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Lot 17
Follower of Sir Godfrey Kneller, 18th Century School, oil on canvas, three quarter length portrait depicting a lady as Diana the Huntress with bow and arrow and dog by her side, 74.5cm x 69cm, unsigned, framed 101cm x 94cm. Condition - re-lined, gold painted modern frame, modern mount, not possible to check canvas under window mount, appears re-sealed, canvas on stretcher 77.5cm x 72cm, no evidence of damage/repair to canvas.
Lot 51
Late Victorian mahogany and mixed woods inlaid, bow front display cabinet. The moulded gallery with ribbon, floral and foliate inlay and moulded top above a single astragal glazed door flanked by two bowed glass panels, the interior revealing velvet fitted shelf above a kidney shaped under tier standing on square tapering legs and splayed feet. 99x143x39cm approx . (B.P. 21% + VAT)
Lot 130
George Chambers,British 1803-1840-The Bombardment of Algiers, 27 August 1816 (?);oil on millboard, indistinctly signed '...BERS 35' (lower left), with (presumably) J. M. W. Turner’s blindstamp (Lugt 1498) verso, 25.3 x 35.4 cm., (unframed). Provenance: [Probably] J. M. W. Turner (1775-1851).; Collection of Sir & Mrs Julius Drewe.; Collection of Pierre Bordeaux-Groult (1916-2007), Chateau de Moncley, France.; Anon. sale, Shapiro Auctions, New York, 12 March 2016, lot 4 (as 'Attributed to Joseph Mallord William Turner', $25,000); Private Collection.Note: The present work seems to be an early oil sketch for the artist’s very large finished canvas painted for the Naval Gallery at Greenwich Hospital in 1836 (National Maritime Museum, BHC0617; Greenwich Hospital Collection) and in particular bears close compositional affinities with one of other preparatory studies in the NMM collection (PAF5973). In comparing it with the latter, note for example the position of the yards of the ship at left, the bow of the ship at right, and the ship at centre (albeit in different aspect and less developed in the present work). In the finished painting, the ships at centre (the 'Minden') and centre-right distance (the 'Queen Charlotte') are flying blue ensigns astern, and the latter also a plain blue flag at the mainmast, all denoting the Admiral of the Blue rank of the British fleet commander, Admiral Sir Edward Pellew, Lord Exmouth. This corresponds with the present work, in which the ship at centre similarly flies the blue ensign astern.The bombardment was essentially the final and decisive action intended to put an end to the commerce-raiding and (white) slave-taking of the Dey of Algiers, practically the last of the active 'Barbary pirate' city-states. The Anglo-Dutch fleet set the harbour ships and fortified lighthouse on fire, as well as considerable parts of the city, with Congreve rockets being among the munitions used – as shown in the burning background here and in the other variants held at Greenwich.The only element of doubt about subject is the rather large line-up of ships in the background, which might suggest a more conventional battle. An obvious one is the Battle of the Nile in 1798, in which Nelson's fleet also flew blue ensigns and the French flagship 'L'Orient' caught fire and blew up. That occurred after dark, however (about 10.30 p.m.), and this study does not suggest either night action or general dispositions at the Nile, which is also not a subject Chambers is known to have painted.We are grateful to Dr Pieter van der Merwe for suggesting the attribution of the present lot and for his assistance with the catalogue note.Please refer to department for condition report
Lot 17
Charles Compton, British 1828-1884- Venus with Mercury and Cupid (The School of Love), After Antonio da Correggio (Italian 1489-1534); oil on canvas, signed and dated 'C Compton / 1872' (lower right), 60.5 x 45.4 cm. Note: The present work is a 19th-century copy by Charles Compton after Correggio's original and larger painting, which was conceived in c.1525, and is today held in the National Gallery, London [no.NG10]. A young family enjoys a tender moment in a leafy glade. Venus, goddess of love, and here, unusually, depicted with wings, holds the bow of her son Cupid, as his father Mercury, god of wisdom, teaches him to read. Correggio's painting is a companion piece to his 'Venus and Cupid with a Satyr' (Louvre, Paris), in which a lustful satyr is shown uncovering Venus sleeping in sensuous abandon on the ground. The National Gallery’s painting represents the celestial Venus; the Louvre’s painting represents the earthly Venus. Although few biographical details are known about Charles Compton, he was acquainted with some of the Pre-Raphaelite artists and admired the paintings of John Everett Millais in particular. His monumental 'Banquet Given by Marylebone Reformers' is held at Cardiff University [no.77]. Please refer to department for condition report
Lot 284
A LATE 19TH CENTURY WHITE MARBLE, BRONZED AND GILT METAL FIGURAL CLOCK GARNITURE, the clock with surmount of bow, arrows in quiver in a foliate surround, the drum shaped clock case mounted as being carried by two bronzed putti, the enamel dial with Arabic numerals and floral swags, indistinct lettering 'REGARD-BE?CO', the eight day movement with bell strike by A D Mougin, the sunburst pendulum centred by a female mask, rectangular white marble plinth base with gilt metal beading, on four knopped feet, height 35cm x width 25cm, the garnitures of urn form with bronzed cherub handles, height 31cm, with key, pendulum and photocopy of a valuation dated March 2005 (3 + key, pendulum and copy of valuation) (Condition report: the clock, winds, runs and chimes half hourly, chip to the enamel above 12, some small chips to edges of the marble, otherwise in generally good condition)
Lot 285
A LATE 19TH CENTURY FRENCH GILT BRASS FIGURAL MANTEL CLOCK BY JACQUIER, surmounted by the three Graces holding aloft a cherub with a floral garland, after Clodion, the enamel dial with Arabic and Roman numerals, the eight day movement with bell strike signed 'JACQUIER A PARIS', the shaped plinth base mounted with birds to one side and bow, quiver of arrows, flaming torch and garland of flowers to the other, ring handles to the sides and on beaded and fluted tapering feet, height 41.3cm, with key, pendulum and photocopy of receipt dated 2008 (Clock + key, pendulum and copy of receipt) (Condition report: in good condition overall, the enamel dial has some damage below 30, the clock winds, runs and chimes but at time of report was striking 5 hours behind, a few areas of wear to the gilding)
Lot 294
DOMINIQUE ALONZO (FL. 1910-1930) A PATINATED BRONZE AND IVORY FIGURE OF A MALE VIOLINIST, posed standing playing on a cobbled street, ivory head and hands, signed to the front of the base and various stamps to the underside including '5849', height 25cm Ivory declaration submission reference EG7K93G6 Important note: This lot contains elephant ivory material. Please be advised that several countries, including those in the EU and the USA now prohibit the importation of ivory unless under specific conditions. Accordingly, prospective buyers should familiarise themselves with the relevant customs regulations of their country and ensure they are able to import this lot prior to bidding, this lot has been registered as exempt from the UK Ivory Act 2018 on account of it being made before 3 March 1947with less than 10% ivory by volume, ivory declaration submission reference EG7K93G6 (Condition report: the original violin bow is missing and comes with a loose replacement, the strings of the violin are only partially complete and the violin itself wobbles in its setting, both of the hands have been reattached to the sleeves at some point and the one which holds the bow is loose at the joint but there is no sign of damage or repair to the fingers)
Lot 1458
Late 20th Century Chinese exotic hardwood dressing table, the integral folding mirror above an arrangement of five drawers, the central bow fronted drawer with carved decoration on square shaped supports with undertier, 32ins high x 32ins wide x 20insOverall condition is good, no major damage or restoration
Lot 943
Hulsbergh after Campbell/The Plans and Elevations and Section of Bow Steeple in Cheapside/black and white engraving, 39cm x 26cm CONDITION REPORT: Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection
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