London, South Kensington
30 October 2014
PROPERTY OF THE 10TH DUKE OF LEEDS WILL TRUST (LOTS 102-112)
Studio of Sir Peter Lely (Soest, Westphalia 1618-1680 London)
Portrait of a lady, traditionally identified as Bridget Bertie, Duchess of Leeds (1629-1704), three-quarter-length, in a gold dress and a gold-embroidered blue mantle, seated by a pilaster
oil on canvas
49¾ x 40 1/8 in. (126.4 x 102 cm.)
in a bolection frame
By descent through the Dukes of Leeds, Hornby Castle, Yorkshire, to the present owner.
Contact Client Service
New York +1 212 636 2000
London +44 (0)20 7839 9060
Asia +852 2760 1766
+44 (0)20 7752 3245
Flavia defebvre D'Ovidio
+44 (0)20 7752 3371
+44 (0)20 7389 5151
Hornby Castle, Catalogue of Pictures, London, 1898, p. 5, no. 60.
Historical and descriptive catalogue of pictures belonging to His Grace The Duke of Leeds, London, 1902, p. 24, no. 60.
All sold and unsold lots marked with a filled square in the catalogue that are not cleared from Christie’s by 5:00 pm on the day of the sale, and all sold and unsold lots not cleared from Christie’s by 5:00 pm on the fifth Friday following the sale, will be removed to the warehouse of ‘Cadogan Tate’. Please note that there will be no charge to purchasers who collect their lots within two weeks of this sale.
Malcolm Cossons looks at the resurgence of cross-collecting, canvassing the opinions of leading art world figures ahead of this month's Masterpiece London
Specialist Tim Schmelcher explains why this 1655 print is considered among the artist’s greatest achievements in any medium
Artists, patrons and critics have argued for centuries over the right way to frame a painting. Ultimately, it’s a matter of personal taste, says Andrew Graham-Dixon
From record-breakers to national treasures, a selection of landscape-changing works offered in Christie’s salerooms across the past 251 years
The Impressionist and Modern Art Evening Sale totals £128,081,750, with works by Picasso and a record-breaking Franz Marc painting also achieving top prices
Alastair Smart profiles the life and work of the Pre-Raphaelite artist described by Burne-Jones as ‘the best of us all’ — illustrated with works offered in July