Old Master, British & European Pictures

Lot 1 - East Anglian School, late 15th century- The Assumption of the Virgin; oil and tempera on coarse linen, 134.5 x 166.1 cm. (unframed). Provenance: with Mallett at Bourdon House, London. Private Collection. Literature: Denys Sutton, 'English Medieval Paintings Newly Discovered in Norfolk', in Apollo, Volume III, 220 (1980), p.464-465. Note: The present painting is one of six painted wall-hangings of New Testament scenes from 15th century Norfolk which, after their rediscovery, were offered by Mallett of Bourdon House in 1980. Sutton describes how these paintings on coarse linen, known as dorsaria, were used as wall-hangings in English churches from the thirteenth century to the end of the fifteenth century, whilst the style of the present works (according to Sutton) points to a date between 1465 and 1470. Although the precise church from which this set of wall-hangings originated is not known, Norman Scarfe has suggested three possibilities, due to the size of the paintings: the private chapel of the Lucas family house at Saxham, near Bury St Edmunds; the church of the Holy Trinity at Long Melford; or, perhaps most impressively, the Abbey church of St Edmund in Bury St Edmunds, which Scarfe believed to be the most likely option. Indeed, Sutton describes how, 'When Bury Abbey church sustained a great and terrible fire in 1465, every effort would have been made to replace what was destroyed', a fact which is particularly interesting when Sutton's stylistic dating of the wall-hanging is taken into consideration.

Estim. 5 000 - 7 000 GBP

Lot 2 - Follower of Giovanni Battista Paggi, Italian 1554-1627- Madonna and child, with a putto playing a lute; oil on canvas, 105.5 x 75.5 cm. Provenance: Property from a European Private Collection.

Estim. 600 - 800 GBP

Lot 3 - Manuel Fernandez Acevedo, Spanish 1744-1800- The Immaculate Conception; oil on canvas, 145.3 x 101.2 cm. Provenance: Anon. sale, Ansorena, Madrid, 19 July 2023, lot 632 (€3,800), where authenticated by Prof. Ismael Gutiérrez Pastor.

Estim. 4 000 - 6 000 GBP

Lot 4 - Lorenzo de Caro, Italian 1719-1777- God the Father; oil on canvas, 63.2 x 50 cm. Provenance: Anon. sale,Christie's, London, 18th February 1998, lot 17. Note: The present work exemplifies the dramatic, late Baroque style for which De Caro was best known. De Caro completed a number of commissions for churches and public buildings in his native Naples, and elsewhere in Italy, in San Germano (now Cassino) and Bracigliano.

Estim. 3 000 - 5 000 GBP

Lot 5 - Follower of Nicolás Correa, Mexican 1660-1720- Death of a lady, attended by mourners, with an apparition of the Virgin and Child above; oil on canvas, 55 x 61 cm. Provenance: Property from a European Private Collection.

Estim. 600 - 800 GBP

Lot 6 - After Bernardino Passeri, Italian c.1540-1596- The Death of the Virgin; oil on canvas, indistinctly signed (lower right), 50 x 39 cm. Provenance: Private Collection, UK. Note: The present work appears to be a copy after Hieronymus Wierix's (1553-1619) print, itself after Passeri, which is the illustration for Plate 150 of Jerónimo Nadal's (1507-1580) 'Adnotationes et meditationes in Evangelia', first published in 1595. Nadal was a very early member of the Society of Jesus, also known as the Jesuits, and was encouraged by Ignatius of Loyola (1491-1556) to create his own 'Adnotationes et meditationes in Evangelia' ('Notes and Meditations on the Gospels') in the tradition of Loyola's own 'Spiritual Exercises'.

Estim. 400 - 600 GBP

Lot 7 - After Guido Reni, Italian 1575-1642- Susannah and the Elders; oil on canvas, 78.4 x 97.4 cm. Provenance: Property from a European Private Collection. Note: The present work is a copy after Reni's original painting of 'Susannah and the Elders', completed c.1622-23, now in the collection of the National Gallery in London [NG196].

Estim. 500 - 700 GBP

Lot 8 - Follower of Guido Reni, Italian 1575-1642- Saint Catherine of Alexandria; oil on canvas, 61 x 35 cm. Provenance: Property of a European Private Collection. Note: The present work recalls Reni's portrait of Saint Catherine of Alexandria which is currently held at the Hunterian in Glasgow [GLAHA_43787].

Estim. 500 - 700 GBP

Lot 9 - After Guido Reni, Italian 1575-1642- Jesus meets John the Baptist; oil on canvas, signed and dated 'Figliolino / 1774' verso, 63.4 x 44.5 cm. (unframed). Provenance: Private Collection, UK. Note: The present composition is a copy after Reni's original, painted c.1622, which is now in the Church of the Girolamini, Naples.

Estim. 600 - 800 GBP

Lot 10 - Follower of Guido Reni, Italian 1575-1642- The Penitent Mary Magdalene; oil on canvas, bears old wax collector's stamp, indistinctly showing a crowned, double-headed eagle, verso, 37.5 x 30 cm. Provenance: Private Collection, UK. Note: The present work appears to be influenced by Reni's dramatic depictions of Mary Magdalene, defined by their sharp contrast of light and shade, with the figure of the penitent Magdalene in the present work variously recalling Reni's paintings of the same subject, including one in the Palazzo Barberini in Rome [1437], and another in the collection of the National Gallery, London [NG177]. The indistinct collectors' seal on the reverse appears to show the outline of a double-headed eagle with a coronet above, which may relate to the crest of the Habsburg family, a royal dynasty of prolific art collectors.

Estim. 700 - 900 GBP

Lot 11 - After Guido Reni, Italian 1575-1642- St Francis in Ecstasy; oil on canvas, inscribed 'ST ANTHONY / BY / RIBERA' verso, 43.8 x 33.1 cm. (unframed). Provenance: Private Collection, UK. Note: The present work is a copy after Reni's original, completed around 1612, which is held in the Louvre Museum, Paris [INV 533]. The composition depicts the saint holding a skull, with his eyes uplifted in a moment of divine contemplation. Reni was a central figure of the Baroque movement, whose pupils included figures such as Simone Cantarini (1612-1648) and Antonio Randa (c.1595-c.1657). The influence of Reni's approach is also evidence in the work of subsequent Spanish artists, including Jusepe de Ribera (1591-1652) and Bartolomé Esteban Murillo (1617-1682).

Estim. 400 - 600 GBP

Lot 12 - After Giovanni Battista Crespi, called Il Cerano, Italian 1573-1632- Saint Francis in Ecstasy; oil on canvas, 99.5 x 67 cm. Provenance: Private Collection, UK. Note: The present work is a version of Crespi's depiction of Saint Francis, currently held by the Pinacoteca di Brera in Milan [no.4970], with some variations. Crespi was a significant force in Milanese Counter-Reformation painting, often depicting religious subjects with realism and humanity, which imparts his works with a particular potency and emotive charge.

Estim. 600 - 800 GBP

Lot 13 - Follower of Simon Vouet, French 1590-1649- The Education of the Virgin; oil on canvas, 68.5 x 55 cm. Provenance: Property from a European Private Collection.

Estim. 400 - 600 GBP

Lot 14 - Marie Krammer, after Carlo Dolci, German, 19th century- Virgin of the Annunciation; oil on canvas, signed and dated 'Marie Krammer / geborne Raabl / 1859' verso, 85.5 x 71.3 cm. Provenance: Property from a European Private Collection. Note: The present work appears to be a version, with some variations, after Carlo Dolci's (1616-1686) 'Virgin of the Annunciation', which is held in the collection of the Louvre [RF 3827].

Estim. 500 - 700 GBP

Lot 15 - Italian School, late 19th century- Madonna Vergine Ausiliatrice; oil on canvas, 65.5 x 55.5 cm. Provenance: Property from a European Private Collection. Note: The present composition appears to be a later copy after the 'Madonna Vergine Ausiliatrice' in the Church of San Marco in Rovereto, Trentino, with minor variations, particularly the crowns worn by Madonna and Child. Madonna Vergine Ausiliatrice, or Mary, Help of Christians, is the patron saint of the city of Rovereto, and another fresco in the same church depicts the consecration of the city to the Saint. The Church of San Marco is also notable for its remarkable 16th-century organ, on which Mozart (1756-1791) performed his first public concert in Italy on 26 December 1769.

Estim. 200 - 300 GBP

Lot 16 - Spanish Colonial School, late 18th/early 19th century- Madonna and Child; oil on canvas laid down on canvas-backed board, 98.7 x 75.2 cm. Provenance: Property from a European Private Collection.

Estim. 250 - 350 GBP

Lot 17 - Manner of Alessandro Bonvicino, called Moretto da Brescia, late 18th/early 19th century- Portraits of St Placidus and St Maurus, each holding a staff and with a landscape beyond; oil on canvas, each 62.7 x 49.5 cm., two (2). Provenance: Private Collection, UK. Note: The depiction of St Placidus appears to be inspired, at least in part, by later 15th and early 16th century portrayals of the Saint, such as Pietro Perugino's (1446-1524) depiction of the subject, in the collection of the Vatican Museums [40321], and Moretto da Brescia's (1498-1554) version held at the Szépmûvészeti Múzeum, Budapest.

Estim. 800 - 1 200 GBP

Lot 18 - Southern Italian School, 18th century- A female saint wearing a headscarf, an armband, and a jewel pendant, in a feigned oval; oil on canvas, inscribed 'N. FLAGELA CHRISTI / S. EVP OPAEA' in the oval, 60.5 x 44.5 cm. Provenance: Private Collection, UK.

Estim. 500 - 700 GBP

Lot 19 - Italian School, late 17th/early 18th century- Portrait of the Emperor Vespasian, bust length; oil on canvas, 77.6 x 65.6 cm. Provenance: Private Collection, UK.

Estim. 700 - 900 GBP

Lot 20 - Follower of Angelo Caroselli, Italian 1585-1652- The Toilet of Venus; oil on canvas, 112 x 90 cm.

Estim. 500 - 800 GBP

Lot 21 - Follower of Johann Carl Loth, German 1632-1698- A Biblical scene, possibly Joseph interpreting the dreams of fellow prisoners; oil on canvas, 102.5 x 86.6 cm. Provenance: Property from a European Private Collection. Note: A picture showing a variation of this same composition, attributed to Loth, was sold at Dorotheum, Vienna, on 6 October 1999 (lot 61) for £7,250.

Estim. 1 000 - 1 500 GBP

Lot 22 - Czech School, late 17th/early 18th century- Saint Wenceslaus, wearing armour and holding a shield with a heraldic eagle, accompanied by two attendants (recto), and Hercules wrestling the Nemean lion (verso); oil on canvas, double-sided, inscribed in old Czech (lower edge, verso), 137.7 x 105.5 cm. Provenance: Property from a European Private Collection.

Estim. 1 000 - 1 500 GBP

Lot 23 - Follower of Hendrick Goltzius, German/Dutch 1558-1617- A nymph in a wooded landscape, possibly representing Daphne at the river Ladon; oil on canvas, 158.2 x 105.5 cm. Provenance: Private Collection, UK.

Estim. 3 000 - 5 000 GBP

Lot 24 - Follower of Sebastiano del Piombo, Italian 1485-1547- The women of Weinsberg carrying their husbands on their backs; oil on canvas, 92.5 x 127 cm. Provenance: Property from a European Private Collection. Note: This painting depicts a moment in the German saga of the Women of Weinsberg. When, in 1140, King Conrad III of the Hohenstaufen dynasty defeated the Duke Welf of Bavaria, he placed the city of Weinsberg under siege. As the city surrendered, the King gave the women of Weinsberg permission to leave with whatever they could carry on their shoulders. Instead of gathering any possessions, each woman instead took her own husband on her shoulders and carried him out of the city to safety. Although the present picture shows a subject from Germanic folklore, the artist was clearly heavily influenced by the works of Roman artists like Sebastiano del Piombo and Raphael (1483-1520). Rome became a hub for travelling artists from Northern Europe during the later 16th century, including the Swiss artist Joseph Heintz the Elder (1564-1609) and the Flemish artist Bartholomaeus Spranger (1546-1611), who applied the stylistic elements they learned by copying the Italian masters to subjects popular with their own North European audiences.

Estim. 1 500 - 2 500 GBP

Lot 25 - Follower of Pietro da Cortona, Italian 1596-1669- The Rape of the Sabine Women; and Alexander the Great receiving the family of Darius; each oil on canvas fragment, each bears ink stamp for the National Gallery of Prague 'Narodni Galerie, vývoz' ('National Gallery, export') verso, the first 60 x 47.5 cm., the second 59.5 x 47 cm., two (2)., (both unframed). Provenance: Private Collection, UK. Note: Several of the figure groups in the first composition, 'The Rape of the Sabines', appear to have been inspired by Pietro da Cortona’s rendition of the subject, which is in the collection of the Pinacoteca Capitolina, Rome [no.PC 137]. Throughout his career, da Cortona also painted several scenes from the life of Alexander the Great, illustrating the historical subject’s popularity with the artist, his followers, and their patrons. The scene here, with the family of Darius before the tent of Alexander, also features in a fresco cycle painted by da Cortona and his pupils at the Palazzo Pitti, Florence.

Estim. 1 000 - 1 500 GBP

Lot 26 - Circle of Francesco Fontebasso, Italian 1707-1769- Missionaries in the New World; oil on canvas, 74.7 x 132.7 cm. (unframed). Note: The handling and composition of the present work very much recalls the style of Fontebasso, a Venetian painter who studied under Sebastiano Ricci (1659-1734), particularly in its vibrant colour palette, and in the loose, free handling of paint, which also gestures towards the work of Giovanni Battista Tiepolo (1696-1770), by whom Fontebasso was heavily influenced.

Estim. 3 500 - 4 500 GBP

Lot 27 - Attributed to the workshop of Francesco Fontebasso, Italian 1707-1769- Allegory of Venice enthroned; oil on canvas, 90 x 125 cm. Provenance: Property from a European Private Collection. Note: The present scene appears to depict the personification of Venice, seated on a golden throne and bedecked with jewels and silks, being offered gifts by a number of supplicants. These figures are dressed variously in European armour and apparently eastern costume, which may refer to the riches which Venice had accumulated through its crucial role in international trade. The figure in to the far right of the composition wears what appears to be a feather headdress, and may represent the Americas. The composition and technique of the present work is characteristic of Fontebasso's work, particularly in the Classical architectural elements, and in the free, loose handling of paint to evoke the rich, vibrant fabrics which adorn the scene. This approach is also evident in Fontebasso's depiction of 'Esther fainting before King Ahasuerus' in the collection of the National Trust at Hinton Ampner [1530075], and in his painting of 'The family of Darius before Alexander' in the Dallas Museum of Art [1964.110].

Estim. 6 000 - 8 000 GBP

Lot 28 - After Lambert Sustris, Dutch 1515/20-c.1570- Venus and Cupid; oil on canvas, bears old label for 'Fritz Reimold', inscribed with the date '19.12.1963', attached to the upper stretcher bar, 59.5 x 72.3 cm. Note: Despite being born in Amsterdam and studying in Utrecht, possibly under Jan van Scorel (1495-1562) or Maerten van Heemskerck (1498-1574), Sustris's work most clearly exhibits the influence of his time spent in Venice, where he worked with Titian (c.1488/90-1576). The present work is a copy after Sustris's original 1550 painting, which is now held in the collection of the Louvre in Paris [INV 1978].

Estim. 1 800 - 2 200 GBP

Lot 29 - Francesco Solimena, Italian 1657-1747- Two putti in flight; oil on canvas, the stretcher applied with an old printed label inscribed 'S. E. L. / Cleveland Museum / of Art / TR 15652/47', 28.7 x 21.7 cm. Provenance: Private Collection, UK. Exhibited: The Hazlitt Gallery, London, 'Baroque and Rococo Paintings and Oil Sketches, May 1962, no. 25. Note: Francesco Solimena was the leading painter of the Neapolitan late Baroque, following closely in the footsteps of his predecessor Luca Giordano (1634-1705), whose dynamic and dramatically lit works served as a great inspiration to the younger artist. In the present confidently and freely painted oil sketch Solimena has recreated a detail from his fresco of The Holy Trinity with St Philip Neri which he painted circa 1727-30 for the Church of the Girolamini in Naples. A larger oil study for that fresco is in the collection of the Ashmolean Museum, Oxford [WA1937.124]. Solimena appears to have slightly reworked the detail in the present picture, omitting the third putto who hovers in the top right corner alongside the two depicted here. We are grateful to Professor Nicola Spinosa for confirming the attribution to Solimena on the basis of photographs.

Estim. 3 000 - 5 000 GBP

Lot 30 - Follower of Giovanni Francesco Barbieri, called Guercino, Italian 1591-1666- The Martyrdom of Saint Barbara; oil on canvas, 33.5 x 71 cm. Provenance: Property from a European Private Collection.

Estim. 1 500 - 2 500 GBP

Lot 31 - Attributed to Sebastiano Ricci, Italian 1654-1726- The Ascension of Christ, an oil sketch; oil on canvas, 74.6 x 62 cm. Provenance: The collection of Mr. Paul Rich (circa 1970s). With David Messum, Beaconsfield (according to label verso). Private Collection, UK. Literature: P. Cannon-Brooks, 'A Modello by Antonio Bellucci for Canons', The Burlington Magazine, CXVII, 1975, pp. 238-9 (as Antonio Bellucci). E.Young, 'Another Sketch by Antonio Bellucci for Canons', The Burlington Magazine, CXVII, 1975, pp. 240-2 (as Antonio Bellucci). F. Magani, 'Antonio Bellucci: Catalogo Ragionato', 1995, pp.203, R34 (as erroneously attributed to Antonio Bellucci). Note: Sebastiano Ricci was born in Belluno, but spent most of his career in Venice, and it is with the artistic climate of that city that he is most closely associated. A highly influential and successful artist, Ricci's dynamic and ambitious 'grand manner' style, which is often considered to bridge the gap between the Baroque and Rococo, gained him many international commissions, and the artist travelled widely, including to Britain. The present composition likely dates from the period Sebastiano Ricci spent here. Ricci arrived in London the winter of 1711, before returning to Venice in 1716. During the short time Ricci spent in England he was in high demand with royal and noble patrons, including Lord Burlington (1694-1753), for whom Ricci painted a cycle of wall paintings that still adorn Burlington House (now the Royal Academy) today, as well as King George III (1738-1820), who purchased many works from Ricci that are still held in the Royal Collection. Another influential patron who commissioned Ricci to complete an extensive decorative scheme was the Duke of Portland (1682-1726), who employed the Venetian artist to paint a cycle of religious scenes for the interior of his now-lost chapel at Bulstrode House, Buckinghamshire. The Bulstrode Chapel is known to have been adorned with scenes from the Life of Christ by Ricci, including the Last Supper and the Baptism of Christ, as well as, on the ceiling, a scene of Christ's Ascension. The work presented here, which is executed on a similar scale and with a comparable architectural surround to Ricci's surviving sketches relating to the Duke of Portland's chapel (including The Baptism of Christ, now in the collection of the Metropolitan Museum of Art, 1981.186, and the Last Supper, National Gallery of Art, 1943.4.32), could possibly be a preparatory oil sketch, or modello, for that now-lost work. Another oil sketch attributed to Ricci also depicting the Ascension of Christ is held in the collection of the Shipley Art Gallery in Gateshead, Tyne and Wear [TWCMS : C153]. That example is likely a version of the present composition in earlier stages of development. There are various small differences between the two sketches: the Shipley sketch shows the figure of Christ fully draped, has a slightly different distribution of supporting figures, and lacks the elaborate architectural surround that the present picture has in common with Ricci's surviving, more finished Bulstrode sketches at the Metropolitan Museum and National Gallery of Art. The variations between the two Ascension sketches may indicate that the artist was still experimenting with the composition. Both the Shipley oil sketch and the present work were previously attributed to Antonio Bellucci (1654-1726), a Venetian, like Ricci, who found success with British patrons when he arrived in this country in the 1710s. When Eric Young published the present sketch and the Shipley example in the 1970s, he connected them both to Bellucci's quatrefoil ceiling painting of the Ascension for the Duke of Chandos' chapel at Cannons (now located in the central nave at the Church of Saint Michael and All Angels at Great Whitley, Worcestershire). The attribution of the present work to Bellucci was later disputed by Fabrizio Magani in his catalogue of Bellucci's paintings. In his catalogue entry for the painting presented here, Magani points out the overall similarities between this work and the Shipley sketch, which he notes is definitively attributable to Ricci. The present, poignant scene shows the figure of Christ bare-chested, highlighting the greenish pale hue of his skin, which may be a reference to Christ's death and Resurrection. The partially draped figure of Christ recalls the central figure in the oil study now held in the collection of the Dulwich Picture Gallery [DPG195], which depicts Christ's Resurrection, and which was also painted during the period Ricci spent in Britain. That study relates to the fresco in the apse of the chapel at the Royal Hospital, Chelsea.

Estim. 7 000 - 9 000 GBP

Lot 32 - Circle of Francesco Capella, Italian 1711/14-1784- The Incredulity of Saint Thomas; oil on canvas, bears label inscribed 'G.B. Piazzetta' attached to the reverse of the frame, 86.7 x 71.5 cm. Provenance: Private Collection, UK. Note: Capella was a student of Giovanni Battista Piazzetta (1682-1754), and was heavily influenced by the latter's compositions. Capella produced a number of intimate, dramatically-lit Biblical scenes, such as his painting of Salomon worshipping idols which sold at Finarte, Milan, on 16 May 2007 (lot 61). The present work also recallsthe artist's depiction of the Madonna and Child which sold at Sotheby's, London, on 8 December 2016 (lot 32), with the colourful fabric of the sitters' clothing in the present work, as in Capella's paintings, gesturing towards the Venetian circle in which the artist was working.

Estim. 4 000 - 6 000 GBP

Lot 33 - After Giovanni Battista Piazzetta, Italian 1682-1754- Saint Peter, shoulder-length, holding keys; reverse painted on glass, oval, 11.5 x 9.5 cm. Provenance: Private Collection, UK. Note: The present work is a copy after Piazzetta's original composition [Fondazione Zeri 67144], which was reproduced a number of times, including in a later print by Marco Pitteri (1702-1786) [BM 1856,0614.9]. The composition of the present work is reversed from the original.

Estim. 250 - 350 GBP

Lot 34 - Follower of Sebastiano Conca, Italian 1680-1764- The Virgin Mary in Prayer; oil on board, 18.7 x 15 cm. Provenance: Private Collection, UK. Note: The present work is clearly heavily informed by the style and approach of Conca, who himself studied under Francesco Solimena (1657-1747) and collaborated with Carlo Maratta (1625-1713).

Estim. 300 - 500 GBP

Lot 35 - Follower of Denis Calvaert, Flemish 1540-1619- Nativity scene; oil on metal panel, 9.4 x 12.5 cm. (unframed). Provenance: Private Collection, UK. Note: The present work very much resembles the oeuvre of Calvaert, a Flemish painter who largely worked in Italy, and was particularly well-known for his small-scale paintings, often on copper panel. This nativity scene recalls Calvaert's colourful compositions, at once dramatic and intimate, with a Mannerist approach which served as a significant early influence on the development of the Bolognese School in the later 16th century.

Estim. 600 - 800 GBP

Lot 36 - Circle of Jan Brueghel the Younger, Flemish 1601-1678- The Virgin and Child within a garland of flowers; oil on copper, 20.9 x 16.9 cm. (unframed).

Estim. 600 - 800 GBP

Lot 37 - Jan Brueghel the Elder, Flemish 1568-1625- Street view at Spa, with figures in the distance, and a church spire beyond; pen and sepia ink on paper, inscribed 'Spa' (upper edge), 10.9 x 17.8 cm. Provenance: Sotheby's London, Old Master Drawings, 1 December 1964, lot 2 (to H. Calmann). With H. Calmann, London, prior to 1982. Private Collection, UK. Published: C. van Hasselt and R. DHulst, 'Flemish Drawings of the Seventeenth Century from the Collection of Frits Lugt', London: Victoria and Albert Museum & Paris: Institut Néerlandais & Bern: Kunstmuseum & Brussels: Koninklijke Bibliotheek Albert I). Institut Néerlandais, p. 22 and note 7, under no. 14. M. Winner, M., Neubestimmtes und Unbestimmtes im zeichnerischen Werk von Jan Brueghel der Ältere. Jahrbuch Der Berliner Museen, 14, 1972, 122–160, pp. 150 and 152, fig. 31. L. Pironet, 'Spa et Brueghel de Velours: l'album du voyage a Spa de Jan Brueghel dit de Velours, contenant trois dessins du ma itre, inedits en la ville d'eaux.' Bruxelles: Bibliotheque Royale, 1987, pp. 35-7, fig. 16. T. Gerszi, Pieter Breughel der Jüngere - Jan Brueghel der Ältere : Flämische Malerei um 1600 : Tradition und Fortschritt (Exhibition Catalogue Vienna: Kunsthistorisches Museum), 1997, pp. 39 and 41. Note: Jan Brueghel was the younger son of the iconic Northern Renaissance master Pieter Bruegel the Elder (c.1525-1569), and became a highly successful painter in his own right, continuing his father's legacy and cementing the Brueghels as one of the most influential dynasties in Flemish art. While his brother, Pieter Brueghel the Younger (1564-1638), devoted much of his career to reinterpreting and replicating their father's famous scenes of peasant life, Jan Brueghel's oeuvre is incredibly varied, and includes mythological, Biblical and classical scenes, as well as landscapes. His refined and smooth handling of paint earned him the nickname 'Velvet Brueghel'. He may have honed his distinctive and detailed technique during the years he spent in Italy, where he worked alongside Hans Rottenhammer (1564-1625), who was known for his fine cabinet pictures. After his return to Antwerp in the late 16th century, Jan continued to frequently collaborate with other masters throughout his career, including Hendrick van Balen (c.1573/5-1632) and also Peter Paul Rubens (1577-1640), with whom he developed a close friendship. A prolific draughtsman, Jan Brueghel's oeuvre also features many refined and acutely observed sketches of the towns and cities he visited on his travels, such as the example presented here. The present drawing was likely executed during the summer of 1612, when Jan Brueghel is known to have travelled to the town of Spa, a place known for its medicinal waters. A drawing of Spa by Jan Brueghel I, also dated to c.1612, is in the collection of the Cleveland Museum of Art, Ohio [1979.26 (Andrew R. and Martha Holden Jennings Fund)]. Another, similar drawing dating from that year and probably also depicting the same town is in the collection of the Fitzwilliam Museum in Cambridge [PD.212-1963]. Two figure studies of men and women drinking the waters at Spa were sold at Christie's London, 6 July 2004, lot 163. We are grateful to Dr Louisa Wood Ruby for kindly providing additional background and bibliography for this drawing.

Estim. 6 000 - 9 000 GBP

Lot 38 - Follower of Maarten van Heemskerck, Dutch 1498-1574- Procession of figures carrying a man wrapped in a shroud, possibly Lazarus; brown ink and wash on paper, stamped with unrecorded collectors' mark G.F. (lower right), the reverse stamped for the Collection Jean Philippe Guéant, 24.7 x 16.3 cm.

Estim. 400 - 600 GBP

Lot 39 - Godfried Maes, Flemish 1649-1700- Portrait of Bacchus, wearing a crown made of vines and holding a chalice; pen and brown, black, and white ink on paper, with attached strip inscribed 'G. Maes' and 'From Coln. St A Westcombe Bt. / to[?] Bernard Granville / C.B[?]' to the lower edge, bears indistinct collector's stamp verso, 26.8 x 18.5 cm. (unframed/mounted). Note: The present work is a striking example of Maes' works on paper, executed 'en grisailles', which illustrate Classical and Biblical scenes. The technique of the present work is typical of Maes' compositions, with his precise, detailed handling of the central figures, their musculature, and the fabric which drapes around them, contrasting with the looser brushstrokes of the foliage towards the background. This same approach can be seen in a number of Maes' works, including an illustration from Ovid's 'Metamorphoses' in the collection of the British Museum [1997,0118.1], and in a depiction of 'Ceres setting the corn on fire' which sold at Sotheby's, New York, on 31 January 2018 (lot 319) for $6,000.

Estim. 800 - 1 200 GBP

Lot 40 - After Jacob Jordaens, Flemish 1593-1678- A Satyr; pencil and watercolour on paper, 19.2 x 15 cm. Note: The present work appears to be a 19th-century copy after Jordaens' original, now held in the Rijksmuseum, Amsterdam [SK-A-198]. The scene depicts a satyr, with a human body and goat's hooves, playing a flute whilst minding a flock of goats (of which only one is visible in the present copy).

Estim. 200 - 300 GBP

Lot 41 - Stefano della Bella, Italian 1610-1664- A Satyr family walking; etching on paper, tondo, 20 x 21.7 cm. Provenance: Private Collection, UK. Note: Della Bella enjoyed the patronage of Grand Duke Lorenzo de Medici (1449-1492), which enabled him to study in Rome and Paris before returning to Florence in 1650, where he continued to work for the Medici family. Della Bella was a prominent and highly prolific printmaker, producing over 1,000 prints which are notable for their inventiveness and originality. Indeed, the present work is classic example of Della Bella's fantastical and humorous scenes, depicting a family of satyrs on a leisurely stroll in a wooded landscape.

Estim. 100 - 200 GBP

Lot 42 - Philips Galle after Jan van der Straet, called Stradanus, Flemish 1537-1612 and 1523-1605- Staphae, Sive Stapedes; engraving on laid paper, 19.7 x 26.7 cm. Provenance: Private Collection, UK. Note: This print is from Stradanus's 'Nova Reperta', dating from between 1580 and 1605, which documents key discoveries and developments of the 'modern' world, as opposed to Classical antiquity. The present scene depicts the invention of the stirrup. In this plate, Stradanus has shown stirrups being produced in workshops to the right of the composition, and offered to figures who mount their horses to the centre of the scene.

Estim. 100 - 200 GBP

Lot 43 - Robert van Audenaerde, Flemish 1663-1743- Pompae Funebres habitae in Funere Christinae Alexandrae Reginae suecice; etching and engraving on laid paper, signed 'R.V.A. Gandensis delin. et Sculp.' (within the plate, upper centre), 41.3 x 66 cm. Note: The Victoria & Albert Museum describes how '[t]his print shows the funeral procession of Christina, former Queen of Sweden which took place in Rome on the 23rd April 1689. Queen Christina had abdicated from the throne of Sweden in 1654 and converted to Catholicism. On renouncing her throne she had left the country and travelled to Rome. She was regarded as a very significant convert to the Catholic faith and on her arrival in the city she was received in great splendour...She is one of only three women to be given the honour of being buried in Saint Peter's Basilica.'

Estim. 150 - 250 GBP

Lot 44 - Claes Jansz Visscher and Jan van Londerseel, Dutch 1587-1652- and Dutch 1578-c.1625- The death of Absalom, after Maarten de Vos and Johannes Wierix, from the Royal-Size Bible; engraving on laid paper, signed 'CJ Visscher Excudit' (within the plate, lower centre), 44.1 x 53.5 cm.: together with seven further engravings from the same publication, depicting 'Bathsheba receiving David's letter'; the 'Embarkation of Noah's Ark'; 'Jeroboam and the Prophet Ahijah'; 'Woody landscape with the disobedient prophet devoured by a lion'; 'The Discovery of Moses'; 'Abigail before David'; and 'The Prophet Elijah carried to Heaven'; variously signed within the plates, each gilt-edged and with hand-drawn red margins, each 44.1 x 53.5 cm., eight (8). (unframed). Provenance: Private Collection, UK. Note: The present works are from the 'Royal-Size Bible', which contained, in its entirety, 130 engravings depicting scenes from the Old and New Testament, published by Claes Jansz Visscher and his son, Nicolaes (1618-1679), c.1652.

Estim. 150 - 250 GBP

Lot 45 - Circle of Jacques Stella, French 1596-1657- Samson and Delilah; brown ink and wash on paper, 19.8 x 29 cm. Provenance: Private Collection, UK. Note: The present work recalls the controlled and refined technique of Stella's sketches, often presenting classically attired figures in grand, ornamented architectural settings. This approach is evident in a drawing by Stella in the Metropolitan Museum of Art [62.130.3], and in two works in the collection of The Morgan Library & Museum [1995.6 and 1986.114].

Estim. 1 000 - 1 500 GBP

Lot 46 - Marco Marcola, Italian c.1740-1793- An interior scene with battling soldiers in classical dress; pen, brown ink and wash, heightened with white on laid paper, bears inscription 'Marcola' and with a secondary figure study in red chalk verso, 28.8 x 43.8 cm. Provenance: The collection of Heinrich Lempertz (1816-1898), by repute. Anon. sale, Karl & Faber, Munich, 6 January 1963, no.436 (as Giovanni Battista Marcola). Private Collection, UK. Note: A similar scene by Marcola sold at Christie's, South Kensington, on 5 December 1997 (lot 148).

Estim. 800 - 1 200 GBP

Lot 47 - Italian School, late 17th/early 18th century- Study of a female figure in elaborate dress, possibly a costume design; pencil and watercolour on laid paper, inscribed with a description of the costume in Italian verso, 24 x 16.5 cm.

Estim. 300 - 500 GBP

Lot 48 - Bolognese School, 17th century- A caricature: the head and shoulders of a man wearing a hat, seen from behind; red chalk on paper, 29.5 x 22 cm. Provenance: Private Collection, UK. Note: The present drawing has previously been associated with artists such as Pier Francesco Mola (1612-1666) and Gian Lorenzo Bernini (1598-1680), particularly in its loose strokes and rapid execution, although the work cannot definitively be linked to any specific works by these artists.

Estim. 1 000 - 1 500 GBP

Lot 49 - Central Italian School, late 16th/early 17th century- Venus and Cupid at the Forge of Vulcan; pencil, pen and sepia ink on paper, 25 x 20.6 cm. Provenance: Private Collection, UK. Note: The artist of this striking mythological drawing appears to have been influenced by the Roman Mannerist painters of the earlier part of the 16th century, including Perino del Vaga (1501-1547) and Giulio Romano (1499-1546), whose dynamic ornamental designs and frescoes of mythological subjects would inspire artists for generations to come. The strongly hatched background and the addition of the oval device in the lower right corner indicate that the present drawing was possibly conceived as a decorative design, or was perhaps executed in preparation for an engraving. The symmetrical, tightly contained composition, crowded with muscular deities and classical attributes, is reminiscent of the mythological and classical illustrations that appeared in emblem books published during the later 16th and early 17th centuries. Examples include humanist writer Achille Bocchi's (1488-1562) 'Symbolicarum Quaestionum', published in 1574, with engravings by Giulio Bonasone (1498-1574) to designs by Agostino Carracci (1557-1602), Prospero Fontana (1512-1597) and others, as well as Cesare Ripa's (1555-1622) 'Iconologia' (published with illustrations in 1603), and Vincenzo Cartari's (c. 1531-1590) 'Imagini degli Dei degli Antichi' with illustrations by Bolognino Zaltieri (fl. circa 1555-1580).

Estim. 2 000 - 3 000 GBP

Lot 50 - After Leonardo da Vinci, Italian 1452-1519- Grotesque portrait of a woman in profile; pen and brown ink on laid paper, inscribed 'Leonardo da Vinci' (lower left), 8.4 x 6 cm. (unframed). Provenance: Private Collection, UK. Note: The original version of this sketch no longer survives, but it is known from many other copies, including a sheet of copies in the Royal Collection [RCIN 912493], and in the Spencer Album in the New York Public Library.

Estim. 400 - 600 GBP

Lot 51 - After Michelangelo, Italian 1475-1564- The Prophet Isaiah, from the Sistine Chapel ceiling; brown wash heightened with white on paper, 10.5 x 8.9 cm.

Estim. 400 - 600 GBP

Lot 52 - After Raffaello Sanzio, called Raphael, Italian 1483-1520- Venus and Cupid; black chalk on paper, 33.4 x 25.8 cm. Provenance: Private Collection, UK. Note: The present drawing interprets a detail of the frescoed decoration of the loggia at the Villa Farnesina, Rome, which Raphael and his workshop completed circa 1517-8.

Estim. 300 - 400 GBP

Lot 53 - Niccolò Vicentino, Italian 1510-1566- Miraculous draught of fishes, after Raphael; chiaroscuro woodcut from three blocks in tan brown, inscribed and dated 'Raphael urb / inven / AA / in mantoua / 1609' (within the plate, lower left), 23.3 x 34.3 cm. Provenance: Private Collection, UK. Note: The British Museum notes how 'This woodcut was attributed by Bartsch to Ugo da Carpi [1480-1523], but has been re-attributed to Vicentino by Naoko Takahatake: see 'The chiaroscuro woodcut in Renaissance Italy', Los Angeles 2018, cat.41, and dated to the 1540s. There is a Raphael drawing in the Royal Collection, which may have been the source of this print.' The monogram 'AA' to the lower left of the plate refers to the printmaker Andrea Andreani (1558/9-1629), who republished the 1540s design in 1609.

Estim. 600 - 800 GBP

Lot 54 - After Girolamo Francesco Maria Mazzola, called Parmigianino, Italian 1503-1540- Apollo standing, nude, with his robes fluttering behind him; etching, inscribed 'Parm. in' (within the plate, lower left), 10.1 x 6.9 cm. Provenance: Private Collection, UK. Note: The same print can be found in the collection of the British Museum [1851,0308.897], which notes how the print is a reversed copy after Parmigianino's original drawing in the Louvre.

Estim. 150 - 250 GBP

Lot 55 - Manner of Isaac Oliver, 19th century- Portrait of James I and VI; watercolour on card, oval, inscribed 'James I' (centre left) and bearing monogram and date 'IO 1603' (centre right), bears an old paper label inscribed 'James I / by / Isaac Oliver' verso, 6.4 x 5 cm. Provenance: Private Collection, UK.

Estim. 200 - 400 GBP

Lot 56 - Circle of Cornelius Johnson van Ceulen, Anglo-Dutch 1593-1661- Portrait of a young woman wearing a pearl necklace; oil on copper, oval, 5.9 x 4.4 cm.

Estim. 200 - 300 GBP

Lot 57 - North European School, late 17th/early 18th century- Portrait of a gentleman, bust length, wearing a brown wig and lace jabot; oil on copper, oval, 5.1 x 4.3 cm. (unframed).

Estim. 150 - 250 GBP

Lot 58 - Follower of Cornelius Johnson, Anglo-Dutch 1593-1661- Portrait of a gentleman wearing a ruff; oil on paper laid to card, feigned oval, 7.6 x 6.6 cm.

Estim. 200 - 400 GBP

Lot 59 - Circle of Christian II Richter, Swedish 1678-1732- Portrait of a young woman, bust-length, wearing a blue dress and red shawl; oil on copper, 8.5 x 6.5 cm.

Estim. 250 - 350 GBP

Lot 60 - After Niccolò Cassana, Italian 1659-1713/14- Self-Portrait of the artist, bust-length, wearing a ruff; oil on board, oval, faintly inscribed 'S. Rosa' verso, 21.4 x 17.4 cm. Provenance: Private Collection, UK. Note: The present work is a copy after a painting which was purchased by the Uffizi Gallery in 1825, and was initially believed to be by Salvator Rosa (1615-1673) before being re-attributed by Marco Chiarini (1933-2015), the Director of the Galleria Palatina in Palazzo Pitti, to Cassana. Numerous copies and versions of the original exist, including one attributed to Cassana himself which was offered at Sotheby's, London, on 10 July 2008 (lot 187).

Estim. 400 - 600 GBP

Lot 61 - Circle of Sir Anthony van Dyck, Flemish 1599-1641- Portrait of James Stanley, 7th Earl of Derby, half-length, wearing armour; oil on canvas, 36.1 x 30.4 cm. Provenance: The Property of the Right Hon. the Earl of Derby, MC, removed from Knowsley Hall, Prescot, Lancashire. his sale, Christie's, London, 31 March 1967, lot 80. Private Collection, UK. Note: The present portrait is informed by Van Dyck's c.1636 painting of 'James Stanley, Lord Strange, Later Seventh Earl of Derby, with His Wife, Charlotte, and Their Daughter', now in the Frick Collection in New York [1913.1.40], with this interpretation isolating the figure of Stanley (1607-1651), and depicting him in military costume. The depiction of Stanley in armour emphasises the sitter's role as a prominent supporter of Charles I (1600-1649) and the Royalist cause during the English Civil War (1642-1651), for which he was charged with treason and executed in 1651. Numerous versions of this same composition, contemporaneous with the present work, have been recorded, such as that in the Derby Collection at Knowsley Hall, Merseyside, and another, almost strikingly similar work by a pupil of Van Dyck which sold at Dorotheum, Vienna, on 10 November 2022 (lot 221) for €11,000. Another, larger-scale, depiction of Stanley in armour informed by Van Dyck's original composition is in the collection of the Government of the Isle of Man, where Stanley served as Governor.

Estim. 4 000 - 6 000 GBP

Lot 62 - After Sir Anthony van Dyck, Flemish 1599-1641- Portrait of Michel le Blon; oil on oak panel, 27.5 x 22.5 cm.

Estim. 150 - 250 GBP

Lot 63 - Manner of Sir Anthony van Dyck, late 18th/early 19th century- Portrait of Queen Henrietta Maria (1609-1669), half-length, in a grey dress, wearing a pearl necklace, in a feigned oval, the surrounding blue ground patterned with lozenges and floral rosettes; oil on canvas, 90.2 x 110.5 cm., (unframed). Provenance: Private Collection, UK.

Estim. 600 - 800 GBP

Lot 64 - Circle of Gerard Soest, Dutch c.1600-1681- Portrait of a cavalier, standing half-length, wearing a yellow coat and a metal gorget with a white collar; oil on canvas, 76 x 63.5 cm. Note: Gerard, also known as Gilbert or Gerald, Soest, is believed to have travelled to England by the late 1640s, where he worked as a portraitist, with a style influenced by that of the English painter William Dobson (1611-1646). The present sitter's costume clearly dates the work to the Civil War period, recalling a number of similar portraits by Soest depicting gentlemen in armour, such as his portraits of Edward and Henry Herbert, both in the collection of the National Trust at Powis Castle [1180936 and 1180938]. The handling of the present painting also resembles that of Soest's portrait of a gentleman which sold at Sotheby's, London, on 13 October 2004 (lot 2).

Estim. 3 000 - 5 000 GBP

Lot 65 - Manner of Frans Pourbus the Elder, late 18th/early 19th century- Portrait of a lady, half-length, wearing a lace ruff and winged cap, and gold chains; oil on canvas, inscribed 'Erkauft in Nürnberg 1871 / Bild aus dem 15 oder 16 Jahrh' verso, 86.8 x 67.6 cm. Provenance: Property from a European Private Collection. Note: The present work recalls the compositions of the Flemish portraitist Frans Pourbus the Elder (1545-1581), including his Portrait of a Young Woman in the collection of the Museum of Fine Arts in Ghent [1907-E].

Estim. 300 - 500 GBP

Lot 66 - After Sir Godfrey Kneller, German/English 1646-1723- Portrait of Anthony Leigh as Father Dominic; oil on canvas, 91.7 x 71.5 cm. Provenance: Private Collection, UK. Note: Kneller's original portrait, depicting the actor Anthony Leigh (d.1692) in the role of Father Dominic from John Dryden's 'The Spanish Fryar', is held in the collection of the National Portrait Gallery [NPG 1280].

Estim. 700 - 900 GBP

Lot 67 - Circle of Willem Wissing, Dutch 1656-1687- Portrait of a gentleman, half-length, wearing a brown coat and a white lace jabot; oil on canvas, oval, 75.2 x 62.8 cm. Provenance: Anon. sale, Christie's, South Kensington, 17 February 1984, lot 64.

Estim. 400 - 600 GBP

Lot 68 - Follower of David Scougall, Scottish c.1610-c.1680- Portrait of a gentleman in armour, standing half-length, wearing a lace collar and with a coat of arms; oil on canvas, oval, 75 x 62.5 cm.

Estim. 500 - 700 GBP

Lot 69 - Follower of Sir Godfrey Kneller, German/English 1646-1723- Portrait of William III on horseback; oil on canvas, 125.7 x 100.8 cm. Note: The present work is evidently based on Kneller's portrait of King William III (1650-1702) on horseback, dated 1701, in the Royal Collection [RCIN 403986]. The original commemorates William's return from the Peace of Ryswick in 1697, which marked the conclusion of the Nine Years' War (1688-1697) between France and the Grand Alliance, which included the Dutch Republic and the Holy Roman Empire.

Estim. 800 - 1 200 GBP

Lot 70 - Circle of Sir Godfrey Kneller, German/English 1646-1723- Portrait of a lady, reputedly Catharina Boevey of Flaxley Abbey, Gloucestershire, half length, wearing a mauve dress, in a feigned oval; oil on canvas, bears old label inscribed 'A Portrait of Mrs Boevey / of Flaxley Abbey Gloucester.' attached to the upper stretcher bar, 77 x 64.2 cm. Provenance: Private Collection, UK. Note: According to the label attached to the reverse, the present portrait depicts Catharina Boevey (1669-1726) who, upon her husband's death in 1692, inherited the estate of Flaxley Abbey in Gloucester. Catharina was celebrated by contemporaries for her philanthropy, with a monument dedicated to her erected in Westminster Abbey. She is also widelybelieved to have been the inspiration for Richard Steele's (c.1671-1729) 'Perverse Widow'.

Estim. 1 500 - 2 000 GBP

Lot 71 - Circle of Enoch Seeman, Polish/English 1689/90-1745- Portrait of a gentleman, seated half-length, wearing a bronze-coloured jacket and a white shirt, in a feigned oval; oil on canvas, 72.7 x 59.6 cm. Provenance: Private Collection, UK. Note: Seeman was a prominent and prolific portraitist who, as court painter to the British royal family, depicted sitters such as George II (1683-1760) and Queen Caroline of Ansbach (1683-1737). The present work was likely painted by an artist familiar with Seeman's portraiture, and recalls works such as Seeman's 'Portrait of a Gentleman, probably the Hon. Montague Blundell', offered by Christie's, London, on 29 November 2023 (lot 131).

Estim. 300 - 500 GBP

Lot 72 - Circle of Sir Godfrey Kneller, German/English 1646-1723- Portraits of Henry and George Oxenden, 4th and 5th Baronet, standing half-length in classical landscapes; oil on canvas, the first inscribed 'Henry Oxenden 1st Son of / Dr George Oxenden 3d / Son of Sr Hen: Oxenden 8t / after S Henry' (upper left), the second inscribed 'George Oxenden / now Sr George 2 Son / of Dr George Oxenden' (upper right), each bears old label inscribed with the sitter's biography and 'Portrait by Sir G Kneller' attached to the upper stretcher bar, each 76.2 x 63.5 cm., a pair (2). Provenance: Property of Lady Capel Cure. Her sale, Christie's, 20 November 1931, lot 60. Note: The pair of paintings depict Sir Henry Oxenden, 4th Baronet (1690-1720), and his brother Sir George Oxenden, 5th Baronet (1694-1775) as children. Henry Oxenden served at MP for Sandwich, Kent, from 1713 until his death in 1720, after which his younger brother, George Oxenden, inherited his seat, going on to serve as MP for Sandwich from 1720 to 1754, and also holding the positions of Lord of the Admiralty (1725-27) and Lord of the Treasury (1727-37). Although Kneller was not known for specialising in portraits of children, he did on occasion depict younger sitters who still exude the authority and gravity of his adult figures, such as in his portrait of a brother and sister, possibly Richard Boyle and his sister, Lady Jane, which sold at Bonhams, London, on 5 July 2017 (lot 28) for £25,000.

Estim. 2 000 - 4 000 GBP

Lot 73 - Circle of Charles d’Agar, French 1669-1723- Portrait of a boy and his hound, the sitter portrayed half-length, wearing a dark green jacket and holding a hat under his arm; oil on canvas, 77 x 63.1 cm. Provenance: Private Collection, UK. Note: The present work, which depicts a boy with an authority and gravity which belies his young age, is highly reminiscent of d'Agar's portraits. Similar portraits include a painting attributed to d'Agar which sold at Bonhams, London, on 12 April 2022 (lot 124, £8,500), and a double portrait of Henry and John Harpur in the collection of the National Trust at Calke Abbey [290278].

Estim. 600 - 900 GBP

Lot 74 - Attributed to Willem Wissing, Dutch 1656-1687- Portrait of a young boy in classical dress, seated in a landscape and playing with a lamb; oil on canvas, 112.5 x 89.5 cm. Note: The present work, a full-length portrait of a boy in Classical dress, imbued with a gravity and authority which belies his young age, is typical of Wissing's paintings, bearing a striking resemblance to the artist's portrait of 'the Hon. William Cecil as a Boy' in the collection of Burghley House [PIC514].

Estim. 3 000 - 5 000 GBP

Lot 75 - Follower of Willem Wissing, Dutch 1656-1687- Portrait of William III when Prince of Orange; oil on canvas, 123.5 x 99 cm. (unframed). Provenance: Private Collection, UK. Note: The present work is a version after Wissing's portrait of William III (1650-1702) in the Royal Collection [RCIN 405644]. That portrait was one of a pair depicting the Prince and Princess of Orange (1662-1694), later William III and Mary II, commissioned by Mary's father, James II (1633-1701) in 1685.

Estim. 800 - 1 200 GBP

Lot 76 - Studio of Willem Wissing, Dutch 1656-1786- Portrait of Laurence Hyde, 1st Earl of Rochester, three-quarter length, in garter robes; oil on canvas, inscribed and dated 'Henry Duke of Kent / 1712' (upper left), 128.3 x 101.6 cm. Provenance: James Duff, 2nd Earl Fife (1728-1809), Duff House, Banffshire, by 1798, and by inheritance with the house to his brother; Alexander Duff, 3rd Earl Fife (1731-1811), and by descent to his son; James Duff, 4th Earl Fife (1776-1857), and by inheritance to his nephew; James Duff, 5th Earl Fife (1814-1879), and by descent to his son; Alexander Duff, 6th Earl of Fife and later 1st Duke of Fife (1849-1912); his sale, Christie's, London, 7 June 1907, lot 79, as 'Sir G. Kneller', 7 gns. to the following; with Parsons' Galleries, London. Nan Ino Cooper, Baroness Lucas of Crudwell and Lady Dingwall (1880-1958), Wrest Park, and by family descent to the present owner. Literature: James Duff, Earl of Fife, Catalogue of the portraits and pictures in the different houses belonging to the Earl of Fife, London, 1798, p. 27, no. 4; 1807 edition, p. 58, no. 3, as 'Sir P. Lely', listed in the Middle South-East Bedroom, Duff House. Note: Laurence Hyde (1641-1711) was made 1st Earl of Rochester of the second creation in 1682 after a period as Master of the Robes to Louis XIV between 1662 and 1675 and then election to the new English parliament as member for Wootton Bassett in 1679. Hyde was the brother-in-law of James II (1633-1701) through his sister, the king's first wife, Anne Hyde (1637-1671), and, as such, the uncle of Queen Mary II (1662-1694) and Queen Anne (1665-1714). Initially a supporter of James II, in 1688 Hyde backed the Glorious Revolution, after which he devoted his attention to the church, becoming advisor in ecclesiastical matters to his niece Mary II.

Estim. 2 000 - 4 000 GBP

Lot 77 - Studio of Willem Wissing, Dutch 1656-1687- Portrait of William Henry, Prince of Orange and Nassau, bust length, in feigned oval; oil on canvas, bears label on the reverse inscribed 'LADY MATHEW WILSON / 24 6 35' verso, 76.3 x 64 cm. Provenance: The collection of Lady Mathew Wilson. Until sold at Christie's South Kensington, 13 November 2003, lot 10, as 'Follower of Sir Peter Lely'. After which at Appleby Castle, Cumbria. Note: The present work bears a striking resemblance to Wissing's portrait of William III, Prince of Orange and Nassau, (1650-1702) which is now in the collection of the Holburne Museum in Bath [A10].

Estim. 4 000 - 6 000 GBP

Lot 78 - Studio of Sir Peter Lely, English/Dutch 1618-1680- Portrait of James Scott, Duke of Monmouth, bust length, in a feigned oval; oil on canvas, 76 x 63.4 cm. Provenance: With Philip Mould Ltd., London. After which at Appleby Castle, Cumbria. Note: The present work depicts James Scott (1649-1685), 1st Duke of Monmouth and 1st Duke of Buccleuch, who was the illegitimate son of King Charles II (1630-1685) and his first mistress, Lucy Walter (c.1630-1658). He is perhaps best known for leading the 'Monmouth Rebellion' in 1685 against his uncle, King James II (1633-1701), for which he was executed in the same year.

Estim. 3 000 - 5 000 GBP

Lot 79 - Circle of Mary Beale, British 1633-1699- Portrait of a child with blonde hair, a fragment; oil on unstretched canvas, 19.5 x 16.5 cm. (unframed).

Estim. 150 - 250 GBP

Lot 80 - After Rembrandt Harmensz. van Rijn, Dutch 1606-1669- Portrait of Baertje Martens; oil on canvas laid down on panel, 36.4 x 31.1 cm. Provenance: the collection of Sir John Savile Lumley, GCB, according to the label attached to the reverse. Private Collection, UK. Note: The present work is a copy after Rembrandt's original painting from 1640 which is now in the collection of the Hermitage Museum in St Petersburg [ГЭ-729], and which is a companion piece to the artist's portrait of Herman Doomer, now held by the Metropolitan Museum of Art in New York [29.100.1]. Sir John Savile Lumley (1818-1896), 1st Baron Savile, was a British diplomat who held office in Berlin, Washington, Constantinople, Madrid, and St Petersburg, amongst other locations.

Estim. 400 - 600 GBP

Lot 81 - Follower of Rembrandt Harmensz. van Rijn, Dutch 1606-1669- Portrait of a bearded old man wearing a beret; oil on panel, 29.7 x 23.8 cm. Provenance: Private Collection, UK. Note: The present work is clearly influenced by atmospheric figure studies which are characteristic of Rembrandt's oeuvre, particularly in their dramatic contrast of light and shade, recalling, for example, the artist's 'Portrait of an Old Man' in the collection of the Fogg Museum [1930.191], and another painting of the same subject in the Louvre Museum [INV 1748].

Estim. 2 000 - 3 000 GBP

Lot 82 - After Rembrandt Harmensz. van Rijn, Dutch 1606-1669- Portrait of Volckert Jansz., detail from the Syndics of the Draper's Guild; oil on canvas, bears label for 'Carl Westenburger' attached to the upper stretcher bar, 24.5 x 18.8 cm. Provenance: Private Collection, UK. Note: The present work is a copy after a detail from Rembrandt's group portrait of the Syndics of the Draper's Guild of 1662, which is considered the artist's last great group portrait, and is now held in the Rijksmuseum, Amsterdam [SK-C-6]. This detail depicts the figure of Volckert Jansz. (1605/10-1681), a successful cloth merchant and art collector, who also may have served as a deacon of the Old Frisian Mennonite Church in Amsterdam.

Estim. 250 - 350 GBP

Lot 83 - After Sir Peter Paul Rubens, Flemish 1577-1640- Portrait of Ansegisus and St. Bega; pencil and watercolour on paper, oval, inscribed 'The Duke of Brabant / and his Daughter Bega / copied by Anne Chambers / from one by Mary Cambers / after Jordaens / In the Collection of the / Earl of Egremont at / Petworth' verso, 24 x 19.1 cm. Provenance: Private Collection, UK. Note: The present work is a copy after Rubens' original, which is held in the Kunsthistorisches Museum in Vienna [GG_521].

Estim. 200 - 300 GBP

Lot 84 - Manner of Sir Peter Paul Rubens, 18th/early 19th century- Descent from the Cross; oil on panel, 43.7 x 30.6 cm. Provenance: Private Collection, UK. Note: The present composition is evidently inspired by Rubens' (1577-1640) 'Descent from the Cross', painted between 1612 and 1614 as the central panel of the artist's triptych in the Cathedral of Our Lady in Antwerp.

Estim. 150 - 250 GBP

Lot 85 - Follower of Egbert van Heemskerck, Dutch 1634/35-1704- A figure, seated at a table in an interior; oil on panel, 30.5 x 24.9 cm. Provenance: Private Collection, UK.

Estim. 500 - 700 GBP

Lot 86 - Jan Jacobsz. Molenaer, Dutch 1654-c.1684/90- Interior scenes with figures drinking, embracing, and making music in a tavern; oils on panel, the first signed 'Jan Molenaer' (lower right), the second faintly signed 'Jan Molenaer' (lower right), each bears old hand-written label inscribed 'Jan Molenaer' verso, the second bears wax collector's stamp verso, each 32 x 23.9 cm., a pair (2). Provenance: Property from a European Private Collection. Note: The present work is typical of Molenaer's tavern scenes, depicting figures seated around a table in a dark interior, in which the glint of glasses and jugs are just visible. Each of these scenes appears to depict a man attempting to embrace a reluctant female figure, watched by curious, and perhaps somewhat shocked, onlookers, one of whom seems to play a flute towards the background. The artist produced a number of similar compositions, such as one which sold at Sotheby's, Amsterdam, on 2 November 2002 (lot 8, €5,000). Molenaer's works reveal the influence of an earlier generation of Dutch painters, such as Adriaen Brouwer (1605/6-1638) and David Teniers (1610-1690).

Estim. 2 000 - 3 000 GBP

Lot 87 - Follower of Gerard Dou, Dutch 1613-1675- A candlelit interior with an old woman and young girl reading, and a dog sitting at their feet; oil on paper or card laid to panel, 15.2 x 12 cm. (unframed).

Estim. 400 - 600 GBP

Lot 88 - After Frans van Mieris, Dutch 1635-1681- Young woman feeding a parrot; oil on panel, bears signature and date 'F. van Miers / 1675' (lower right), and indistinctly inscribed verso, 30.1 x 27.5 cm., Accompanied by a copy of a note from Dr Franz von Reber of the Alte Pinakothek, Munich, dated 19th December 1901, comparing the work to the composition in their collection. Provenance: Private Collection, UK. Note: The present work is a copy after Van Mieris's original, painted in 1663 and now held in the Leiden Collection [FM-112]. Numerous early versions of this work exist, such as the one held in the collection of the National Gallery in London [NG 840], and another in the Royal Collection at Hampton Court Palace [RCIN 404617], and the painting has also been widely copied by later generations.

Estim. 400 - 600 GBP

Lot 89 - After Gerard ter Borch, Dutch 1617-1681- A lady washing her hands; oil on canvas, 60.8 x 54.4 cm. Provenance: Private Collection, UK. Note: The present work is a copy after Ter Borch's original, painted c.1655, which is now in the Gemäldegalerie Alte Meister, Dresden [Gal.-Nr. 1830], with minor alterations, including, interestingly, a crucifix, which is visible to the left of the composition.

Estim. 400 - 600 GBP

Lot 90 - Adriaen van Ostade, Dutch 1610-1685- The Spinner; and Two Anglers on a Bridge; etchings on laid paper, the first signed and dated 'Av Ostade 1652' (within the plate, lower left), the second signed with initials 'Av O' (within the plate, lower right), the first 14 x 17.5 cm., the second 11.3 x 16.4 cm., two (2). Provenance: Private Collection, UK.

Estim. 300 - 500 GBP

Lot 91 - Manner of David Teniers the Younger, late 18th/early 19th century- Figures dancing outside an inn, by a river; oil on panel, 32.5 x 41.8 cm. Provenance: Private Collection, UK. Note: The present work is executed in the manner of Teniers (1610-1690), who produced a number of scenes depicting rustic figures dancing, drinking, and making music outside a tavern in a typically Dutch landscape. The present composition recalls that of an original by Teniers in the collection of the National Trust at Buckland Abbey in Devon [NT 810132], and another depicting 'A Kermis on St George's Day' in the Royal Collection [RCIN 405952].

Estim. 300 - 400 GBP

Lot 92 - Follower of Jan Dirksz Both, Dutch 1615/18-1652- Figures and donkeys on a path in a wooded landscape, with a city beyond; oil on canvas, 57 x 72 cm. Provenance: Property from a European Private Collection. Note: The present landscape strongly recalls the works of Both, whose oeuvre is characterised by sweeping bucolic landscape views often populated with figures and architecture rendered in historical styles. Both was a principal proponent of Italianate landscape in the 17th-century Netherlands, with his work fusing the more rustic figures of Dutch pastoral landscapes with grander, more classical elements borrowed from the Neoclassical painters of the 17th and 18th centuries, notably Claude Lorrain (1600-1682).

Estim. 1 000 - 1 500 GBP

Lot 93 - Attributed to Willem van Bemmel, Dutch 1630-1708- Italianate landscape with ruins and travellers; oil on canvas, bears later inscription 'Wilhelm Bemmel' to the reverse of the frame, 46.5 x 64.5 cm. Provenance: Anon. sale, Sotheby's, London, 28th October 1987, lot 64. Note: Van Bemmel studied in Utrecht under Herman Saftleven (1069-1685), before travelling to Italy, where he became known as a member of the 'Bentvueghels', a group of Flemish and Dutch artists working in Rome in the late 17th and early 18th centuries. The significance of Van Bemmel's time in Rome is evident in the romantic Italianate landscapes which the artist subsequently produced, and which define the artist's output, as in his landscape in the Kunsthistorisches Museum in Vienna [GG_5748].

Estim. 1 500 - 2 500 GBP

Lot 94 - Follower of Jan Siberechts, Flemish 1627-c.1703- Travellers resting by a fountain, with a country house and mountainous landscape beyond; oil on panel, bears label for 'James Bourlet & Sons' verso, 21.9 x 32.3 cm. Provenance: Private Collection, UK.

Estim. 600 - 800 GBP

Lot 95 - After Gaspard Dughet, Italian/French 1615-1675- Arcadian landscape with Rinaldo and Armida; oil on canvas, 85.1 x 139 cm. Provenance: Property from a European Private Collection. Note: The present work is a copy after Dughet's original painting, which is held in the collection of Galleria Corsini in Rome [no.386]. Dughet studied under his brother-in-law, Nicolas Poussin (1694-1665), and was evidently heavily inspired by his teacher's dramatic Classical landscapes, as evident in the present composition, in which the figures of Rinaldo and Armida in the foreground are dwarfed by the grand, mountainous landscape around them.

Estim. 1 000 - 1 500 GBP

Lot 96 - Follower of Nicolas Poussin, French 1594-1665- Bacchus and Ariadne; oil on canvas, 70.8 x 89.5 cm. Provenance: Private Collection.

Estim. 1 500 - 2 500 GBP

Lot 97 - Circle of Jean Baptiste Oudry, French 1686-1755- Still life with a hare, game, and a hunting dog in a landscape; oil on panel, 84 x 121.4 cm. Note: The present work resembles the still lifes with game for which Oudry was celebrated, particularly in his distinctive depiction of pointers, as evident in his 'Dog Pointing a Partridge' in the collection of the Hermitage Museum in St Petersburg [ГЭ-2528], and his 'Dog Pointing Pheasants' in the Wallace Collection [P625].

Estim. 3 000 - 5 000 GBP

Lot 98 - After Abraham Brueghel, Flemish 1631-1690/97- A young man beside an earthenware jar of wild strawberries, alongside an urn filled with flowers and a dish of fruit; oil on canvas, 44.5 x 58.2 cm. Provenance: Private Collection, UK. Note: The present work appears to be a smaller-scale copy of a monumental work by Abraham Brueghel, which was sold at Bonhams, London, on 6 December 2017 (lot 76). Another, similar composition, with the addition of a second figure, is in the collection of the Worcester Art Museum, Massachusetts [1935.109]. The scene is there attributed to Pietro Bonzi (1576–1636).

Estim. 1 000 - 1 500 GBP

Lot 99 - Follower of Francesco Lavagna, Italian 1684-1724- Floral still lifes with carnations, tulips, and peonies in an urn, and crockery on a ledge beside; oil on canvas, each 74 x 56 cm., a pair (2). Provenance: with William Redford, Mount Street, London, in 1981. by descent, Private Collection, UK. Note: The present pair of paintings appears strongly influenced by Lavagna's work, particularly in the inclusion of the blue-and-white pottery which sits precariously on the ledge below, a distinctive characteristic which reappears throughout Lavagna's oeuvre.

Estim. 600 - 800 GBP

Lot 100 - Attributed to Antoine Monnoyer, French 1670-1747- Still life with peonies, orange blossom and tulips in a vase on a ledge; oil on canvas, 77.4 x 64.5 cm. Note: Antoine Monnoyer was the son and pupil of renowned flower painter Jean-Baptiste Monnoyer (1636-1699), and continued to produce continued flower paintings in the same style as his father long after the latter's death at the end of the 17th century. The younger artist's loyal continuation of his father's legacy earned him the nickname 'Young Baptist'. The Monnoyers were much imitated in France and England, and were so influential that the name ‘Baptist’ is applied to any overdoor from the Baroque period with a flower in it. The present work is heavily reminiscent of Monnoyer the Elder's elaborate and abundant floral still lifes which were hugely popular amongst contemporaries, with King Louis XIV (1638-1715) owning roughly sixty. The composition, depicting the bouquet in a simple urn atop a trompe-l'oeil stone ledge against a plain, dark background, focuses the viewer's attention directly on the bright flowers. A pair of similar still lifes by Antoine Monnoyer was sold at Christie's New York, 18 October 2023 (lot 123) for $75,000. We are grateful to Dr. Fred Meijer for suggesting the attribution on the basis of photographs.

Estim. 4 000 - 6 000 GBP

Old Master, British & European Pictures

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Lot 2 - Follower of Giovanni Battista Paggi, Italian 1554-1627- Madonna and child, with a putto playing a lute; oil on canvas, 105.5 x 75.5 cm. Provenance: Property from a European Private Collection.

Lot 3 - Manuel Fernandez Acevedo, Spanish 1744-1800- The Immaculate Conception; oil on canvas, 145.3 x 101.2 cm. Provenance: Anon. sale, Ansorena, Madrid, 19 July 2023, lot 632 (€3,800), where authenticated by Prof. Ismael Gutiérrez Pastor.

Lot 5 - Follower of Nicolás Correa, Mexican 1660-1720- Death of a lady, attended by mourners, with an apparition of the Virgin and Child above; oil on canvas, 55 x 61 cm. Provenance: Property from a European Private Collection.

Lot 13 - Follower of Simon Vouet, French 1590-1649- The Education of the Virgin; oil on canvas, 68.5 x 55 cm. Provenance: Property from a European Private Collection.

Lot 16 - Spanish Colonial School, late 18th/early 19th century- Madonna and Child; oil on canvas laid down on canvas-backed board, 98.7 x 75.2 cm. Provenance: Property from a European Private Collection.

Lot 18 - Southern Italian School, 18th century- A female saint wearing a headscarf, an armband, and a jewel pendant, in a feigned oval; oil on canvas, inscribed 'N. FLAGELA CHRISTI / S. EVP OPAEA' in the oval, 60.5 x 44.5 cm. Provenance: Private Collection, UK.

Lot 19 - Italian School, late 17th/early 18th century- Portrait of the Emperor Vespasian, bust length; oil on canvas, 77.6 x 65.6 cm. Provenance: Private Collection, UK.

Lot 20 - Follower of Angelo Caroselli, Italian 1585-1652- The Toilet of Venus; oil on canvas, 112 x 90 cm.

Lot 23 - Follower of Hendrick Goltzius, German/Dutch 1558-1617- A nymph in a wooded landscape, possibly representing Daphne at the river Ladon; oil on canvas, 158.2 x 105.5 cm. Provenance: Private Collection, UK.

Lot 30 - Follower of Giovanni Francesco Barbieri, called Guercino, Italian 1591-1666- The Martyrdom of Saint Barbara; oil on canvas, 33.5 x 71 cm. Provenance: Property from a European Private Collection.

Lot 36 - Circle of Jan Brueghel the Younger, Flemish 1601-1678- The Virgin and Child within a garland of flowers; oil on copper, 20.9 x 16.9 cm. (unframed).

Lot 47 - Italian School, late 17th/early 18th century- Study of a female figure in elaborate dress, possibly a costume design; pencil and watercolour on laid paper, inscribed with a description of the costume in Italian verso, 24 x 16.5 cm.

Lot 51 - After Michelangelo, Italian 1475-1564- The Prophet Isaiah, from the Sistine Chapel ceiling; brown wash heightened with white on paper, 10.5 x 8.9 cm.

Lot 56 - Circle of Cornelius Johnson van Ceulen, Anglo-Dutch 1593-1661- Portrait of a young woman wearing a pearl necklace; oil on copper, oval, 5.9 x 4.4 cm.

Lot 57 - North European School, late 17th/early 18th century- Portrait of a gentleman, bust length, wearing a brown wig and lace jabot; oil on copper, oval, 5.1 x 4.3 cm. (unframed).

Lot 58 - Follower of Cornelius Johnson, Anglo-Dutch 1593-1661- Portrait of a gentleman wearing a ruff; oil on paper laid to card, feigned oval, 7.6 x 6.6 cm.

Lot 59 - Circle of Christian II Richter, Swedish 1678-1732- Portrait of a young woman, bust-length, wearing a blue dress and red shawl; oil on copper, 8.5 x 6.5 cm.

Lot 62 - After Sir Anthony van Dyck, Flemish 1599-1641- Portrait of Michel le Blon; oil on oak panel, 27.5 x 22.5 cm.

Lot 67 - Circle of Willem Wissing, Dutch 1656-1687- Portrait of a gentleman, half-length, wearing a brown coat and a white lace jabot; oil on canvas, oval, 75.2 x 62.8 cm. Provenance: Anon. sale, Christie's, South Kensington, 17 February 1984, lot 64.

Lot 68 - Follower of David Scougall, Scottish c.1610-c.1680- Portrait of a gentleman in armour, standing half-length, wearing a lace collar and with a coat of arms; oil on canvas, oval, 75 x 62.5 cm.