'KING WILLIAM / OB: 1702 : AET: 52.' (centre left) oil on canvas 93.9 x 79.4 cm. Provenance: Anonymous sale; Christie's, London, 14 November 1979, lot 96, as 'Wissing'. £3,000-£5,000
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CIRCLE OF JOHN MICHAEL WRIGHT (LONDON 1617-1694) Portrait of George Monck (1608-1670), 1st Duke of Albemarle, three-quarter-length, in armour, a landscape with Charles II landing at Dover in 1660 beyond inscribed 'GIORGIO MONK [sic] DUCA DI ALBERMALE [sic] CAPITAN GENERALE / DEL REGNO D'INGHILTERRA, E DUE VOLTE AMMIRAGLIO DEL M' (along the top edge) oil on canvas, unframed 126 x 102.5 cm. This portrait celebrates the key role that Monck played in the Restoration Settlement in 1660 that led to the return of Charles II to Great Britain, which undoubtedly marked the very height of Monck's distinguished career. Monck had skilfully masterminded the agreement between Parliament and the exiled Stuart court. He was ideally positioned to negotiate a peaceful change of power; he was a member of the council of state and commander-in-chief of all military units in Britain. In return, Monck was created Baron Monck of Potheridge, Beauchamp, and Teyes, Earl of Torrington and Duke of Albemarle. He was also made Master of the Horse in the restored Royal court and presented with the insignia of the Garter by the King himself. The prime version of this particular composition is in the Uffizi Gallery, Florence. Two further portraits by Wright of Monck, which differ in composition from the present lot, exist. One of which appeared on the art market in 2009, formerly at Powderham Castle, and the other currently at Longleat House. £10,000-£15,000
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CIRCLE OF SIR GODFREY KNELLER (LÜBECK 1646-1723 LONDON) Portrait of a lady, half-length, in a red robe and white chemise oil on canvas, oval, the corners made up 76.4 x 63.3 cm. £2,000-£3,000
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CIRCLE OF SIR PETER LELY (WESTPHALIA 1618-1680 LONDON) Portrait of a lady, bust-length, in an ochre dress oil on canvas 59.2 x 48.5 cm. £2,000-£3,000
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JOHN VERELST (LONDON FL.1698-1734) AND WILLEM VERELST (?-AFTER 1756 LONDON) Portrait of a lady, in a blue dress, seated in an interior with a young girl signed and dated 'John & W:m Verelst / Pinx: 1731' (centre left) oil on copper 45.4 x 36.6 cm. £3,000-£5,000
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ENGLISH SCHOOL, EARLY 18TH CENTURY Portrait of a lady, half-length, in a green dress oil on canvas 67.1 x 56.5 cm. £1,000-£1,500
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ENGLISH SCHOOL, 18TH CENTURY Portrait of a lady, half-length, in a white dress oil on panel, oval 68.4 x 57.2 cm. £1,500-£2,000
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ENGLISH SCHOOL, FIRST QUARTER OF THE 19TH CENTURY Portrait of a lady, bust-length, in black with inscription 'Lady Don' (on the reverse) oil on canvas 47.8 x 40 cm. £600-£800
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CIRCLE OF THOMAS HUDSON (DEVON 1701-1779 TWICKENHAM) Portrait of a lady, traditionally identified as Lady Frances Hanbury Williams (1709-1781), half-length, in van Dyck costume, a feigned oval oil on canvas 77.3 x 64.6 cm. £2,000-£3,000
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CIRCLE OF JOSEPH WRIGHT OF DERBY, A.R.A. (DERBY 1734-1797) Portrait of a gentleman, in a red cloak, writing at a table oil on canvas, unframed 127.2 x 101.2 cm. Provenance: Countess of Strafford. Anonymous sale; Christie's, London, 14 June 1937, lot 89 (to Wilson). £1,500-£2,000
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ENGLISH SCHOOL, CIRCA 1760 View of Lincoln Cathedral oil on panel 45 x 56 cm. Provenance: Bickersteth (according to an inscription on the reverse) £800-£1,200
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FOLLOWER OF JOHN CONSTABLE Figures on a country lane with added initials 'JC' (lower left) oil on canvas 17.8 x 23 cm. £500-£700
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PETER MONAMY (LONDON 1681-1749) Admiralty yachts competing in a trial of sailing off Harwich, in a fresh breeze oil on canvas, unframed 71.5 x 112.5 cm. Provenance: Anonymous sale; Hotel Drouot, Paris, 5 April 1978, lot 132, as 'Attributed to Ludolf Bakhuizen.' Literature: M.S. Robinson, The Paintings of the Willem van de Veldes, London, 1990, vol. II, pp. 993-994, no. 795 [2], as 'English Yachts at Sea in a Fresh Breeze'. Peter Monamy is amongst the first English-born and trained marine painters. The artist's works, with their accurate depiction of shipping details and attention to weather were very popular and widely reproduced, at a time when the English sea power and commerce scene were growing rapidly. Monamy belongs to a generation of artists highly influenced by the Dutch family of van de Velde, who came to London in 1672 and were commissioned to paint sea battles for Charles II. He collected works by Willem van de Velde II and often copied whole compositions, adding details of his own. The source of the present lot's composition is an untraced original by van de Velde II, known through a rare mezzotint by Richard Houston (1721-1775), A Fresh Gale, with Several Ships turning to Windward, Also a distant View of a Fleet at Anchor, (see The Mariner's Mirror: Journal of the Society for Nautical Research, vol. I, January 1911, p. 28). The mezzotint is more compact in shape and according to Robinson (op cit. Robinson, 1990, pp.993-994) there are numerous small differences, which are enough to suggest that the present lot is not the original used by the engraver. Robinson notes that the gaffs of the mainsail and foresail of the two schooner-rigged yachts are considerably longer than the ones in the engraving, which dates the present lot well into the 18th century and suggests that it was painted later than the Houston's mezzotint. Also, the church spire of St Nicholas, Harwich, is clearly visible on the distant shoreline in the present lot, while the mezzotint shows no land at all. The subject appears to be a trial of sailing between two admiralty yachts, each rigged with two bezan sails, similar to the ones Dutch speeljachten (pleasure yachts) had serving to distinguish them from the single masted States yachts. The yacht with five gun ports, on the left of the composition, is thought to be Sir Phineas Pett's Isabella Bezan, built in 1680. £3,000-£5,000
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FOLLOWER OF MARIO NUZZI, CALLED MARIO DEI FIORI Chrysanthemums, roses and other flowers in a sculpted vase on a stone ledge; and Tulips, carnations, and other flowers in a sculpted vase on a stone plinth oil on canvas 128.5 x 89.2 cm. a pair (2) £8,000-£12,000
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ATTRIBUTED TO GASPARE SACCHI (IMOLA ACTIVE 1517-1536) The Annunciation oil on panel, integrated frame 59.3 x 46 cm. £4,000-£6,000
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FOLLOWER OF FRANCESCO GUARDI Figures at the corner of St Mark's Square oil on canvas 10 x 18.6 cm. £400-£600
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FOLLOWER OF GIOVANNI PAOLO PANINI An architectural capriccio with figures conversing oil on canvas 46.8 x 35.8 cm. £400-£600
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AFTER ANDREA LOCATELLI A landscape with bandits and a dog oil on canvas, unlined, unframed 36 x 30.7 cm. Provenance: By descent through the owner's family. After the picture of c.1725-30 in Ashmolean Museum, Oxford. £600-£800
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CIRCLE OF SALVATOR ROSA (ARANELLA 1615-1673 ROME) Three soldiers in conversation oil on paper, laid down on panel 27.3 x 19.2 cm. The present lot appears to relate to Rosa's Figurine series, a celebrated and widely copied group of 62 etchings of military and genre figures. Many artists used Rosa's figures as a source of inspiration and prototypes. This lot is not a direct copy after one of Rosa's designs, but is clearly inspired by his soldier groups. £500-£700
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CARL GUSTAF PLAGEMANN (SÖDERTÄLJE, SWEDEN 1805-1868 ROME) Mad Meg (Dulle Griet) signed and dated 'Carl Plageman. / 1829' (lower left) oil on canvas, unframed 52 x 49 cm. Mad Meg or Dulle Griet is a much debated subject, which is best known through Pieter Brueghel the Elder's (1525-1569) interpretation in Museum Mayer van den Bergh, Antwerp. In the present lot Mad Meg fiercely takes on demons in hell and, like in Brueghel's picture, she is depicted as an aggressive and deranged figure clutching her loot. The first question that arises is, how can a mortal woman move in and out of hell freely? Perhaps magical powers and wizardry are at play and the artist is commenting on the witch hunts that swept across Europe in the middle ages. Or perhaps the subject Mad Meg delves deeper into the perception of women at the time. Dulle Griet was a term used for women with undesirable qualities and when Brueghel painted there were several powerful women on thrones throughout Europe, which could imply that Mad Meg was a personification of the concern that women were not staying in their places and taking over roles that were traditionally destined for men alone - a lasting concern throughout centuries for many. Mad Meg's masculine features in the present lot could certainly point towards such a line of thought. On a more positive note Mad Meg can be seen as a brave hero, retrieving treasures that were stolen from or squandered by humanity. Another interpretation could be that the delusional and dishevelled looking woman suffers from a mental illness, such as schizophrenia. (see: The Witch, The Weird and The Wonderful 'Dulle Griet: The Many Faces of Mad Meg' http://winsham.blogspot.co.uk/) £800-£1,200
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BERNARD KEIL, CALLED MONSÙ BERNARDO (HELSINGØR 1624-1687 ROME) Bringing up children oil on canvas 110 x 80 cm. We are grateful to Minna Heimbürger for confirming the attribution. This painting will be included in a future addendum to her catalogue raisonné. £1,000-£2,000
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ITALIAN SCHOOL, 17TH CENTURY Old man putting an ointment on his chest oil on canvas 67 x 51 cm. £2,000-£3,000
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BERNARD KEIL, CALLED MONSÙ BERNARDO (HELSINGØR 1624-1687 ROME) Sealing a letter oil on canvas 97 x 73.5 cm. We are grateful to Minna Heimbürger for confirming the attribution. This painting will be included in a future addendum to her catalogue raisonné. £4,000-£6,000
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ITALIAN SCHOOL, 17TH CENTURY The Mater Dolorosa oil on canvas 46 x 35.4 cm £1,500-£2,000
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FOLLOWER OF BARTOLOMÉ ESTEBAN MURILLO Santa Rosa de Lima oil on canvas, unframed 106.8 x 80 cm. £1,200-£1,800
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FRENCH FOLLOWER OF CARAVAGIO, 17TH CENTURY St. Jerome in his study oil on canvas 85.3 x 102.4 cm. £7,000-£10,000
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GIUSEPPE NUVOLONE (MILAN 1619-1703) The Adoration oil on canvas 115 x 176.6 cm. We are grateful to Filippo Maria Ferro for confirming the attribution on the basis of a photograph. Ferro dates this hitherto unpublished work to Nuvolone's mature years and notes that the strong contrast between light and dark is rare in his oeuvre. Giuseppe Nuvolone was born into a family of painters. His father Panfilo (1581-1651) and brother Carlo Francesco (1609-1702) were both successful painters in their native Lombardy. The young Giuseppe worked closely with his brother and was deeply influenced by him, but as he matured, his style became more distinct. As visible in the present lot, Giuseppe's mature works are very Baroque and characterised by deep colours. He was a gifted narrator, capable of designing evocative works on a large scale. Giuseppe therefore received important commissions throughout his lifetime in Milan, Cremona and Brescia. Delicate and vigorous at the same time, Nuvolone has beautifully combined soft emotions and chiaroscuro to create a powerful image of The Adoration. £20,000-£30,000
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JUSTUS SUSTERMANS (ANTWERP 1597-1681 FLORENCE) Portrait of Vittoria della Rovere (1622-1694), bust-length, in a black dress with a lace collar and diamond brooch oil on canvas 66.8 x 52 cm. £3,000-£5,000
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CIRCLE OF JEAN-BAPTISTE SANTERRE (MAGNY-EN-VEXIN 1651-1717 PARIS) Girl beside a curtain oil on canvas, unframed 60.5 x 50.2 cm. £1,000-£1,500
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ATTRIBUTED TO NICOLAS MIGNARD (TROYES 1606-1668 PARIS) Portrait of a lady, half-length, in a white dress with gold trim and blue wrap oil on canvas 61.1 x 50.3 cm. £4,000-£6,000
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FRENCH SCHOOL, 17TH CENTURY Portrait of Charles de la Porte (1602-1664), Duc de la Meilleraye, in armour oil on canvas, unframed 52.1 x 41 cm. De la Porte was a French nobleman and talented general, who was awarded the important military distinction Maréchal de France for his capture of the town Hesdin in 1639 under the reign of King Louis XIII. £2,000-£3,000
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FOLLOWER OF DIRCK VAN DELEN An architectural capriccio with added initials 'D.R' (lower right) oil on panel 26.9 x 37.1 cm. £400-£600
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