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Los 52
λFrench School c.1900 Portrait miniature of an officer, wearing a red coat, turned to the right; Portrait miniature of an officer, wearing a red coat, turned to the left; Portrait miniature of a gentleman wearing a cream coat; Portrait miniature of an officer wearing a fur-lined green coat Four, each bearing a signature D. Isabet and indistinctly dated Each circular, in square wooden frames Largest 65mm diameter; Smallest 56mm diameter (4)
Los 543
Circle of Frans Floris the Elder Portrait of a gentleman, bust-length, aged 53 Dated and inscribed ÆTATIS/SVA 53/1554 (centre right) Oil on panel 26.8 x 18.7cm; 10½ x 7¼in Provenance: Rudolf Peltzer, Cologne; Frederik Muller, Amsterdam, 26-27 May 1914, lot 25 (as Frans Floris the Elder); Where purchased by Oscar Nottebohm (1865-1935); And by descent; Paleis voor Schone Kunsten, Brussels, La Succession de feu M. Oscar Nottebohm, 17 December 1957, lot 44 (as Willem Key); Christie's, London, 1 February 1985, lot 107 (as Circle of Willem Key), where purchased by the present English private collector Exhibited: Antwerp, Antwerpsche Propagandaweken, August - September 1935
Los 544
Circle of Pieter Codde Portrait of a gentleman, aged 44, bust-length, in a pleated ruff; Portrait of a lady, aged 43, bust-length, in a mill-stone ruff and lace cap A pair, the former inscribed and dated ÆTATIS 44./A 1631. (centre right); the latter inscribed and dated ÆTATIS 43./A* 1631. (upper right) Both oil on panel, oval Each 21.9 x 18.2cm; 8½ x 7¼in (2) Provenance: Samuel Cartwright (1815-1891), 32 Old Burlington Street, London; His posthumous sale, Christie, Manson and Woods, London, 26 February 1892, lot 105; Where purchased by Thos. Agnew & Sons, no. 6263; Where purchased by Sir William Agnew, 1st Bt. (1825-1910), 31 May 1893; By descent to Charles Morland Agnew (1855-1931), Durrants, Herts, where hung by the fireplace in the hall (his hand-written label to verso of 'Portrait of a lady', with attribution to Thomas de Keyser); By decent and gifted by his children to the previous owner, 21 July 1932; And by descent
Los 545
Michiel Jansz. van Mierevelt (Dutch 1566-1641) Portrait of a lady, traditionally identified as Elizabeth Stuart (1596-1662), Queen of Bohemia, the Winter Queen, half-length, in a bejewelled dress, lace collar and plumed headdress Signed and dated Mierevelt/Ao 1620 (centre right) Oil on panel 69.4 x 58.5cm; 27¼ x 23in Provenance: John Mitchell Chapman, California, by 1950; Ian MacNichol, Glasgow, by 1970; Where purchased by the present private collector, UK, c.1979 Elizabeth Stuart was the eldest daughter of James VI and I, of Scotland and England. In 1613 she married Frederick V, Count Palatine of the Rhine, who six years later was offered the throne of Bohemia. However, Frederick's reign ended in 1620, after the Battle of White Mountain, and the couple became known as the Winter King and Winter Queen. The rest of her life was largely spent in exile at the Hague, though she cannily used portraiture to publicise her plight, dispatching numerous portraits of herself and her family by Mierevelt and his studio to potential allies and supporters. According to records in the RKD, The Hague, in 1950 Wilhelm Valentiner argued that this portrait depicted Elizabeth Stuart. However, in 1970 Frits van Kretschmar suggested that the sitter may be a member of the Hanau family.
Los 58
λAlbin Roberts Burt (1783-1842) Portrait of a sleeping baby Signed AR Burt (lower centre), and further inscribed and dated Painted by A R Burt/Bath May/1812 (to reverse) Oval, in a red leather case 52 x 65mm Provenance: Lacy Scott & Knight, Bury St Edmunds, 21 March 2020, lot 1323, where purchased by the present provate collector
Los 589
Robert Harrington (1800-1882) Portrait of Matilda, a bay horse, with a groom and dog in a stable Signed and dated R Harrington/1829 (centre left), and inscribed and dated Matilda/1829 (lower centre) Oil on canvas 63.2 x 75.5cm; 24¾ x 29¾in Provenance: Gavin Graham Gallery, London, where purchased by the present owner Matilda was best known for winning the St Leger Stakes in 1827.
Los 597
Nicolas de Largillière (French 1656-1746) Portrait of Monsieur Aubert, General Director of the Bridges and Roads of France, three-quarter-length, by a writing table Inscribed A Monsieur/M*nsi*** Aubert/Controlle* général des Ponts/ Chaussée de france (lower left) Oil on canvas laid on panel 134.5 x 103cm; 53 x 40½in Provenance: Arnold S. Kirkeby (1901-1962); By whom given to Los Angeles County Museum of Art in 1955; By whom sold, Sotheby's, New York, 10 January 1991, lot 82; Christie's, London, 7 July 2010, lot 186, where purchased after the sale by the executors of the late Edmund de Rothschild (1916-2009); The Trustees of Exbury House Literature: R. Brown, Bulletin of the Art Division, Los Angeles County Museum, VIII, 1957, pp.8-9, no. 4; S. Schaefer and P. Husco, European Paintings and Sculpture in the Los Angeles County Museum of Art (Los Angeles, 1987), p. 53, illustrated, as dated c. 1735; To be included in the forthcoming Catalogue raisonné de l'Oeuve de Nicolas de Largillière, by Dr Dominique Brême, as a work of c.1725-1730
Los 606
Circle of Sir Anthony van Dyck Portrait of Lady Dorothy Sidney, called 'Saccharissa', later Countess of Sunderland (1617-1684) Inscribed SACCHARISSA (lower left) and VAN DYCK-EQUES (lower right), and further inscribed Saccharifsa - Countefs of Sunderland/Sir Ant. Vandyck pinxit/ - See Waller's Poem (to verso) Oil on canvas, in a feigned roundel 41.4 x 43.3cm; 16¼ x 17in Provenance: Private Collection, Worcestershire Lady Dorothy Sidney was the daughter of Robert Sidney, 2nd Earl of Leicester, and she was celebrated for her beauty, wit, charm and intelligence. In c.1635, when eighteen years old, she rejected a marriage proposal from the poet Edmund Waller who addressed famous verses to her, referring to her as 'Saccharissa'. She was painted by Sir Anthony Van Dyck several times. This work depicts the sitter at a young age and may have been cut down.
Los 609
Nicolaes Maes (Dutch 1634-1693) Portrait of a young man, three-quarter length, in a Japanese rok, holding a hunting spear and carving words into a tree Inscribed HEER.V/AES/**N (centre right to tree) Oil on canvas 69.8 x 58.5cm; 27½ x 23in Provenance: Gooden & Fox, London The composition of this work closely relates to Nicolaes Maes' portrait of Christiaan van de Blocquery (1647-1713) (see Christie's, Amsterdam, 13 May 2014, lot 46). It may be that the inscription on the tree is a vanitas motto (as in the portrait of van de Blocquery), or it may be a clue as to the sitter's identity. We are grateful to Dr León Krempel for confirming the attribution of this work based on photographs. Dr Krempel considers the portrait to be stylistically reminiscent of Maes' paintings of the 1670s and 1680s.
Los 611
Circle of Otto van Veen Portrait of a cleric, bust-length Oil on copper, oval, the reverse with the stamp of the coppersmith Peeter Staas, dated 1608, and with the hand of Antwerp 45.6 x 34.7cm; 18 x 13¾in Provenance: Christie's, London, Old Master Pictures, 7 July 1995, lot 221, where purchased by the present private collector
Los 617
Follower of Thomas Gainsborough Portrait of a lady, bust-length, wearing a blue gown in a feigned oval, possibly a family member of the Earl of Egremont Oil on canvas 74.9 x 63.5cm; 29½ x 25in Provenance: By repute in the collection of George Wyndham, 4th Earl of Egremont (1786-1845); Agnew's, London; Mr Glover, The Horns, Gutter Lane, Cheapside, by 1888; George Harris, 192 East Surrey Grove, Peckham; By whom sold, Messers Foster's, London, 10 July 1907, by Mr Kosmann, London (51gns); From whom acquired by Seymour Bathurst, 7th Earl Bathurst (1864-1943), 11 July 1907; By descent in the collection of the Earls of Bathurst until purchased by the present owner Literature: S. Bathurst, 7th Earl Bathurst, Catalogue of the Bathurst Collection of Pictures (London, 1908), pp. 236-237, illustrated (as 'J. Hoppner')
Los 618
Attributed to Sir Joshua Reynolds PRA, FRS, FRSA (1723-1792) Portrait of Mary Palmer, later Marchioness Thomond, the artist's niece, half-length, wearing a black dress and black feathered hat Oil on canvas 76.4 x 63.5cm; 30 x 25in Together with Joseph Collyer (1748-1827) after Sir Joshua Reynolds; Miss Palmer; aquatint; 9.9 x 7.6cm; 3¾ x 3in (2) Provenance: Woolley and Wallis, Salisbury, 13 March 2013, lot 234, where purchased by the present private collector Engraved: Joseph Collyer, aquatint, 1785 David Mannings' catalogue raisonné (New Haven and London, 2000) lists two autograph versions of this portrait, both untraced.
Los 619
Sir Joshua Reynolds PRA, FRS, FRSA (1723-1792) Girl leaning on a pedestal, 'The Laughing Girl' Oil on canvas 76.4 x 63.5cm; 30 x 25in Provenance: Painted for the Polygraphic Society, 1787; Their sale, Christie's, London, 14 November 1793, where purchased by John Opie RA (1761-1807); His posthumous sale, Peter Coxe, London, 6 June 1807, lot 108, where purchased by William Lowther, 1st Earl of Lonsdale (1757-1844) (£451.10s); By descent to William Lowther, 2nd Earl of Lonsdale (1787-1872); By descent to Henry Lowther, 3rd Earl of Lonsdale (1818-1876); By descent to St George Lowther, 4th Earl of Lonsdale (1855-1882); His sale, Christie, Manson and Woods, London, 8 March 1879, lot 5 (unsold); By descent to Hugh Lowther, 5th Earl of Lonsdale (1857-1944); His sale, Christie, Manson and Woods, London, 18 June 1887, lot 819, where purchased by Thos. Agnew & Sons; From whom purchased by James Orrock RI, ROI (1829-1913), 23 June 1887; Arthur Sanderson Esq. by c.1900; His sale, Christie, Manson and Woods, London, 6 May 1910, lot 120 (unsold); Christie, Manson and Woods, London, Important Pictures by Old Masters, 2 July 1937, lot 21, where purchased by The Fine Art Society, London (£199); The Fine Art Society, London, November 1937; Private Collection, Berkshire; And by descent Literature: James Northcote, The Life of Sir Joshua Reynolds (London, 1819), vol. II, p.350; Joseph Farington, The Farington Diary, ed. James Greig (London, Hutchinson & Co.), vol. I, p.18; Algernon Graves and William Vine Cronin, A History of the Works of Sir Joshua Reynolds (London, 1899), vol. III, p.1167, and vol. IV, p.1456; Sir Walter Armstrong, Sir Joshua Reynolds: First President of the Royal Academy, (London, 1910), p.240; Martin Postle, Sir Joshua Reynolds: The Subject Pictures (Cambridge University Press, 1995), pp.106-107; Martin Postle, in David Mannings, Sir Joshua Reynolds, A complete catalogue of his paintings (New Haven and London, 2000), text vol., p. 532, cat. no. 2074 (untraced) Exhibited: London, British Institution, 1813, no.81; London, British Institution, 1823, no.39; London, British Institution, 1833, no.44; London, British Institution, 1843, no.2; London, Royal Academy, 1876, no.2 Engraved: W. Bond, in stipple, 1813, as 'The Laughing Girl. Engraved from a highly finished Enamel, painted by H. Bone Esq. from the original picture now in the possession of Lord Lonsdale'; J. Singleton, small oval stipple; G.S. Shury, 1864 Despite its illustrious provenance, this fine example of Sir Joshua Reynolds' 'fancy pictures' has not been seen since 1937, and has only been recently rediscovered, after hanging for decades unrecognised on the walls of a family home. Reynolds painted two distinct versions of this subject, popularly known as 'The Laughing Girl', which Martin Postle has labelled Type A and Type B. The original version of Type A is at Kenwood House, probably painted in 1782, and shows a girl wearing a cream coloured dress, golden shawl and hair held back by a hairband. It is thought that Reynolds may have originally painted Type B, to which the present version belongs, as a pendant to Rembrandt's Girl at a window (Dulwich Picture Gallery, no.163). Reynolds painted the present work in 1787 for the Polygraphic Society, a commercial venture which produced facsimile copies of both old masters and modern paintings. When the society closed, the painting was bought by the artist John Opie. On 25 November 1793 Joseph Farington (1747-1831) recorded in his diary that 'Opie has bought a three-quarter picture painted by Sir Joshua Reynolds, for which he gave to the Proprietors of the Polygraphic Manufactory 60 guineas. The subject of a girl resting on her arms. Opie thinks Sir Joshua was the greatest colourist that we have any knowledge of by their works, including the Italian and Flemish masters'. Whilst in Opie's collection the painting was also copied by the noted enamel painter Henry Bone (1755-1834), and Bone's squared drawing of Reynolds' work is in the National Portrait Gallery (no.D17474). After Opie's death, the painting was purchased at auction by William Lowther, 1st Earl of Lonsdale, when it was described as 'The Laughing Girl - one of his [Reynolds'] best performances, if not his very best - it is Perfection itself! and has all the great merits of Rembrandt, with the taste and beauty of Correggio'. It seems to have been whilst it was in the collections of successive Earls of Lonsdale that the present work achieved wider popularity, partly due to its regular appearance in exhibitions, and partly due to its dissemination through engravings. Reynolds began to paint 'fancy pictures', so called to distinguish them from traditional commissioned portraits, in the early 1770s and became increasingly fixated on the genre towards the end of his career. While he could complete the face of a portrait sitter within a matter of hours, his subject pictures often absorbed him for months. As Postle notes, 'it is clear from Reynolds's own preoccupation with them, and the critical coverage they received during his day, that the subject pictures lay at the very heart of Reynolds's practice as a painter'. Postle lists four autograph versions of this composition, of which the present work is the only one recorded as untraced. However, there are also numerous copies, which are a testament to the success and popularity of the scene, and a reflection of the importance of this rediscovered work.
Los 622
After Louis Gauffier Portrait of Elizabeth, Lady Webster, later Lady Holland (1771-1845), full-length, in a white dress and feathered hat, with her spaniel, Pierrot, on a chaise-longue, with a guitar Oil on canvas 101.8 x 134.7cm; 40 x 53in After the original in a private collection (see Sotheby's, New York, Master Paintings, 26 May 2016, lot 83).
Los 628
Circle of Francis Alleyne Portrait of a gentleman, half-length, in a green coat and waistcoat; Portrait of a lady, half-length, wearing a white silk dress with lace and pearl trim A pair, both oil on copper Each 21.6 x 16.8cm; 8½ x 6½in (2) Provenance: From the family collections of Captain George Lionel Jameson OBE (1880-1961) and his descendants
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283287 Los(e)/Seite