Attributed to Juan Bautista Martínez del Mazo

Sir John Campbell, 2nd Marquess of Breadalbane (1796-1862), Taymouth Castle (and possibly previously in his apartments at Holyrood House, Edinburgh);
By descent to his sister, Lady Elizabeth Pringle (d. 1878);
By descent to her daughter, the Hon. Mrs. Robert Baillie-Hamilton, Langton, Duns, near Berwick, Scotland (d. 1912);
By descent to her sister, Magdalen, Lady Bateson Harvey (d. 1913);
By descent to the great-nephew by marriage of Sir Robert Bateson Harvey, Lt.-Col. the Hon. Thomas George Breadalbane Morgan-Grenville-Gavin D.S.O., M.C., Langton, Duns, Berwickshire;
His sale, London, Christie's, 27 March 1925, lot 169, for £48.6 to R. Warner;
With Sackville Gallery, London;
With Duits Gallery, London, 1936;
Contini-Bonacossi collection, Florence.

A. De Beruete, Velázquez, London 1906, p. 161;
W. Gensel, Velázquez, Stuttgart 1913, p. 221;
A.L. Mayer, Diego Velázquez, Berlin 1924, cat. no. 305, reproduced;
J. Lopez-Rey, Velázquez, London 1963, p. 235, cat. no. 335, reproduced plate 310 (as 'Workshop of Velasquez');
J.C. Aznar, Velázquez, vol. II, Madrid 1964, p. 880;
P.M. Bardi, L'Opera completa di Velázquez, Milan 1969, p. 108, cat. no. 122A, reproduced;
A.E. Perez Sanchez & N. Spinosa, Velázquez a Capodimonte, exhibition catalogue, Naples 2005, p. 114.

"The following condition report has been provided by Henry Gentle, an independent restorer who is not an employee of Sotheby's. The original canvas is lined and the paint is stable. There is a restored vertical tear, upper left, a small addition along the top edge, several restored horizontal tears down the left hand edge and one or two in the carpet. There is a retouched loss to the cheek of the child and visible abrasions to the background layer as well as the hair and face of the boy. Some of the glazes have been compromised Other areas of painted surface are in good condition. The varnish is fresh, saturates satisfactorily and is not discoloured."
"This lot is offered for sale subject to Sotheby's Conditions of Business, which are available on request and printed in Sotheby's sale catalogues. The independent reports contained in this document are provided for prospective bidders' information only and without warranty by Sotheby's or the Seller."

Del Mazo's portrait of Don Felipe Próspero is deeply indebted to that of his master, Velázquez, which was painted in 1659 and is now in Vienna, Kunsthistorisches Museum.¹  The interiors are nearly identical, although there are differences in the background, and the dog, which Velázquez supposedly valued a great deal,² repeats his pose on the chair. In Velázquez's work however, Don Felipe is portrayed wearing a silver-banded rose dress under a transparent white pinafore, instead of the tunic, breeches and boots he wears here. Velázquez's portrait was one of the very last works he painted prior to his death in 1660. 

We are grateful to Prof. A.E. Pérez-Sánchez for tentatively proposing the attribution to Del Mazo on the basis of photographs.

1.  Inv. no. 319; see J. López-Rey, Velázquez, vol. II, Cologne 1996, pp. 320-21, no. 129.
2.  According to Palomino, Velázquez's biographer.