Here's a few selected lots coming up in our selected September sale
LOT 575: SCHOOL OF GIOVANNI ANTONIO CANAL, CALLED CANALETTO, VENICE, 1697 - 1768, AN EXTREMELY LARGE AND IMPRESSIVE OIL ON CANVAS
Venice, the entrance to The Grand Canal, looking West, framed.
(sight 117cm x 165cm, frame 129.5cm x 117.5cm)
Provenance: Sir James Ranald Martin, 1796 - 1874, Christies London, 26th April 1875, lot 94, as school CANALETTO
N.B. favoured by collectors and patrons, in the 1730s several versions of this view were undertaken by Giovanni Antonio Canal, 1697 - 1768, and his studio, the present work does not appear to be a copy and shows many variations of the figures and the river traffic and building . The handling of the river surface is particularly well achieved, James Ranald Martin, 1796 - 1874, worked in the service of the Honourable East India Company and was a noted Surgeon in the Bengal Army, later becoming President Surgeon to the Native Hospital of Calcutta. He is remembered in both India and the UK for his pioneering work connecting medical health with the environment. Born on the Isle of Skye on the West coast of Scotland, JR Martin was also an art collector who acquired works in Europe on his return visits to Britain
Est: £100,000-£150,000
LOT 1: A 19TH CENTURY VICTORIAN 18CT GOLD, SEED PEARL AND ENAMEL MEMENTO MORI RING
Having two rows of seven seed pearls, met by central black enamel front with gold script reading ‘MEMORY OF’ flanked by further black enamel decoration to shoulders, repeating chased and engraved decoration to shank, interior having script dating to 1895.
(UK ring size S)
Est:£150-250
LOT 135: A 20TH CENTURY CARTIER SANTOS OCTAGON STAINLESS STEEL AND GOLD WRISTWATCH
Having white dial with black Roman numeral hour marks, date aperture at 3, signed at 7, blue steel hands, faceted blue stone crown, automatique, D 0207788.
(37.5mm x 32mm)
£600-800
LOT 404: ATTRIBUTED TO THOMAS ROBINS, AN EARLY 19TH CENTURY GEORGE III SILVER TEAPOT
Hallmarked London, 1813, having fluted body decoration with reeded rim, stylised acanthus leaf spout and handle terminals, carved wooden finial and thumb grip handle, raised on four ball feet.
(h 15cm x w 26.2cm x d 15.2cm, gross weight 696.6g)
Est £300-500
LOT 444: CARTIER, AN 18CT GOLD AND DIAMOND LOVE BRACELET Set with twelve round cut diamonds with three rows of pavè set diamonds.
(set with approx total diamond weight 3.10ct) marked Cartier 19 PDR729 AU 750, in a fitted red leather Cartier box. RRP £59,500
(approx internal width 6.5cm)
Condition: good
£17,000-£21,000
LOT 460A: QING DYNASTY CARVED PALE CELADON JADE POURING VESSEL, IN THE STYLE OF THE ANTIQUE ‘YI’ VESSEL
Body having inscriptions throughout met by a Greek Key border upper rim, handle having a carved mythical beast with curled split tail.
(h 7.6cm x w 13.4cm x d 5.4cm)
£100-200
LOT 459: AFTER AUGUSTE RODIN, FRENCH, 1840 - 1917, A LARGE 20TH CENTURY BRONZE SCULPTURE OF A STANDING MALE NUDE, ORIGINAL TITLE L'AGE D'AIRAIN
Mounted on slate plinth.
(h 62cm x w 19.5cm x d 15.5cm)
£500-800
LOT 450: A LATE 18TH/EARLY 19TH CENTURY MINIATURE PORTRAIT OF A BRITISH ROYAL NAVY CAPTAIN/COMMODORE ON IVORY
Depicting a gentleman in royal navy underdress uniform, unsigned.
Ivory Reg no: BKZ84RTG
(58mm x 46.5mm)
Est £150-250
LOT 536: HONORÉ PONS, A LARGE AND IMPRESSIVE EARLY 19TH CENTURY FRENCH REGENCY BRONZE GILT ORMOLU AND MARBLE CLOCK
Wth a seated model of saint Jerome with a scroll and quill above a pair of mythical birds raised on a substantial stepped base and plinth with acanthus leaf border, the dial with Roman numerals and eight day movement striking on a bell 1825 stamped to movement, raised on scroll bracket feet.
(size 62cm x d 21cm x w 48cm)
N.B. Pierre-César Honoré Pons was an important clock maker, who is recorded as being active in Paris from 1807-50. Honoré Pons was trained by Antide Janvier, the royal clockmaker to King Louis XVI
Est £500-800
LOT 558: ATTRIBUTED TO NICCOLO DELL’ABATE, MODENA, 1509/1521 - 1571, FONTAINEBLEAU, PEN, INK AND WASH DRAWING
Study Ulysses taking leave of Alcinous.
(sheet 26.5cm x 37.5cm)
N.B. previous attribution in pen by different hands for Francesco Primaticcio, 1504 - 1570, originally conceived by Primaticcio as part of the mural decorations of 58 episodes from Homer’s Odyssey for The Ulysses Gallery at Le Château de Fontainebleau. The gallery was completely destroyed by fire in 1738. Surviving preparatory works are extremely rare and offer a glimpse of how the gallery appeared. An etching in reverse by Theodor van Thulden is known Plate 29 from ‘Les Travaux d’Ulysse with slight differences
Est £3000-5000
LOT 501: A LARGE AND IMPRESSIVE LATE 19TH CENTURY BRONZE WATER FOUNTAIN
The large circular baluster urn surrounded by four mythical diving dolphins, supported on dolphin column terminated on a plinth base.
(h 98cm x diameter 167cm)
N.B. possibly Inspired by the Fontaine Charlemagne, rue Charlemagne, Paris
Est £4000-6000
LOT 513: MANNER OF WILLIAM KENT, A GEORGE II CARVED WALNUT AND PARCEL GILT CENTRE TABLE
The coloured granite top above an egg and dart moulded top edge, over a Vitruvian scroll frieze with acanthus spray angles, raised on four acanthus scrolling leaf and shell decorated cabriole legs terminating on lion paw feet with hairy hocks.
(h 79.5cm x d 70cm x w 137cm)
N.B. a similar table The Ripley Castle Table sold at Bonhams, London, New bond Street, 29th November 2022, lot 49
Est £3000-5000
LOT 514: A 17TH CENTURY WILLIAM AND MARY GEOMETRIC INLAID OYSTER VENEER CHEST
Of chest of two short over three long graduated drawers fitted with gilt metal handles, raised on bracket feet.
(h 89cm x 56cm x w 95cm)
N.B. the handles and feet are not original, would of originally been on bun feet
Est £800-1200
LOT 515: MANNER OF THOMAS CHIPPENDALE, A PAIR OF GEORGE III CARVED MAHOGANY OPEN ARMCHAIRS
The shaped back carved with central anthemion cresting flank by spray laurel garlands and acanthus leaves, the padded back above outswept padded scroll arms, with 'S' shaped arm supports above serpentine seat with fluted seatrail, raised on on turned tapering fluted legs terminating on lobed feet, baton holes to the underside.
Traces of old green paint.
N.B. certain elements in the design of the present armchairs including the anthemion cresting to the seat-rail, and the scrolling arms , baton holes can be associated with the repertoire of ornament commonly employed by a group of London furniture makers such as Thomas Chippendale and Ince and Mayhew and William and John Linnell
£1000-2000
LOT 582: STUDIO OF SIR ANTHONY VAN DYCK, ANTWERP, 1599 - 1641, LONDON, OIL ON CANVAS
Portrait of King Charles I and Henrietta Maria, held in period carved giltwood Kent Palladian frame, re-lined.
(sight 41cm x 55.5cm, frame 61cm x 75cm)
Note: The present works are based on van Dyck's full length portrait of King Charles I in armour 1637 and an important full length portrait of queen Henrietta Maria 1636 .
Other oval versions are known copy of the head, Sotheby's, London, 12 December 1958 (120), was dated 1636; another, at Althorp, is dated 1638. Many other copies and derivations of the head are recorded. At Melbourne Hall a copy of the head is paired with a copy of the head of Charles I from IV.A. A similar pair was at Sotheby's, London, 13 March 1963 (35, 36). A number of important copies of the head in miniature are known:
Reference : Van Dyck a complete catalogue of the paintings, page 472 IV.55, page 634 IV.A20
Est £4000-6000
LOT 583: STUDIO OF REMBRANDT HARMENSZ. VAN RIJN, LEIDEN, 1606 - 1669, AMSTERDAM, OIL ON CANVAS
Portrait, Tronie of a Young Man with Gorget and Beret , Relined, held in a swept gilt frame, Indistinct early Christie's stencil verso.Collectors inventory pencil inscription verso stretcher: “No 69”.
(sight 51cm x 62.5cm, frame 66cm x 78cm, stretcher 52cm x 64.5cm measured to edge of stretcher, with approx 1.5cm of canvas wrapped to edge)
N.B. although not unanimously attributed to Rembrandt as an early self-portrait, the master version of this work known as ’Portrait of a Young Man’ (Circa 1639) has been part of the Uffizi Collection since 1913, with an early provenance linked to Anna Maria de Medici and Cosimo III de Medici ( who visited Rembrandt twice in his Amsterdam studio )( Size: 54cm x 62.5cm, oil on panel). Galleria degli Uffizi inventory No: 3890 ( Bredius 20).
The painting was given by Elector Palatine Johann Wilhelm, 1658 - 1716, son in law of Cosimo III de Medici, Grand Duke of Tuscany, to the Marquis Carlo Gernini, 1648 - 1730, and his brothers Giovanni and Andrea, in respect of services rendered in the acquisition of several paintings. In 1724 the work was briefly publicly displayed at the Academie de Disegno. The Marquis de Gernini sold the work in 1818 to The Grand Duke Ferdinand III and it was placed in the Palazzo Pitti, and ultimately moved to the Uffizi in 1913.
The present work clearly executed by an exceptional hand, differs in several respects from the Uffizi version. Most notably the sitter in this work appears to be younger in age. X Ray imaging reveals close similarity to the handling seen in the Uffizi version, however clear passages of pentimenti and originality of composition are also revealed.
The earliest known engraving of the work titled ‘Ritratto di Rembrandt’ was made in 1759 by Johann Gottfied Seutter (1717-1800). See: www.britishmuseum.org/collection/object/P_1915-0106-15
Some scholars now accept that Rembrandt himself copied his early work known as The Tronie of a Young Officer with a Gorget ( Mauritshuis, Hague ), with the second autograph version to be found in Nuremberg [see ’Tronie of a Young Officer a second version by Rembrandt himself?’ Author: Prof Eric Jan Sluijter].
Est £5000-8000
We are always consigning items for our monthly sales, so if you have something you would like to sell contact us !
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