We found 77274 price guide item(s) matching your search

Oil painting on canvas. Punting scene, John De Lassire

Purity Sweet Club advertising sign, ballerina oil painting on canvas and print of Taming of The Shrew

Oil painting on canvas, cart horses in landscape, indistinctly signed

Pictures and prints and oil painting of clifftop ruins

English School (early 18th century)Betrothal portrait of a young girl with posy of flowers and spaniel with country house in the distance, oil on canvas, 125 x 100cm Provenance: Formerly from Dalham Hall, SuffolkThe provenance of this painting tells us that it was formerly housed at Dalham Hall, a Grade II listed country house in Suffolk. At the time this painting was made, Dalham Hall was the seat of the Affleck Baronetcy. Over the years, the Afflecks distinguished themselves in the Navy, in politics and the church. Assuming, as is most likely, that the painting was commissioned by one of the Baronets Affleck, then this work is probably a depiction of one of the Baronets' daughters. The sitter may well be one of the eighteen children of the 2nd Baronet, Gilbert Affleck MP (c.1684-1764) and Anna Dolben. In 1901, the 7th Baronet, Sir Robert Affleck (1852-1919) sold Dalham Hall, reputedly after being defrauded by his solicitor of as much as £10,000. The buyer was the South African diamond magnate Cecil Rhodes, who died before taking possession Lined and cleaned. Some retouching to the dress area. Fine cracking to the paint throughout. The paint surface is a little flat, with some dull patches to the varnish in the upper area. Minor surface scratches and abrasions.

Follower of Fra Angelico The presentation of the Christ Child, gilt heightened oil on antique wood panel, 91 x 59cm The panel appears old, has a convex bow and old treated woodworm holes/damage. The painting has elements which appear to be later or by a different hand, and some of the gilding appears later, in particular the halos which have a raised effect. Minor wear, knocks and scratches.

Joseph Milne (1857/61-1911)'In the Carse of Gowrie', signed, oil on board, 22.5 x 30cm Appears to be in good condition overall. The backing board appears to have been reused from a different painting, hence the crossed-out old label.

John Ruskin (1819-1900), an autographed draft manuscript lecture entitled 'Unused Arundel', expressing his distaste for contemporary art and its market, leading to a request for the Arundel Society to hire copyists to recreate the Italian Old Masters rather than relying on printing, (...Do you think that, if a group of figures by Perugino, or Luini, as beautiful in many respects as the original - would not be a better decoration for your drawing room than an oil painting - such as you are likely now to get of them - of an old gentleman with his family late at a party - or a drowned child and a starving dog tied to a mast!...), 7 pages, within a red folio, dated 1878, andan autographed letter to Mrs Elizabeth Salt, revealing the subtlety of his own sensibilities while instructing her in the art of drawing, and proposing, since there is 'no wholesome elementary book on drawing', that she wait for the third volume of 'Modern Painters' which will tell her better what she wants to know than anything else she could get ('...It seems very egotistic, but it is the truth, & I cannot help saying it...'), with the original autograph envelope, postmarked 30 August 1855 (3)

Painting Venice, oil on canvas, with frame 82x63x3 cm. Indicative shipping costs in Italy: 80€ and Europe: 170€. 82x62x3cm, XX century. Paintings, Oil on canvas, Good condition - used with small signs of aging & blemishes. Tags: Dipinto di Venezia. Pintura de Venecia. Peinture de Venise. Gemälde von Venedig.

Ron Wood (Cornish, 1922-) a contemporary abstract oil on board painting in monochrome tones, signed Ron Wood lower right, mounted in frame 56cm x 56cm

A contemporary oil on canvas painting depicting two nudes in unusual colours, unsigned and unframed, 61cm x 61cm

A compelling oil on canvas genre painting, signed E. Cohen and dated 7 DIC 59 (December 7, 1959) at lower right. This vividly expressive work recreates a rustic medical scene in which a man receives a painful procedure on his back, surrounded by onlookers in a dimly lit interior. The artist has skillfully captured a blend of discomfort, concentration, and amusement in the facial expressions, enhancing the theatricality of the scene. This painting is a 20th-century interpretation of The Back Operation [ca. 1636] by Adriaen Brouwer (ca. 1605-1638), a Flemish Baroque painter renowned for his vivid depictions of peasant life and tavern scenes. The homage remains faithful to the original composition while rendered in a mid-century painterly hand. Presented in a deep, beveled wood frame. Craquelure and surface darkening consistent with age. Frame shows wear and scuffing. Canvas remains tight and stable.Artist: E. CohenIssued: 1959Dimensions: 24"L x 28"HCondition: Age related wear. Scratches on shadow box frame.

A charming still life oil painting on board depicting a lush bouquet of multicolored flowers arranged in a classical gold urn. The floral composition includes red and white roses, daisies, bluebells, and other wildflowers, set against a soft woodland backdrop. Rich impasto brushwork gives the piece textural depth. Signed Gret lower right. The work is presented in a vintage two-tone carved frame featuring a silver-toned floral motif border and an inner beveled wood matting.Issued: 20th centuryDimensions: 8.5"L x 10.5"HCondition: Age related wear. Frame has discoloration and chips.

A vibrant giclee print of the oil painting Abstract Reflected by Connie Winters, a celebrated impressionist painter known for her expressive brushwork and luminous color palette. This artwork captures a serene riverside scene, featuring architectural reflections on the water, lush greenery, and warm, inviting tones that convey a sense of tranquility and movement. Winters work is highly regarded for its impressionistic style, rich with texture and color harmony, evoking the beauty of European and Southern landscapes. This archival quality giclee print faithfully reproduces the depth and vibrancy of the original oil painting. Framed and the artist signature on the back.Artist: Connie Winters (American, b. 1944)Dimensions: 13.5"L x 1.5"W x 15.25"HCondition: Age related wear.

18th Century Print titled "Portrait of Oliver Cromwell" From an original oil painting of S.Coopers, Engraved by T.Woodman & H. Mutlew Fecit, published as the act of Directs dated 19th of May (1784). 45x35.5cm frame

Ronald Cook oil painting on canvasAfrican wildlife scene signed set in frame. 73x87cm.

18th/ 19th century Oil painting on wooden panel depicting nude lady. Fitted within an old antique frame. Frame- 31.5x27.5cm.

J Howard19th century oil painting on canvas titled "Falls of Clyde" Fitted within a large gilt frame. Frame- 73x103cm.

18th/ 19th century French Oil painting on canvas depicting Man and women poisoned whilst culprit leaves the scene. Inscribed to the back of the wooden frame. Painting could be earlier than stated. 19.5x24cm

Robert Cox Oil painting on canvas. Still life flowers in vase. Gilt frame- 55x64cm.

Don Micklethwaite Signed Oil Painting, Scarborough Harbour of boats and a lighthouse, signed bottom left, 25cm x 29cm.

‡ ATTRIBUTED TO DOMENICO ZAMPIERI, KNOWN AS DOMENICHINO (ITALIAN 1581-1641)LANDSCAPE WITH A HERMIT Oil on canvas 41 x 54cm (16 x 21¼ in.) Provenance: Everhard Jabach, Paris, no. 582, by 1696 Manor House Antiques, The Square, Stow-on-the-Wold, Gloucestershire, March 1973 There acquired by Richard L. FeigenLiterature: Vicomte de Grouchy, Everhard Jabach, collectionneur parisien (1965) in Memories de la Societe de l'Histoire de Paris et de l'lle de France. XXI, 1984, p.278, no. 582 G. Gent, Lost Domenichino is Found and Bought for $392, New York Times, 19 June 1973, p.32 L. Salerno, Pittori di paesaggio del seicento a Roma, vol. I, Rome, 1976, I. pp. 81,120, cat. no. 19.3 R. E. Spear, Domenichino, New Haven, 1982, vol. I, p.317 (as a copy after Pietro Paolo Bonzi) L. Salerno, Review of Domenichino by Richard Spear, in 'Storia dell arte', L. 1984, p.88 A. Brejon de Lavergnee, L'inventaire Le Brun de 1683; La collection des tableaux de Louis XIV, Paris, 1987, p. 297 (as a copy after Domenichino) C. Whitfield, Les paysage du Domenichio et de Viola in Monuments et memories, LXIX, 1988, p.106, no. 92 (as Grimaldi?) R. E. Spear, Domenichino addenda, in Burlington Magazine CXXXI, 1989, p.11. no.44 (as a copy after Pietro Paolo Bonzi) S. Loire, Ecole italianne XV/le siecle. I. Bologne. Musee du Louvre. Department des Peintures, Paris, 1996. pp.214. 216 (as a copy after Domenichino)Exhibited: Amherst, Massachusetts, Mead Art Museum, Major Themes in Roman Baroque Art from Regional Collections, 1974, no.83 New Haven, Yale University Art Gallery, Italian Paintings from the Richard L. Feigen Collection, 28 May - 12 September 2010, no. 45 (as Domenichino)The present work is known in three versions; the lot offered here, a reduced painting in the Louvre (30 x 37cm), and a third larger example (47 x 59cm) in the Galleria Doria-Pamphilj, Rome. The latter example is now generally attributed to Domenichino's follower Pietro Paolo Bonzi. Whilst the present work has been put forward as the prime version by Luigi Salerno and others (see literature), Stephane Loire and Dennis Mahon both argued that the Louvre version is the original. Condition Report: Canvas appears to have a wax relining and presents a subtle craquelure. In addition, there are a few slight superficial scratches in the varnish in the tree in the upper right corner and the lower left corner UV light reveals and evenly applied varnish a few retouches in the lower section of the waterfall as well as meticulous restoration in the sky with two patches of approx 4cm in width. In addition, there are a few small meticulous restorations in the foliage of the tree to the right. Finally, there is extensive restoration to the right border such restoration if of crosses the whole right border and is of about 4cm in width.Condition Report Disclaimer

THOMAS STOTHARD (BRITISH 1755-1834) DESIGN FOR A FRIEZE Oil on paper laid to canvas 12 x 89cm (4½ x 35 in.) Painted circa 1795. Provenance: John Witt, London Sale, Sotheby's, London, Drawings and Watercolours from the collection of the Late Sir John and Lady Witt, 19 February 1987, lot 94 Exhibited: London, Courtauld Institute, The John Witt Collection, Part II, English School, 1963, n. 50 Thomas Stothard (1755-1843) was born in London and developed an early interest in painting while attending school in Yorkshire. In 1769, he began a seven-year apprenticeship with a designer of silk brocades. He made his exhibition debut in 1776 with the Incorporated Society of Artists, and in 1778 began exhibiting at the Royal Academy, where he would continue to show his work annually throughout his career. Stothard was elected an Associate of the Academy in 1792 and became a full Academician in 1794.In addition to painting, Stothard was active as a book illustrator and silverware designer. He undertook several significant decorative commissions, including the staircase at Burleigh House in 1799 and the extensive mural decoration of Buckingham Palace.The present frieze, featuring classical figures inspired by pastoral and aquatic themes, exemplifies Stothard's distinctive decorative style Condition Report: The canvas appears to be unlined. Examination under ultraviolet light reveals some small areas of infilling to the craquelure along the upper edge and a retouching to a scratch running diagonally through the central horse. There is also a surface scratch towards the final portion of the canvas on the right-hand side. Generally the work appears to be in good overall condition.   Condition Report Disclaimer

CIRCLE OF SIMON VOUET (FRENCH 1590-1649) THE HOLY FAMILY Oil on canvas 93.5 x 82.5cm (36¾ x 32¼ in.) UnframedPainted circa 1640. Condition Report: The canvas has been relined, and presents visible craquelure across the whole surface, as wall as loss paint to the edges, most notably to the lower right corner, where some of the painting is falling. UV light reveals retouching to the lower left corner, most notably in the darker tones - there is an approx. 8 cm restoration in one of the folds, just below the Christ's foot. Various infills are also notable on the visage of the Mary and Christ. Finally, a few retouches on the blue dress of the Madonna, and scattered, yet minor, retouches to the drapey of Joseph. In addition, few scattered retouches in the background. The painting also presents a layer of dirt. Condition Report Disclaimer

‡ SAMUEL PALMER (BRITISH 1805- 1881) THE GLEANING FIELD Oil on canvas 42 x 52cm (16½ x 20¼ in.) Painted circa 1832-33.Provenance: John Giles, a first cousin of the artist (1811-1880) His sale, Christie's, London, 2 February 1881, lot 620, for 135gns Bought at the above sale by The Fine Art Society Possibly William Fothergill Robinson Q.C Possibly Rev. William Fothergill Robinson, Woodspeen, Newbury Herbert A. Edwards (1888-1978), Newbury and thence by descent Private Collection, U.K by 2009 With Lowell Libson Acquired from the above in 2010 Literature: Raymond Lister, Catalogue raisonné of the works of Samuel Palmer, London, 1988, no.167Exhibited: London, Royal Academy, 1833, no.48 London, Fine Art Society, A Collection of Drawings, Paintings and Etchings by the Late Samuel Palmer, 1881, no.2 The reappearance of this exquisitely painted and highly finished large work on board is an exciting addition to the Palmer's oeuvre, dated to circa 1832-33. It was painted towards the end of his celebrated Shoreham period when Palmer's highly personalised artistic voice that had taken shape at Shoreham from the mid-1820s amongst 'The Ancients' was maturing. It is one of only a small handful of known Shoreham period oils to remain in private hands. Palmer first visited the village of Shoreham in Kent in 1824 and settled there in 1826 where he remained for nearly ten years. The landscape around Shoreham was the embodiment of Palmer's visions of pastoral life that he had imagined from his reading and it was there that he translated his intensity of vision into drawings or paintings. The valley at Shoreham teamed with an abundance of crops, corn, fruit and hops harvested by hand using age old methods and eschewing the encroachment of modern life. The village scenery was punctuated by the landmarks of rustic life, a small hamlet of primitive cottages, the mediaeval church with its spire, the carpet of fields and populated with a rollcall of village characters, the rhythm of life directed by the seasons. The resulting works which were executed during Palmer's time living at Shoreham are considered his greatest achievements. Palmer, who had first met the visionary artist William Blake (1757-1827) in 1824, was quickly joined by several friends, other devotees of Blake, who formed themselves into a loose group calling themselves 'The Ancients'. During Palmer's earlier years at Shoreham we see the development of his art and his experimental use of medium, following methods he largely evolved himself. However, by the early 1830s Palmer's companions had largely left the valley and Palmer began to attend to the development of his career due in part to his straightened finances, and as a result the manifestations of his period at Shoreham evolved into a more conventional expression of his vision. Palmer had begun to spend more time in London and submitted work to the Royal Academy in 1830 and 1831 which although rejected was indicative of a desire for wider recognition and engagement the with art establishment. In 1832 the Royal Academy accepted seven works which Palmer had sent in from his recently acquired house in Marylebone, including 'Pastoral' scenes and 'A harvest scene', generic titles which have plagued the future identification of these works. In 1833 Palmer exhibited five works, amongst them 'The gleaning field' (here identified as the present work) and a 'Kentish scene'. The following year Palmer exhibited six pictures at the Royal Academy. The present work, of exhibition scale and highly finished is the most likely candidate for Palmer's Royal Academy exhibit no. 48 of 1833 'The Gleaning Field' being the only painting by Palmer depicting gleaners as the main subject of the composition. The Gleaning Field, circa 1833 (Tate Gallery, London) is smaller in size with many reworkings in pen and ink and competing motifs of the wagon drawn by oxen and the cottage on the edge of the field. As a picture intended for exhibition in London at the Royal Academy it is not farfetched to see Palmer's intention for it to convey a message to the London audience. The early 1830s was a period of rural discontent and political unrest and the resulting restlessness was felt in the Shoreham valley. The established way of life in the countryside was in crisis, the boom years of the Napoleonic Wars were over and hardships were felt especially in rural communities through unemployment, the erosion of rights through the continuing enclosure of common grazing land, the passing of the Poor Laws, the imposition of the Church Tithe and increasing mechanisation. There was widespread unrest, most notably marked by the 'Swing' riots of 1830-1 and widespread outbreaks of arson, machine breaking and wage rioting which started in Kent and spread across the whole of southern and eastern England with the military being deployed to support the local law enforcement. The first threshing machine was destroyed on Saturday 28 August 1830. By the third week of October, over one hundred threshing machines had been destroyed in East Kent. The riots spread rapidly through the southern counties of Surrey, Sussex, Middlesex and Hampshire, before spreading north into the Home Counties, the Midlands and East Anglia, moving on as far as Lincolnshire, Yorkshire and Nottinghamshire. John Giles (1810-80), the first owner of this picture, was Palmer's cousin and a near contemporary. Giles was one of the 'Ancients' and a stockbroker rather than an artist. He managed Palmer's precarious financial affairs and was close to George Richmond and his family and remained a lifelong friend of both men and a great admirer of Palmer's works. Giles died in 1880 and his collection, comprising some 635 lots of which 185 were paintings, was sold by Christie's in 1881. The present work was purchased by the Fine Art Society for the considerable sum of 135 gns in advance of the exhibition they were to devote to the works of Palmer later that year. The picture appears to have been acquired at that time by either George Richmond or his son-in-law, William Fothergill Robinson. Richmond had presented his daughter Julia and Robinson with Palmer's The White Cloud, circa 1833-4 (Ashmolean Museum, Oxford; fig. 2) as an anniversary present and Robinson had also been a purchaser at the Giles' sale acquiring The Bright Cloud, circa 1833-4, Manchester City Galleries. The Shoreham landscape inspired some of the most intensely original pictures of the British Romantic period, works which distilled Palmer's vision and translated it into a representation which contained all the elements of Palmer's pastoral poetry. The present picture marks a particularly important period in the development of Palmer's vision as well as recording a moment of crisis in the political and economical development of late Georgian England. Its appearance at auction represents a rare opportunity to purchase one of only a handful of Shoreham period oils remaining in private hands.    

‡ NICOLAES BERCHEM (DUTCH 1620-1683) MERCURY BRINGING ARGUS' EYES TO JUNO Oil on panel 48 x 71cm (18¾ x 27¾ in.) Provenance: Sale, Sotheby's Parke Bernet, New York, 3 November 1972, lot 24 Sale, Christie's, 19 April 2007, lot 303, as Nicolaes Berchem (unsold) Literature: Listed in the RKD: https://research.rkd.nl/en/detail/https%3A%2F%2Fdata.rkd.nl%2Fimages%2F227581 Exhibited: New York, Richard L. Feigen & Co., Landscape painting in Rome 1595-1675, 30 January - 23 March 1985, no. 5 Marijke de Kinkelder attributed the painting to the early period of the artist's career, suggesting that its stylistic characteristics are indicative of the developmental stages of the artist's oeuvre. Condition Report: Panel is cradled. Middle joint slightly visible on the surface. Panel presents thin layer of dirt and varnish. Few superficial scratches to varnish, left border and right border as well as a few losses of paint. UV light reveals small 2cm retouch just above the golden throne a few slight retouches to the foliage in the upper right corner and most significantly a thin infilling along the joints at the centre and lower section.Condition Report Disclaimer

‡ HERMAN VAN SWANEVELT (DUTCH 1603- 1655) POLYPHEMUS AND GALATEA; THE JUDGMENT OF PARIS Oil on canvas, a pair The former signed and dated 'HVS (in ligature) WANEVELT. / ... 1643' (lower left); the latter signed 'H SWANEVELT. FA. VEN' (lower right) Each 61 x 75cm (24 x 29½ in.) (2) Provenance: Collezione Alfa, no. 69, 70 (according to label on verso) P.&D. Colnaghi & Co. Ltd. (according to label on verso) Herner Wengraf, until at least 1974 From whom acquired by Richard L. Feigen Literature: A. Sutherland Harris, Landscape Paintings in Rome 1595-1675, New York, 1985, pp. 29-30 A.C. Steland, Herman van Swanevelt (um 1603-1655) Gemälde und Zeichnungen, Petersberg, 2010, vol. I, nos. G 1 36 A and B, pp. 145, vol. II, reproduced pp. 442 and 443, figs. G 100 and G 101 Having worked for some of the most influential patrons of his time-including Pope Urban VIII Barberini, Cardinal-Duc de Richelieu, and King Louis XIV-Herman van Swanevelt was a highly sought-after artist. He was particularly admired for his naturalistic observation of landscape and his masterful treatment of light, capturing the shifting moods of the day and atmospheric variations.His stay in Rome from around 1629 to 1641 was crucial to his development. Influenced by painters like Claude Lorrain, Swanevelt refined his approach to light and composition, and began incorporating mythological themes into idyllic natural settings.This pair of mythological landscapes likely dates to the late Roman period, around the time of his commissions for the King of Spain. The classical figures with elongated limbs and idealized faces, along with the misty, light-filled vistas, closely resemble elements in Landscape with Hermit Preaching, painted for the Buen Retiro (1639-1641) and now in the Museo del Prado, Madrid (inv. no. P005121).Each painting illustrates a mythological love story ending in tragedy. In The Triumph of Galatea, Ovid recounts how the nymph Galatea escapes the cyclops Polyphemus in favour of her lover Acis, whom Polyphemus later kills in a jealous rage. The Judgment of Paris tells of Paris awarding the golden apple to Aphrodite, who promises him Helen of Sparta-an act that ultimately triggers the Trojan War. Condition Report: Polyphemus and Galatea CR: The canvas has been relined and presents a subtle craquelure across the surface. UV light reveals a thin vertical restoration passing thought the whole left border, as well as a horizontal one of about 8 cm to the upper border. Extensive professional retouching is scattered in the section of the sky, and in the lower left corner, in the dark parts of the water. The Judgment of Paris: The canvas has been relined, and presents superficial abrasions to the varnish in the left border. UV light reveals scattered retouching in the sky, as well as scattered restoration to the foliage, and trees, some of which of about 3 cm in width. Additionally, there are various meticulous dotted retouches in the figures in the foreground, most notably the second figure from the left. Condition Report Disclaimer

NORTHERN FOLLOWER OF MICHELANGELO MERISI, CALLED CARAVAGGIO MARY MAGDALENE Oil on canvas 112 x 82.5cm (44 x 32¼ in.) Unframed Provenance: Sale, Sotheby's, New York, 19 May 1994, lot 22 (as Attributed to Jacob van Oost the Elder, for £ 23,000) Condition Report: The canvas has been relined. Examination under ultraviolet (UV) light reveals an uneven application of varnish. No recent restoration is apparent, apart from a square-shaped area of retouching located in the upper right corner of the background, where some flaking of the paint layer is also present. Minor retouchings are visible on the Magdalene's neck, forehead, and nose; these are executed in pink tones and are not fluorescent under UV light. Paint losses are visible to the naked eye, particularly along the right and lower borders. The painting also exhibits visible stretcher marks. Surface condition includes multiple dirt stains and an overall thick layer of surface grime.Condition Report Disclaimer

ATTRIBUTED TO CHARLES MELLIN (FRENCH 1597-1649) PIETÀ Oil on canvas 106 x 77.5cm (41½ x 30½ in.)Provenance: Sale, Ader Tajan, Paris, 26 April 1993, lot 18 (as Attributed to Johann Heinrich Schonfeld, for FF 200,000) A photograph of the painting was requested in a letter dated 7 November 2006 for possible inclusion in the catalogue of the exhibition held at the Musée des Beaux-Arts de Caen from 21 September to 31 December 2007, Charles Mellin: un Lorrain entre Rome et Naples, curated by Mr. Philippe Malgouyres. However, the photograph ultimately did not appear in the published exhibition catalogue. Condition Report: The canvas appears to be relined relined. UV light reveals an approx. 15 cm patch of restoration to the dark section of the right arm of Christ, further scattered retouching is present to the torso. Further extensive retouching is present to the dark section of the drapery of the Madonna, as well as to her shoulder. Finally, further retouching is present to the visage, and a 'R' shaped restoration is present above her head - possibly a restoration covering a past tear. Condition Report Disclaimer

‡ ATTRIBUTED TO CARLO SARACENI (ITALIAN 1579-1620) DEATH OF THE VIRGIN Oil on copper Stencilled 'L.A.' (to frame's verso, possibly a collector's stencil) 37.5 x 28.5cm (14¾ x 11 in.) Provenance: Sale, Christie's, London, 14 December 1979, lot 47 (as F. Saraceni) Sale, Dorotheum, Vienna, 20 October 2015, lot 54 (as Workshop of Carlo Saraceni, for € 75,000) Carlo Saraceni produced several compositions depicting the Death of the Virgin. His most renowned interpretation of the subject was commissioned by the Discalced Carmelite friars for the Cherubini Chapel in Santa Maria della Scala, Rome. This painting was intended to replace Caravaggio's earlier version of the same theme, which had been rejected by the friars for its perceived lack of decorum.Saraceni's first version, completed in 1612, ultimately failed to meet the friars' expectations as well. They requested that the architectural background be replaced with a celestial "glory of angels". Rather than modifying the original canvas, Saraceni sent the painting to Venice and quickly produced a new version, which remains in situ to this day. The first, rejected version was donated to the Metropolitan Museum of Art in New York by Richard L. Feigen in 2019.Various smaller versions on copper, such as this one, also exist. Feigen owned one such example, which had previously belonged to the artist Sir Peter Lely, as documented in Italian Paintings from the Richard L. Feigen Collection (Yale University Art Gallery, 2010, pp. 140-145, nos. 43 and 44). Condition Report: UV light reveals scattered meticulous retouching to the drapery, most notably to the figures in the pink and green cassock to the left border. In addition a few slight restoration are visible in the lower border, and a 5 cm diagonal restoration on the blue drapery of the Madonna, which starts from the head of the man with the pink cassock - such retouching covers what might have abbe a past damage. Condition Report Disclaimer

GEORGE MARSHALL COHEN (AMERICAN 1919-1999) DOMUS (FLESH PAINTING V) Oil and gesso on board Signed with initials (lower right); further signed (verso) 45.5 x 61cm (17¾ x 24 in.) Condition Report: Some surface dirt. There are losses to the tips of the upper and lower left hand corners of the board with associated paint loss. Otherwise, the work appears to be in generally good condition.Condition Report Disclaimer

‡ SIR DAVID WILKIE (SCOTTISH 1785-1841) THE DEATH OF SIR PHILIP SIDNEY Oil on panel 36 x 25cm (14 x 9¾ in.)Provenance: Commissioned from the artist by Samuel Dobrée (1759-1827), 1818 Thence by descent to his son Bonamy Dobrée (1794-1863), by 1842 Thence by descent to his son Bonamy Dobrée (1818-1907) Thence by descent to his son Bonamy Dobrée, Jr. (1863-1891) Thence by descent to his son Professor Bonamy Dobrée (1891-1974) By whom sold, London, Sotheby's, 19 June 1957, lot 37 There acquired by Harvey Smythe, London By whom subsequently returned to Sotheby's and to Professor Bonamy Dobrée Thence by descent to Georgina Dobrée (1930-2008), London By whom anonymously sold, London, Sotheby's, London, 14 November 1990, lot 62 There acquired by Richard L. FeigenLiterature: S. Dobrée, The Book of Death, London 1819, n.p A. Cunningham, The Life of Sir David Wilkie, London, 1843, vol. II, pp.7-8, 11-13 D. Wilkie, The Wilkie Gallery, a selection of the best pictures of the late Sir David Wilkie, London and New York, 1848, n.p. engraving reproduced W. Bayne, Sir David Wilkie R.A., London, 1903, p.79 H.A.D. Miles et.al, Sir David Wilkie of Scotland (1785 - 1841), exhibition catalogue, Raleigh, 1987, p.85 H.A.D. Miles, Sir David Wilkie 1785-1841, exhibition catalogue, London, 1994, pp. 63-65. cat. no.16Exhibited: London, British Institution, 1842, no. 22 (lent by Bonamy Dobrée) Manchester, Art Treasures Exhibition, 1857, no. 267 (lent by Bonamy Dobrée) London, Grosvenor Gallery, 1888, no. 66 (lent by Bonamy Dobrée, Jr.) London, Richard L. Feigen & Co., Sir David Wilkie 1785-1841, 13 October - 25 November 1994, no. 16Engraved: Abraham, Raimbach, 1819 William Greatbach, circa 1848-50This painting was commissioned by Samuel Dobrée, a distinguished bibliophile and collector of modern masters, who had purchased Wilkie's Letter of Introduction, exhibited at the Royal Academy in 1814. In January 1818 Dobrée asked Wilkie for illustrations for his Book of Death, an anthology of the deaths of more than 200 notable persons drawn from Chamber's Encyclopaedia. As the work was of an historical genre Wilkie suggested Thomas Stothard (1755-1834) as a more appropriate artist, but as this was not forthcoming finally Wilkie agreed to help him.The result was the present painting and The Death of the Chevalier Bayard, though only the present work was used as the basis for an engraving by Raimbach, published in 1819.The present work shows the influence of Titian upon Wilkie at this date in both composition and particularly in colour palette. In 1817 and 1818, Wilkie was copying works by Titian in private collections or on loan to National Gallery and National Galley of Scotland.Sir Philip Sidney, poet and diplomat was appointed Governor of Flushing by Queen Elizabeth in 1585, he was shot during the attack on a Spanish convoy, had managed to ride back to camp, but died from his wounds three weeks later. Wilkie in his depiction of the scene technically shows the moment after he has been shot. Dobrée's source for the death was Chalmers's revised edition of The General Biographical Dictionary, XXVII, 1816, p. 510, 'As Sir Philip was returning from the field of battle, pale, languid, and thirsty, with excess of bleeding, he asked for water to quench his thirst - the water was brought, and no sooner reached his lips than he resigned it to a dying soldier, whose ghastly countenance attracted his notice, speaking these words: " This man's necessity is greater than mine."' The noble moral of Sidney's worthiness, even in death, often quoted.A related drawing was offered Christie's, Scotland, 30 October 2003, lot 8. We are grateful to Alex Kidson for his help in preparing this catalogue entry. The work will be included in Hamish Miles' forthcoming catalogue raisonné of the work of David Wilkie.   

λ‡ PETER ROSE PULHAM (BRITISH 1910-1956) TROMPE L'OEIL À CLEF Oil on panel Signed with initials and dated 1939-1945 (to centre of right edge) 51 x 76cm (20 x 29¾ in.) Peter Rose Pulham worked initially as a photographer, producing work for Harper's Bazaar in the early 1930s before moving to Paris. He famously photographed Picasso in his studio on the Rue des Grands Augustins in 1936 but became increasingly interested in French surrealism and began painting in the late 1930s, returning to London just before the outbreak of World War II. In 1941, a German bomb hit his studio on Old Church Street in Chelsea, destroying many of his paintings. His later work is heavily influenced by Francis Bacon, with whom he became close friends.   Condition Report: There is a small fleck of paint loss to the lower right quadrant, just above the feather. Ultraviolet light reveals retouching to the left hand and lower edges. Otherwise, the work appears to be in good condition.Condition Report Disclaimer

‡ RICHARD PARKES BONINGTON (BRITISH 1802-1828) LANDSCAPE WITH SUNSET AND FIGURES Oil on canvas 23 x 35cm (9 x 13¾ in.)Provenance: Probably, acquired directly from the artist by Louis-Joseph August Coutan (1779-1830), and by inheritance to his wife Lucienne Hauguet (1788-1838) Thence by inheritance to her brother Ferdinand Hauguet (d. 1860), and by descent to his son Maurice-Jacques-Albert Hauguet (1819-1883) Thence by descent, Villa Lucienne, Antibes, until 1996 Talabaron & Gautier, Paris, by 2002 Daniel Katz, London From whom acquired by Richard L. Feigen, 2003Literature: B. Talabaron and B. Gautier, Le Paysage Français de Valenciennes à Bonnington, exhibition catalogue, Paris, 2002, cat. no. 33, reproduced P. Noon, Richard Parkes Bonnington: The Complete Paintings, New Haven and London, 2008, p. 252, cat. no. 202, reproduced in colour P. Noon, ed. Richard Parkes Bonnington, exhibition catalogue, New York, 2018, unpaginated, cat no. 8, reproduced in colourExhibited: Paris, Talabardon & Gautier, Le Paysage Français de Valenciennes à Bonington, 18 September - 26 October 2002, no. 33 New York, Richard L. Feigen & Co., Richard Parkes Bonington, 23 October - 18 December 2018, no. 8  Richard Parkes Bonington was born in the village of Arnold just outside Nottingham in 1802, but emigrated to France with his family aged fifteen. He was an artist with a precocious talent, extreme sensibility of colour and a profound fluidity of touch. Bonington is considered a hero of the Romantic movement, his legend secured when he died tragically young, aged only 25, his painting career spanning a single decade. He was revered on both sides of the English Channel and hugely influential upon contemporaries and followers alike. French collectors embraced the 'British' medium of watercolour, in which Bonington painted primarily until his first triumph at the Paris Salon in 1824, enthusiastically. He was also well received by the British Art institutions, perhaps most gratifying to the young artist was the patronage of Sir Thomas Lawrence, President of the Royal Academy, whom he visited a few months before his final illness and untimely death. Lawrence headed the funeral procession in September 1828 and despite spending most of career in France he was celebrated by the British Art establishment as one of their own, the question of his nationality contested for a long while by both English and French commentators. As we can see in the present painting Bonington excelled in his depiction of the countryside and coastal views, Allan Cunningham in his Lives of the Most Eminent British Painters, Sculptors and Architects, 1830, wrote, 'his chief pleasure was in making drawings of sea-coast and river-side scenery: to blend land with water, and both with cloud and sky, was a favourite scene.' He is revered for his ability to transfer light and atmosphere of Venice and French coastal and countryside scenes onto millboard and canvas distilling the essential qualities of place and time into paint. This atmospheric oil sketch has been dated by Noon, loc.cit. to the early months of 1826. On 4 April 1826 Bonington left Paris for his tour of Italy with his friend and pupil Baron Charles Rivet, returning to Paris by 6 July. Noon notes the present work's similarity to Landscape with Timber Wagon, Wallace Collection (op,cit. no. 199) which stylistically shows a familiarity with the works of both J.M.W. Turner (1775-1851) and John Constable (1776-1837) evident in the striking sunset and the characteristic accents of red paint. The present work is an excellent example of Bonington's technique, applying thin washes of oil paint with the same light touch that he would use in his watercolours and subtly building up the planes of colour to produce the glow of the sunset over the open landscape that gently recedes into a haze on the horizon. Bonington approached oil painting as a watercolourist, his peer Eugène Delacroix (1798-1863) wrote of Bonington's technique to the art historian Théophile Thoré-Bürger in 1861, 'To my mind one can find in other modern artists qualities of strength and precision in rendering that are superior to those in Bonington's pictures, but no one in this modern school, and perhaps even before, has possessed that lightness of touch which, especially in watercolours, makes his works a type of diamond that flatters and ravishes the eye, independent of any subject and any imitation.'The first owner of the paintings was Louis-Joseph-Auguste Coutan (1779-1830), a close friend of artists Baron Gros (1771-1835) and Delacroix and a successful fabric manufacturer and wholesaler. Toward the end of his life, Coutan spent his fortune decorating his Parisian home on the Place Vendôme with works by living artists both commissioning and purchasing contemporary art with no regard for school or nationality. After his death four paintings by Bonington were listed in his sale in 1830, but others descended through the family until 1996 when purchased by the present owner. Condition Report: The canvas has not been lined and is a little slack and starting to undulate. Rubbing and abrasions to the framing edges, with some very minor spots of loss. Craquelure throughout. Inspection under UV light reveals some very light in-filling, which has been sensitively done, and is largely confined to the lower half of the canvas. The attached backboard verso, has not been removed whilst completing this condition report.Condition Report Disclaimer

SIR DAVID WILKIE (SCOTTISH 1785-1841) STUDY FOR NELSON SEALING THE COPENHAGEN LETTER Pen and brown ink 5 x 6.5cm (1¾ x 2½ in.)Provenance: Sale, Christie's, London, 13 July 1934, lot 143 as 'Sealing the Document', sold to Agnew's on behalf of Miss L. Horwood Sale, Christie's, London, 17 November 1992, lot 32 (part)This drawing relates to the painting of Nelson Sealing the Copenhagen Letter, which Wilkie conceived in 1835, but which did not progress further than some drawings and oil sketches. One is in the Ashmolean Museum, Oxford and another was previously in the collection of Richard Feigen. Related drawings for the subject are at The British Museum and the Yale Center for British Art. We are grateful to Alex Kidson for his help in preparing this catalogue entry. The work will be included in Hamish Miles' forthcoming catalogue raisonné of the work of David Wilkie.  

GILBERT STUART (AMERICAN 1755 -1828) PORTRAIT OF WILLIAM GEORGE DIGGES LA TOUCHE Oil on canvas, oval 76 x 63.5cm (29¾ x 25 in.) Painted circa 1788. Provenance: The La Touche Family, Hayle, Cornwall Sale, Christie's, London, 18 November 1988, lot 138 Gilbert Stuart arrived in Dublin in the autumn of 1787, invited by the Duke of Rutland, then Lord-Lieutenant of Ireland and a noted patron of the arts. Over the next few years, Stuart received numerous prestigious portrait commissions. The current painting is believed to date from around 1788. Stuart also painted the sitter's wife, and this particular portrait was once part of the collection of Miss C.F. Godfrey.William George Digges La Touche (1747-1803) was the grandson of David Digues La Touche (1671-1745), who was born near Blois, fled to Amsterdam after the Edict of Nantes, and later came to England with the Prince of Orange. He fought in a Huguenot regiment at the Battle of the Boyne and remained in Ireland, where he established himself as a banker. His son-uncle to the present sitter-became the first Governor of the Bank of Ireland. William distinguished himself during the siege of Bassorah in 1775. In 1784, he returned to Ireland to join the family banking firm in Dublin, built a grand residence on St. Stephen's Green, and purchased Sans Souci as a country estate. That same year, he married Grace Puget, daughter of London banker John Puget; they had four sons. We are grateful to Professor Dorinda Evans for confirming the attribution on the basis of photographs. Condition Report: The canvas has been lined. It is a little slack and has started to undulate. Craquelure throughout however the paint surface appears stable. Some superficial surface scratching and surface dirt throughout. There is a diagonal indentation running through the sitter's left arm (approx. 15cm). This does not appear to have any over-paint or repair, and it is unclear what has caused this. Inspection under UV light reveals light, scattered, in-filling and retouching throughout, as well as traces of a green cloudy varnish.Condition Report Disclaimer

A painting of a lady with greyhounds, oil on board, after Charles Wellington Furse, 24.5cm x 20cm.

John Clevely (c.1712-1777) oil on canvas - An East Indiaman in Three Positions, signed and dated 1770, 92cm x 145cm, in gilt frameOverall framed size 108cm x 160cm.Very good ready to hang condition with an excellent look. The canvas has been lined, probably second half 20th century. Areas of over painting restoration visible under a uv light, rather to be expected. Some surface dirt and dust and some fairly minor losses to the frame.

English School, 19th century, oil on canvas - A Mill in a Landscape, a note verso states: 'This oil painting of an unknown spinning mill, by an unknown artist on the York/Lancs border...', 46cm x 61cm, in gilt frame

Victorian oil on board painting of a mill house attributed to Fred Morris, giltwood frame 24" x 19"

Paul J Attfield (British 1950-): Girls Painting by a Woodland Stream, oil on board signed 39cm x 49cm

Marcel Dyf (French 1899-1985)Claudine à la Toilettesigned 'Dyf' (lower right), stamped and dated 1966 (verso) oil on canvas 73 x 60 cm, framed 97 x 84 cm Provenance: With Frost & Reed, no. 40214. Private collection, UK.With handwritten note dated 23.9.1992 from Claudine Dyf (in French) 'In a Paris apartment, at 7 de la rue Duforé, I posed for Dyf this painting, the first year of our marriage - it's a happy memory! Claudine Dyf.The authenticity of this work has kindly been confirmed by Madame Claudine Dyf and is registered under no.1636.

A group of framed and mainly glazed paintings to include an oil on board depicting a countryside house, signed M Childs, along with two watercolours, both signed G W Pickering, an Indian miniature painting in the Mughal style with Arabic script, along with others.Location: GIf there is no condition report shown, please request

Signed indistinctly - Ploughmen and horses ploughing a field in a rural landscape, oil painting on board, signed lower right corner, 12 x 18cms, mounted in a glazed gilt gesso frame. Location: GIf there is no condition report shown, please request

Thomas Sidney Cooper RA (British, 1803-1902) Figures and animals in a sunset landscapesigned 'T S Cooper' and dated 1844 lower rightoil on panel22.5 x 35cmThe painting is executed in oil on a panel support formed from a single board with a stamp and label from Roberson’s & Sons, art suppliers. The panel is in plane and the paint layers are in a good, stable condition. Some areas of wear and abrasion in the sky have been retouched, the colour is well matched but the gloss is slightly matte. The varnish has slightly yellowed but is even and glossy.

English School, late 17th century Portrait of King Charles II, head and shoulders, in armour wearing the George, in a feigned painted oval oil on canvas75 x 61cmThe painting is executed in oil on a canvas support which has been lined. The canvas tension is slightly slack but the picture is in plane. The paint layers are stable and secure. There are a few small losses and scuffs to the surface caused by impact. The varnish has considerably yellowed with age. There are areas of overpaint in the background and reinforcing the sitter’s hair.

James Vivien De Fleury (British, 1847-1902) Pallanza, Lake Maggioresigned 'JvdeFleury' and dated 1859 lower right, titled versooil on canvas44 x 67cmThe town of Pallanza was founded in Roman times and, due to its strategic location on the lake, was often the site of conflicts and power changes over the centuries. It was only after Italy’s independence from Austrian rule in 1859, the date of the present painting, that the Italian upper classes discovered the Piedmont shore of Lake Maggiore for themselves. Thereafter, the expansion of the railway network and the increasing steamship connections boosted the popularity of the lake as a destination, attracting more and more visitors, including many artists.70 x 90cm framed

Michael Jeffery (British, 1941-2013) Nijinsky with Lester Piggott up, 1970 Triple Crownsigned 'Michael Jeffery' and dated 1970 lower right; titled lower leftsigned by Lester Piggott upper leftoil on canvas50 x 60cmIn 1970, the date of the present painting, Nijinsky became the first horse for 35 years to win the English Triple Crown. Lester Piggott later commented that Nijinksy was probably "the most brilliant horse I've ever ridden".In good, stable condition. Canvas is unlined. Light surface dirt.

Circle of George Gower (English, 1540-1596) Portrait of a lady, half length, richly attired in a pearl decorated dress, holding a prayer book in one hand and a timepiece in her left oil on panel 75 x 62cm This portrait was traditionally believed to be of Queen Elizabeth I. A dendrochronological analysis has dated the panel to circa 1603. X-ray photograph © Nica Gutman Rieppi New York The painting is executed in oil on a wooden panel support which measures 765 x 637 mm. The panel is formed from three boards in vertical alignment with a later addition of a narrow board at the left hand side. The middle board has a wide, uneven grain. The panel has a cradle with nine fixed vertical battens and six moving horizontals. All of the horizontal battens are seized with no movement, indicating some stress is being placed on the original panel. The paint layers are very complex due to wear, abrasion and different campaigns of layer restoration. There are localised areas of raised and lifting paint following the vertical woodgrain of the panel. An x-ray of the painting has been carried out which reveals some areas where drying cracks have formed in paint passages. Drying cracks form as the paint layer dries, usually when there is a high proportion of medium to pigment. They typically have rounded edges and reveal lower paint or ground layers along the cracks as the paint has contracted. The face and hands have been overpainted, rather crudely, visible with the naked eye. The x-ray suggests that the original face has more modelling and form compared to the overpainted version, although it is difficult to assess how much of this may be in tact beneath the overpaint. A lace edged headdress has also been overpainted to look like brown hair in the present version. The woodgrain in the face is still visible, despite the thick layers of overpaint. It is unclear what condition the original paint layers below the overpaint may be in. Further investigation would be needed, possibly including paint samples and cleaning tests, to determine what remains of the original. A dendrochronological report available upon request

Follower of Sir Godfrey Kneller Portrait of Robert Walpole (1676-1745), three quarter length, seated in the robes of Chancellor of the Exchequeroil on canvas124.5 x 100.5cmProvenance:Sir William and Lady Hutt; Christie's, London, 20 June 1913, lot 101, as 'Hoare of Bath' (16gns. to Bigham);Christie's, London, 11 November 1994, lot 84, as 'Follower of Sir Godfrey Kneller', when acquired by the present ownerThe present work, depicting Walpole in the robes of the Chancellor of the Exchequer, likely dates to the early-mid 1720s, before he was appointed a Knight of the Garter in 1726. As such, the traditional attribution to William Hoare of Bath (1707-1792), a teenager at this time, seems unlikely. With the exception of facial features, a near identical composition to the present work exists in the form of a portrait of John Hay, 4th Marquess of Tweeddale, by William Aikman (National Galleries of Scotland, PG 2226), indicating a possible connection to the Scottish artist. Indeed, a larger, full-length portrait by Aikman, depicting Walpole at a slightly later date (wearing the blue sash of the Order of the Garter), exists at Blickling Hall (no. 355487).The painting is executed in oil on a linen canvas support which has been lined. The canvas tension is good and the picture is in plane. The paint layers are in a good, stable condition overall. There are some localised areas of overpaint in the background which are slightly mismatched to the surrounding paint layers. The varnish is slightly yellowed but glossy and even.

§ Sir Peter Markham Scott CH CBE FRS (British, 1909-1989) Greylags Alighting, Brogden marsh, Cumbriasigned and dated 'Peter Scott 1941' lower leftoil on canvas49.5 x 74.5cmProvenance:Arthur Ackermann & Son Ltd., London; John Day by 1984;Private collectionA facsimile letter from the artist dated 1984, attached to the reverse of the painting, specifies that this scene was painted in Brogden marsh on the north side of the estuary of the Rivers Kent and Bela, opposite Arnside and above the Sandside Viaduct, which was demolished in 1942. The north side of the marsh used to be the winter feeding ground for up to a thousand Greylags and has since been converted into arable land.The painting is executed in oil on a linen canvas support which is lined. The canvas tension is slightly slack and there is a slight deformation in the top right corner. The paint layers are in a good condition overall, but there is an old repaired tear above the mountains right of centre. The varnish is clear, even and glossy with a light layer of surface dirt including some fly spots. Framed 66.5 x 91.5cm

John Opie RA (British, 1761-1807) Portrait of 'Mr Wilson' in a black jacket, holding spectacles, before a red curtain oil on canvas 77 x 64cm Provenance: By descent within the family of Sir William Foster, 1st Baronet of Norwich (1798–1874), to Janet Foster, 8 Stanley Crescent, London, W11 An ink drawing dated 1801 by Henry Bone, after this painting, is in the National Portrait Gallery collection (NPG D17584), together with a further pencil study by Bone of the same sitter after Sir William Beechey (NPG D17772). The resultant miniature by Bone deriving from the present subject was sold at Christie's, London, 25th May 2004, Lot 32. A further drawing by Bone (NPG D17295), after William Owen, depicts Mrs Wilson and her sister, the memoirist Susan Sibbald (1783-1866), daughters of Dr. Thomas Mein, of Eildon Hall, Roxburghshire, a physician in the Royal Navy. Isabella 'Betsy' Wilson (née Mein), who was born in Cornwall and died in Devon, is recorded as marrying Thomas Wilson, the likely identification of the present sitter, in Marylebone in 1801. It is also possible that Thomas Wilson was related to John Peter Wilson, Captn. Hon. East India Company, whose portrait Opie got up from his deathbed to paint and left unfinished (Art Gallery of Greater Victoria, 1975.087.001).

After Sir Anthony van Dyck Group Portrait of King Charles I and Queen Henrietta Maria with their two eldest children, Prince Charles, later Charles II, and Princess Mary oil on canvas, in a mid 18th Century carved and gilded frame decorated with a running floral pattern 169 x 141cm Provenance: Bavington Hall, Capheaton, By descent to Mrs R D Shafto, Her Sale, Christie's, London, 11 November 1994, lot 66, when acquired by the present owner The present picture is a reduced copy after the original, known as The Greate Peece (303.8 x 256.5cm) which used to hang at Whitehall and is now at Windsor Castle (see O. Millar Pictures in the Royal Collection: The Tudor, Stuart and Early Georgian Pictures, London, 1963, no. 150, p. 98). A copy by Remigius van Leemput (1607-1675) is also known (288 x 228cm, Birmingham Museums Trust, no. 1970P264). During the Restoration, artists such as van Leemput were commissioned (sometimes by Charles II himself) to produce copies of such portraits in support of the Royalist cause, and it is likely the present picture was executed at a similar time. The painting is executed in oil on a canvas support which has been lined. The lining appears early and the painting is attached to a wooden stretcher with a horizontal cross bar and diagonal corner braces, one of which is missing at the top left corner (seen from the reverse). The canvas tension is slightly slack but the picture is generally in plane. The paint layers are in a good, stable condition overall. There is a network of age cracks including a regular diagonal crack pattern, possibly relating to the canvas weave. The varnish appears to have been partially cleaned, with residues of an older varnish visible in the background. The upper varnish is semi-matte, clear and even. There are localised areas of overpaint around the figures. The appearance of the picture is good. There is a thick layer of dust across the surface creating a matte, dull surface.Total framed dimensions 195 x 165cm 

Attributed to Frederick de Moucheron (Dutch, 1633-1686) A wooded river landscape with bathing shepherdesses amidst classical ruins and animals oil on canvas 40 x 48.5cm Provenance: By descent within the family of Sir William Foster, 1st Baronet of Norwich (1798–1874), to Janet Foster, 8 Stanley Crescent, London, W11 A similar painting, attributed in full to de Moucheron, in which the semi-naked woman and sleeping figure are identically represented, is in the Government Art Collection (No. 0/729), presently in the British Embassy in Prague. Whilst the landscape in both these works is almost certainly by de Moucheron's hand, it is possible that the figures and animals are by a collaborator, although probably not his best known associate Adriaen van de Velde.

Philip de László MVO RBA (Hungarian, 1869-1937) Portrait of Lady Susan Townley (née Lady Susan Keppel, 1868-1953) signed and dated to the reverse 'P. A. László / 1911. Sept.' and inscribed with the sitter's identity oil on board, oval 61 x 47cm Provenance: With Colnaghi, London, 1985, where acquired by the family of the sitter Exhibited: London, Colnaghi and Clarendon, Society Portraits 1850–1939, 1985, no. 76 Literature: C Newall, Society Portraits 1850–1939, Colnaghi and Clarendon, 1985, no. 76, p. 168, ill. p. 169; Sandra de Laszlo, ed., A Brush With Grandeur, 2004, p. 111, ill. fig. 67; K Field ed., Transcribed by Susan de Laszlo, The Diaries of Lucy de László Volume I: (1890-1913), de Laszlo Archive Trust, 2019, ill. p. 188 The sitter, Lady Susan Townley, was the fifth of the seven daughters of William Keppel (1832-1894) 7th Earl of Albemarle, and Sophia Mary (1832-1917) second daughter of the Hon. Sir Allan Napier McNab, first Baronet and Prime Minister of Canada. In 1896, she married the diplomat Walter Townley (1863-1945) who throughout his long career held postings in numerous cities including Bucharest, Teheran, Peking, Paris and Buenos Aires amongst others. Lady Susan recorded her experiences of life in these places in her autobiography The Indiscretions of Lady Susan, published in 1922. The present portrait was executed during Lady Susan's stay with Lady Wantage in Lockinge, Berkshire, where she and her husband were staying for over a month on their way from Buenos Aires to Bucharest. De László was himself a guest at Lady Wantage's home from 10th to 15th September 1911. The sitter had met the artist earlier that year when she accompanied her husband to sittings for his formal full length portrait completed in July 1911. Lady Susan's sister-in-law, Lady Gertrude Egerton, wife of her brother, the 8th Earl of Albemarle, also sat to De László. The present portrait is recorded under number 7360 in the Catalogue Raisonné of Works by Philip de László being compiled by Sandra de László and The de László Archive Trust. The sketch is executed in oil on a composite thick board support. The board bows forward at the centre and is secured in the frame with horizontal battens which appear to be attached to the frame rather than the reverse of the painting. The support appears to be have been reduced in size into an oval format – the inscription on the reverse has been trimmed in this process. The artists’ signature has been kept and secured to the reverse. The paint layers are in a good, stable condition. There are lumps across the surface associated with the texture of the board and the support has probably discoloured with age, but overall the appearance of the work is good.

Circle of Pieter Pourbus (Flemish, 1523-1584) Portrait of a gentleman, standing three quarter length, in black beside a table on which lies a gold timepiece inscribed upper right 'AETATIS. LVI:' and charged upper left with a coat of arms and the letters 'V.D.S.V.D.' oil on panel68.5 x 49.5cmThe painting is executed in oil on a wooden panel formed from two boards in vertical alignment with an insert at the top of the right hand board. The panel measures 692 x 294 mm at its maximum dimensions. The panel has a cradle fitted to the reverse formed of six fixed vertical battens and seven horizontals. The horizontal battens are seized, indicating that the panel is under some stress. The insert appears to be an original part of the panel construction. There is some movement around the joins but overall they are stable and secure. The paint layers are in a good, stable condition overall. There are some areas of overpaint, notably on the sitter’s face where there are large areas of dark and discoloured retouching. The extent of the overpaint is difficult to determine due to the varnish but the painting appears to be in a good condition with no extensive areas of loss. The varnish has yellowed with age and is dull; no longer adequately saturating the paint layers below.

Follower of Alonso Sanchez Coello Portrait of a lady standing three quarter length in black, with pearls in her hair and white ruff, castellated buildings beyond in a landscapeoil on panel82 x 60cmThe painting is executed on a wooden panel which is formed from three boards in vertical alignment and measuring 845 x 613 mm. On the reverse of the panel are three horizontal battens which sit in dovetail grooves in the panel. These are likely to be part of the original construction of the panel, although it is possible they are a later addition. The left hand board has two splits, one which runs almost the entire vertical length of the panel and a second which follows the woodgrain from the upper edge of the panel. There are also pieces of canvas securing joins and old splits on the reverse. Overall, the panel is in a good, stable condition. The paint layers are in a good condition overall with no evidence of flaking or loss. There are areas of wear and abrasion, notably in the black passages of the sitter’s dress. This has likely occurred due to over cleaning in the past. In some areas, wide drying cracks have formed in the paint layers. Drying cracks form as the paint layer dries, usually when there is a high proportion of medium to pigment. They typically have rounded edges and reveal lower paint or ground layers along the cracks as the paint has contracted. There are areas of overpaint across the surface. In areas this has been liberally applied in a brushy manner, for example across the panel joins. Despite being slight discolouration, the overpaint is acceptable from a normal viewing distance. There are residues of old varnish evident which remain from a previous cleaning. The upper varnish layer is very thick and glossy. There are numerous scuffs and scratches to the surface of the varnish.

Continental School, 19th century A panoramic view of the Western Ghats, India, with a Maratha fort, possibly Pratapgad Fort, Maharashtraoil on canvas50 x 71cmWe are grateful to Charles Greig for his assistance in cataloguing this lot.The painting is executed in oil on a canvas support which is unlined. The canvas is attached to an open window, wooden stretcher which is missing some keys. The canvas tension is slack which has caused general undulations across the surface and stretcher bar marks, following the edges of the wooden frame behind. There is a small puncture to the canvas near the upper edge which has resulted in paint loss. In the darker paint passages wrinkling has formed at the paint layer dried, this has led to small scattered losses. There is also some wear and abrasion around the edges. The varnish is sull and yellowed and has imbibed significant dirt. There are some splashes of gold paint along the lower edge caused when the frame was repainted, but there is no obvious evidence that the picture has been restored in the past.

Guilliam Forchondt I (Flemish, 1608-1678) and Caspar van der Hoecke I (Flemish, c. 1580-c. 1648) Rebekah offers Eliezer a drink from her pitcher (Genesis 24:10-18), circa 1635-1641 oil on copper 71 x 86cm Provenance: Christie's, London, Old Masters & British Paintings, 9th December 2011, Lot 12, as 'The Departure of the Israelites' by Guilliam Forchondt the Elder, with figures attributed to Willem van Herp, where acquired by the present vendor Painted on an impressively large sheet of copper, typical of the artist, this painting is an exceptional, well-preserved example of the work of Guilliam Forchondt the Elder. Principally a landscape painter, Forchondt often collaborated with other artists who painted the figures in his pictures, including Willem van Herp (1614-1677), to whom the staffage in the present picture was previously attributed by Dr Jan de Maere (when sold at Christie’s in 2012). However, in 2013 the figures were given in full to Caspar van den Hoecke I (c. 1580-c. 1648) by Jan Kosten (RKD, the Hague). Although described as ‘The Departure of the Israelites’ at the 2012 Christie’s sale, Kosten also correctly identified the scene as Rebekah offering Eliezer a drink from her pitcher (Genesis 24:10-18) and dated the work to circa 1635-1641. Forchondt was also an art dealer, running an extensive international dealership with offices in Vienna, Lisbon and Cadiz, which played an important role in the dissemination of Flemish Baroque art throughout Europe and beyond. This painting is listed in the database of the RKD (Netherlands Institute for Art History), No. 241355, as by Guilliam Forchondt the Elder and Caspar van den Hoecke the Elder. The painting is executed in oil on a large copper panel. The copper support bows forward but is overall in a very good condition. A wooden cradle is present on the reverse but is now only attached at the very edges of the copper panel, offering little support. The paint layers have been well preserved and are stable and secure overall. There are a few localised areas of overpaint which are slightly matte and uneven in texture but adequate from a normal viewing distance. There are old varnish residues in darker paint passages, visible under ultraviolet light, remaining from a previous, careful clean. The upper varnish layer is semi-matte, slightly uneven with some scuffs across the surface.

North Italian School, 1630 Portrait of a Benedictine monk, three quarter length, standing, holding a prayer book, beside a table on which stands a crucifix, a skull and an hourglass inscribed upper left 'AEt. sua. 30. Año Dñi 1630'oil on canvas135 x 108cmProvenance:Gurney's Manor, Hingham, NorfolkThis unusual and compelling portrait of an unknown monk at the age of thirty, has an almost Spanish intensity to it, yet he is portrayed with a careful technique of realism not much seen in Spanish painting at this time. This naturalistic approach suggests it was more probably painted in Lombardy and perhaps in or around Cremona. If so, it is in the late flowering of the long tradition started there by Sofonisba Anguissola (1532-1625) and the Campi family of painters and continued by their followers when Sofonisba left for Spain. Almost certainly a Benedictine monk – and presumably an abbot to have had such an imposing image of himself painted - he was clearly aware of such status at his relatively young age. But any pride is countered by the large scale crucifix on the table beside him along with a skull and an hourglass to remind the viewer of both his and our own limited earthly existence. Italy in 1630, especially in the Milan region, was in the middle of a devastating plague, so perhaps this prelate was encouraged to secure his likeness, even if for the refectory of his monastery, in case he too succumbed, as had hundreds of thousands of his fellow Italians.