Friedrich von Amerling 1803 Wien - 1887 ebenda Bildnis eines Mädchens. 1839. Öl auf Leinwand. Rechts unten mit eingeritzter Signatur und datiert. Verso auf dem Keilrahmen mit altem handschriftlich bezeichnetem Etikett sowie nummeriert '2734'. 45,5 x 38 cm (17,9 x 14,9 in). • Amerling ist neben Waldmüller einer der technisch virtuosesten Porträtisten der Wiener Gesellschaft. • Seine Darstellungen und Typen sind prägend für eine romantisch-biedermeierliche Schönheitengalerie. • Bildnisse aus seiner Hand befinden sich in den Bayerischen Staatsgemäldesammlungen, München, dem Belvedere und dem Kunsthistorischen Museum, Wien sowie der Alten Nationalgalerie, Berlin. PROVENIENZ: Privatsammlung Wien/USA (seit mindestens drei Generationen in Familienbesitz). Neben Ferdinand von Waldmüller gehört Friedrich von Amerling zu den bedeutendsten Porträtmalern des Habsburgischen Österreichischen Kaiserreichs. Seine Ausbildung beginnt er 1815 an der Akademie der Künste in Wien, anschließend folgen einige Jahre an der Akademie in Prag. Künstlerische Bildungsreisen führen ihn nach London, Paris und Rom, während derer er sich mit der Kunst bedeutender schulprägender Meister wie Thomas Lawrence oder Horace Vernet auseinandersetzt, als auch mit dem für das malerische Curriculum unerlässlichen Antikenstudium, Diese ausgedehnte Reisetätigkeit führt ihn im Laufe seines Lebens außerdem nach Spanien, erneut nach England, nach Griechenland, Skandinavien bis ans Nordkap und schließlich 1886 nach Ägypten und Palästina. Kurz vor der Entstehung unseres Bildnisses reist er nach Italien, in die Niederlande und 1839 nach München. Zu dieser Zeit ist er bereits einer der gefragtesten Porträtisten des Großbürgertums und des Hochadels, zu seinen bedeutendsten Werken gehört das Porträt von Franz I. im Kaiserornat (1821, Kunsthistorisches Museum, Wien), das durch die ungewöhnlich lebensnahe Pose und die präzise modellierte Stofflichkeit der Gewandung und der juwelengeschmückten Reichsinsignien einzigartigen Stellenwert im Œuvre besitzt. Das bis dato teuerste versteigerte Gemälde aus seiner Hand, 'Mädchen mit Strohhut' (1835, The Princely collection, Liechtenstein, Vaduz/Wien), zählt jedoch zu den Bildnissen schöner Unbekannter. Für solche Bildnisse stehen ihm oft Schönheiten aus Musik und Theater Modell, die ihm für Typenporträts wie die Morgenländerin oder 'Lautenspielerin' ihr Gesicht leihen (1828, Belvedere, Wien). Von der gleichen technischen Raffinesse in den Details wie den glänzenden Seidenbändern, den zarten Rosen im geflochtenen Haar, dem transparent schimmernden Porzellanteint und den rosigen Wangen bis zum dunkelrot samtenen Kleid mit dem puffigen Fellkragen ist das Bildnis dieses jungen Mädchens, dessen Physiognomie ganz der unschuldigen Lieblichkeit des von Amerling bevorzugten Frauentypus entspricht. Vor dem dunkel gehaltenen Hintergrund verstärkt sich der Effekt der akribisch geschilderten Stofflichkeit und der Lichteffekte, mit denen Amerling hier den Idealtypus einer naiv-unberührten, mit romantisch-verklärtem, leicht abwesenden Blick dargestellten jungen Schönheit entwirft. [KT] Aufrufzeit: 10.12.2022 - ca. 15.16 h +/- 20 Min. Dieses Objekt wird differenzbesteuert, zuzüglich einer Einfuhrumsatzabgabe in Höhe von 7 % (Ersparnis von etwa 5 % im Vergleich zur Regelbesteuerung) oder regelbesteuert angeboten (N).ENGLISH VERSIONFriedrich von Amerling 1803 Wien - 1887 ebenda Bildnis eines Mädchens. 1839. Oil on canvas. With the scratched signature and the date in lower right. Verso of the stretcher with an old label with inscription and the number '2734'. 45.5 x 38 cm (17.9 x 14.9 in). • Next to Waldmüller, Amerling was one of the most virtuoso portraitists of the Viennese society. • His depictions were formative for the romatic ideal of beauty typical of the Biedermeier era • His portraits are in the Bavarian State Painting Collections, Munich, the Belvedere and the Kunsthistorisches Museum, Vienna and the Alte Nationalgalerie, Berlin. PROVENANCE: Private collection Vienna/USA (family-owned for at least three generations). Together with Ferdinand von Waldmüller, Friedrich von Amerling is one of the most eminent portrait painters of the Austrian Hapsburg Empire. Beginning his education in 1815 at the Academy of Arts in Vienna, he subsequently spent several years at the Academy in Prague. His educational journeys took him to London, Paris and Rome, where he studied the art of prominent masters of the school, such as Thomas Lawrence and Horace Vernet, as well as studying the ancient world, which was an essential part of the artistic curriculum at the time. In the course of his life, his extensive travels also took him to Spain, England, Greece, Scandinavia, the North Cape and eventually, in 1886, to Egypt and Palestine. Shortly before he created the portrait on offer here, von Amerling traveled to Italy, the Netherlands and, in 1839, to Munich. At this time, he was already one of the most sought-after portraitists for the upper middle classes and the high nobility; one of his greatest works is the portrait of Franz I in imperial regalia (1821, Kunsthistorisches Museum, Vienna), which occupies a unique place in his oeuvre thanks to the subject’s unusually lifelike pose and the accurately rendered materiality of the robe and the jewelry-adorned imperial insignia. “Girl with Straw Hat” (1835, The Princely Collection, Liechtenstein, Vaduz/Vienna), the most expensive von Amerling painting sold at auction to date, is among the portraits of unknown beauties. Beautiful women from the world of music and theater, who lent him their faces for type portraits such as the “Oriental Woman” or the “Lute Player” (1828, Belvedere, Vienna), often served as models for his portraits. This portrait of a young girl, whose physiognomy is eminently representative of the innocent gentleness of von Amerling’s preferred type of woman, displays the same technical sophistication of detail, from the shiny silk ribbons and the delicate roses in the braided hair to the transparent shimmering porcelain complexion and rosy cheeks and the dark red velvet dress with the puffy fur collar. The dark background accentuates the effect of a meticulously rendered materiality and the impact of the light effects, which von Amerling employs to create the archetype of a naïve, untouched young beauty, portrayed with a romantic, slightly absent-minded gaze. [KT] Called up: December 10, 2022 - ca. 15.16 h +/- 20 min. This lot can be subjected to differential taxation plus a 7% import tax levy (saving approx. 5 % compared to regular taxation) or regular taxation (N).
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Jacques Grief de Claeuw, 1623 Dordrecht – 1694 Leiden, zug.Vanitasstillleben mit Musikinstrumenten und MalpaletteÖl auf Leinwand.101 x 121 cm.Datierung „Anno 1689“.Ungerahmt.Das vorliegende Werk zeigt einen Totenschädel zwischen Musikinstrumenten, Büchern, Malpalette, Grafiken und Globus. Die Gegenstände eng beisammen, zum Teil übereinander getürmt, auf einem Tisch mit roter Decke vor dunklem Hintergrund. Im Zentrum der Schädel umgeben von gebrochenen Getreidehalmen, Symbol des Todes sowie der Wiederauferstehung. Seitlich ein Stapel Bücher, davor ein grafisches Blatt mit Künstlerportrait, dazwischen ein geöffneter Almanach sowie eine Urkunde mit Siegeln. Zu den ikonografischen Motiven der Vanitas zählt die im Zentrum stehende erlöschende Kerze sowie das Stundenglas am linken Bildrand. Über der Laute ein Zettel mit Datierung „ANNO 1689“ mit einem Begräbnishinweis und Nennung der Stadt Leyden. Vereinzelt minimal berieben.Provenienz:Private Sammlung Van de Valk, Rijswijk (Zuid-Holland).Private Sammlung M. den Uyl, Den Haag.Anmerkung 1:Jacques de Claeuw war ein niederländischer Maler des Goldenen Zeitalters. Er schuf Genrebilder und Stillleben (Vanitas) und war der Lehrer seines Sohnes, des Stilllebenmalers Adriaen de Grijef.Anmerkung 2:Das vorliegende, 1689 datierte Gemälde vergleichbar mit einem 1676 entstandenen Bild des Künstlers, das sich unter Inv.Nr. 765 in der Staatlichen Kunsthalle Karlsruhe befindet. Ausstellung:Dieses Gemälde war in der Ausstellung „Eitelkeit der Eitelkeiten“ zu sehen, Museum De Lakenhal, Leiden 1970.Auktionen mit Werken des Künstlers: Palais des Congrès, Versailles, 8.-9. Juli 1975, Lot 27, Abb. Schwarz-Weiß-Reproduktion.Palais Galliéra, Paris, 27. November 1975, Lot 48, schwarz-weiße Reproduktion als V.L. van der Vinne.Gersaint, Straßburg, 1. Dezember 1988, Lot 44, Bild in anderem Zustand: statt einer Vase ein Totenkopf.Hôtel Drouot, Paris, 16. Mai 1990, Lot 28, Abb. Farbreproduktion.Marc-Arthur Kohn, Paris, 10. Juni 1997, Abb. Farbreproduktion, Lot 17, Bild in anderem Zustand: statt einer Vase ein Totenkopf.Hampel Kunstauktionen, München, 4. Dezember 2009, Lot 267. (13403525) (18)Jacques Grief de Claeuw, 1623 Dordrecht – 1694 Leiden, attributedVANITAS STILL LIFE WITH MUSICAL INSTRUMENTS AND ARTIST’S PALETTE Oil on canvas.101 x 121 cm.Dated “Anno 1689“.Note with date “ANNO 1689“, funeral information and naming of the city of Leyden above the lute.Provenance:Private collection Van de Valk, Rijswijk (Zuid-Holland).Private collection M. den Uyl, The Hague.Notes 1:Jacques de Claeuw was a Dutch Golden Age painter. He created genre paintings and still lifes (vanitas) and was the teacher of his son, the still life painter Adriaen de Grijef. Notes 2:The present painting, dated 1689, is comparable to a painting by the artist from 1676, which can be found under inv. no. 765 in the State Art Gallery in Karlsruhe.Exhibitions:This painting was on display in the “Vanity of Vanities“ exhibition, Museum De Lakenhal, Leiden 1970.
Jacopo Amigoni, 1682 Venedig – 1752 Madrid, zug.Junge Dame mit Laute und roter SchleifeÖl auf Leinwand.95 x 73 cm.In vergoldetem ornamental akzentuiertem Rahmen.Hüftportrait einer jungen Dame, deren zartrosa Inkarnat sich zusammen mit der Allonge-Perücke und den weißen Spitzen vom bräunlichen Hintergrund abhebt. In ihren Händen eine Laute. Gekonnt verstand es der Künstler, vermutlich Jacopo Amigoni, die verschiedenen Oberflächen, wie Silberstickerei auf blauer Seide, Spitze und die Haut, differenziert darzustellen. Da Amigoni durch ganz Europa reiste, ist die Entstehung des Gemäldes schwer zu lokalisieren. Die dargestellten Spitzen machen einen Entstehungszeitpunkt in den 1740er-Jahren wahrscheinlich. 1739 kehrte Amigoni nach Venedig zurück, bereiste Frankreich und wurde 1747 Hofmaler am Königshof in Madrid, wo er fünf Jahre später verstarb. (13300538) (2) (13)Jacopo Amigoni, 1682 Venice – 1752 Madrid, attributedYOUNG LADY WITH LUTE AND RED BOWOil on canvas. 95 x 73 cm.
Jan Harmensz van Bylert,um 1597 Utrecht – 1671 ebendaDER LAUTENSPIELERÖl auf Leinwand.105 x 80 cm.Der Maler hatte sich auf Halbbildnisse spezialisiert, insbesondere auch von Musikern oder Philosophen, die in mehreren öffentlichen Sammlungen vertreten sind, wie das bekannte Gemälde mit einem Konzert mit Lauten- und Cellospielern. Auch das hier vorliegende Motiv zeigt einen Jüngling im Dreiviertelbildnis nach rechts, in sitzender Haltung an einer Laute, wobei sein halb geöffneter Mund andeutet, dass er sich selbst singend begleitet. Über dem schwarzen kurzen lockigen Haar ein Barett mit großer weißer Straußenfeder, eine Reminiszenz auch an das Werk Caravaggios, wie ebenso die Darstellung des jungen Musikers mit entblößter Schulter. Farblich dominierend ist das kräftige Rot im Umhang, das als farblicher Gegenpol zum hellen Grau-Blau des Hintergrundes steht. Der Einfluss Caravaggios ist auch in dem vorliegenden Gemälde unverkennbar.Der Künstler war Sohn eines Glasmalers und nach Mitteilung des frühen Künstlerbiographen Joachim von Sandrart d. Ä. (1606-1688) ein Schüler des Abraham Bloemaert (1564-1651), bevor ihn seine Studienreisen nach Frankreich und dann nach Italien führten. In Rom verblieb er wahrscheinlich bis 1624 und stand dort in Kontakt mit den holländischen Malern Jan Gerritsz van Bronchorst (1603-1661) oder Cornelis van Poelenburgh (1586-1667). Ab Mitte der 1620er-Jahre ließ er sich stark von Michelangelo Merisi il Caravaggio (1570/71-1610) und Guido Reni (1575-1642) beeinflussen, wie ebenso von Gerrit van Honthorst (1590-1656). Er gilt als einer der führenden, wenn nicht sogar als führendster Vertreter der Utrechter Caravaggisten.Literatur:Paul Huys, Jan van Bijlert, 1998, S. 139 Nr. 105, Pl. 46, circa 1625-1635. (12901421) (11)Jan Harmensz. van Bylert,ca. 1597 Utrecht – 1671 ibid.LUTE PLAYEROil on canvas.105 x 80 cm.Literature:Paul Huys, Jan van Bijlert, 1998, p. 139 Nr. 105, Pl. 46, circa 1625-1635.
Victor Pasmore R.A. (British, 1908-1998)When the Lute is Broken (Thames and Hudson G40) Etching and aquatint with screenprinted element in colours, 1974, on heavy wove, signed with the initials, dated and numbered 6/60 in pencil, printed by White Ink Ltd., London, published by Marlborough Graphics, London, with the printer's blindstamp, with full margins, 710 x 605mm (28 x 23 3/4in)(SH)(unframed)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
A pair of Derby figural candlesticks of a shepherd and shepherdessCirca 1785Modelled seated before flower-encrusted bocage and an applied sconce, the shepherd playing bagpipes, with a dog by his side, the shepherdess with a lute and attended by a lamb, on elaborate scrolled bases picked out in turquoise and gold, incised 'N' marks, 11.5cm wide, 21cm high (4 1/2in wide, 8in high) (2)For further information on this lot please visit Bonhams.com
MEISSEN "Galante Kapelle" 20.Jh. Meißen, unterglasurblaue Schwertermarke, Pressmarken, Malermarken, Modell von Johann Joachim Kändler und Friedrich Elias Meyer, Porzellan, farbig und gold staffiert, 16 Stück: Dirigent, H: 15 cm., Dudelsackpfeifer, H: 14,5 cm., Sängerin hält Notenblatt in der Linken, H: 13,5 cm., Fagottspieler, H: 14,5 cm., Cellist, H: 12,5 cm., Sängerin hält Notenbuch in der Linken und rafft ihren Rock mit der Rechten, H: 13,5 cm., Lautenspieler, H: 14,5 cm., Flötenspieler, H: 14 cm., sitzende Frau mit Leier, H: 11,5 cm., Geiger, H: 13,5 cm., Geiger, H: 13,5 cm., Trompeter, H: 14,5 cm., Sängerin hält Notenbuch in der Rechten und wippt mit der Linken, H: 14 cm., Sänger, H: 14,5 cm., Sängerin, H: 14 cm., Harfenspielerin, H: 14 cm. alle Figuren unrest. und unbesch.Provenienz: Bedeutende Sammlung aus Süddeutschland | MEISSEN "Gallant Chapel" 20th c.Meissen, underglaze blue sword mark, press marks, painter's marks, model by Johann Joachim Kändler and Friedrich Elias Meyer, porcelain, coloured and gold painted, 16 pieces: Conductor, h: 15 cm, bagpiper, h: 14,5 cm, singer holding sheet of music in her left hand, h: 13,5 cm, bassoon player, h: 14,5 cm, cellist, h: 12,5 cm, singer holding sheet of music in her left hand and gathering her skirt with her right hand, h: 13,5 cm, Lute player, H: 14,5 cm., Flute player, H: 14 cm., Sitting woman with lyre, H: 11,5 cm., Violinist, H: 13,5 cm., Violinist, H: 13,5 cm., Trumpet player, H: 14,5 cm, singer holding a music book in her right hand and swaying with her left, h: 14 cm., singer, h: 14,5 cm., female singer, h: 14 cm., harpist, h: 14 cm. all figures unrest. and undamaged.Provenance: Important collection from Southern Germany
Rock and Graner Dolls House tinplate Dining room table and chairs, German circa 1875, oval shaped dining table painted in simulated wood with pillar support and shaped feet, (condition: some paint loss and minor repair to feet), together with a settee having painted simulated wood with yellow edged blue upholstered seat and back, pierced decoration to arms, together with two similar chairs with moulded Lute backs, table 2 ¾” (7cm) high, (condition: generally very good, some slight paint loss), (4 items).
An exceptional Dutch stipple-engraved light baluster goblet by 'Alius', circa 1760-80The generous round funnel bowl finely decorated with a chinoiserie scene depicting an elderly Chinese gentleman seated on a stool before a tree, playing a Chinese lute or pipa with both hands, the hairs of his beard and moustache picked out with fine lines in diamond-point, accompanied by a boy playing a Bianzhong comprising a set of musical bells suspended from an arch, the tall multi-knopped stem with an upper beaded dumbbell above an inverted baluster containing an elongated tear extending into the basal knop, over a conical foot, 22cm highFootnotes:ProvenanceJ van Buren Collection, Scheurleer, The Hague, 11 December 1808, lot 98, purchased by Hultman for 15 guildersBoom Collection, BredaJoseph Gregory Littledale Collection, WeybridgeAnthony Waugh Collection, Wolverhampton, Sotheby's, 28 April 1980, lot 209With Ward Lloyd, LondonMühleib Collection, Bonhams, 2 May 2013, lot 58With Kunsthandel Jacques Fijnaut, 13 March 2018Stephen Pohlmann CollectionLiteratureD H de Castro, 'Een en ander over glasgravure', Oud-Holland 1(4) (1883), p.285, pl.1883 Wilfred Buckley, D Wolff and the Glasses that he Engraved (1935), p.30Hugh Tait, ''Wolff' glasses in an English private collection', Connoisseur 168 (1968), p.105, figs.5 and 6George Turnbull and Anthony Herron, The Price Guide to English 18th Century Drinking Glasses (1970), p.78, Group 4, no.4/13Frank Davis, 'Talking About Salerooms', Country Life, Vol.168 (August 1980), p.687F G A M Smit, Uniquely Dutch Eighteenth-Century Stipple-Engravings on Glass (1993), p.106, no.Ch.18Stephen Pohlmann, 'An Eclectic Collector', Glass Matters, no.14 (June 2022), p.22, fig.5Exhibited300 Years of British Glass 1675-1975, Wolverhampton Art Gallery and Museum, 14 June 1975, no.208Kunsthandel Jacques Fijnaut BV, TEFAF Maastricht, 10-19 March 2017, catalogue p.240Although he never signed any of his engravings, 'Alius' was one of the most important Dutch master glass engravers of the 18th century. The incredible lightness of touch which he so breathtakingly achieved on this goblet demonstrates the remarkable degree to which this engraver mastered the stipple technique. It is perhaps no surprise that for many years this piece was considered to be the work of his contemporary, David Wolff.In his 1935 monograph on Wolff, Wilfred Buckley identified a group of glasses which he considered to be of higher quality both technically and artistically, with finer stippling and better draughtsmanship, than examples signed by Wolff himself, see p.26 and 'Group C'. These were subsequently attributed to 'Alius' in Frans Smit's 1993 catalogue. Whilst there are close similarities between the designs chosen by both engravers and they may have worked in association with one another, 'Alius' is the only Dutch engraver known to have stippled chinoiseries on glass and he attained a level of skill which undoubtedly surpassed that of Wolff.Only six other glasses stippled with chinoiseries by 'Alius' are recorded including the present lot, all of which incorporate the full-length figure of a Chinese gentleman. Two of these are similarly decorated with musical scenes in which an elderly seated man plays a Chinese lute or pipa. This includes a light baluster goblet of similar form to the present lot in the Brunnier Art Museum (Smit no.Eb.28) and a facet stem goblet in the Metropolitan Museum of Art (Smit no.Ch.19). Another goblet of similar size and form to the present lot but decorated with a different chinoiserie scene (Smit no.Ch.20) is illustrated by Hubert Vreeken, Glas in Het Amsterdams Historisch Museum (1998), p.258, no.293. The remaining two chinoiserie decorated goblets recorded include an opaque twist example in the Rijksmuseum (Smit no.Ch.17) illustrated by Pieter C Ritsema van Eck, Glass in the Rijksmuseum, Vol.2 (1995), p.432, no.548 and a further facet stem example in the Manoir de Saussey (Smit no.Ci.28).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lladro gres figure 'Scheherazade' Limited Edition no.991/1000 Large Lladro gres figure of a semi-clad seated lady playing a lute 'Scheherazade' 17678, on shaped plinth. Limited Edition no.991/1000. In original box with extensive packaging, also included is the framed certificate in the original envelope. 33cm high not including base.Good condition, rarely taken out of the box. Plinth still has plastic cover and is undamaged. Figure in good condition with no cracks or chips. Please see all images. Original glue residue visible underneath guitar neck.
A George III gilt-brass etui with chatelaine, late 18th century, the chatelaine consisting of three panels decorated in high relief with Classical maiden and cherubs within scrolling foliage, having later heart shaped agate pendant and aventurine scent flask, the suspended etui repousse decorated throughout with Hercules standing with his club, a lady with lute verso, each within scrolling foliate ground, the hinged lid enclosing a fitted compartment with implements to include scissors, needle, and folding fruit knife, in velvet lined fitted case, approx. 20cm highPlease refer to department for condition report
PAIR OF MICRO-MOSAIC AND GOLDSTONE BROOCHES, CIRCA 1870Each oval goldstone inlaid with a micro-mosaic, depicting a lute player and a woman washing linen in the river, one micro-mosaic cracked with some tiles deficient, lengths 2.5cm (2)For further information on this lot please visit Bonhams.com
Five 19th century ceramic figures including a Staffordshire example of a Scot seated playing a lute, height 17cm, a further figure of a courting couple, height 17cm, a maiden seated playing a string instrument (5).Additional InformationThe figure of the maiden seated playing the instrument with restoration to her arm, the Staffordshire figure of the Scot with restoration to his arms and crazing to the body, the figure of the gentleman holding a glass with extensive crazing to body.
□A LUTE (GAMBUS), NORTH SULAWESI, INDONESIA, MID-20TH CENTURY, the bulbous wood body with hide face, tapering into the hollow neck, the scrolling headstock in the form of a fish, the tailpiece (buntut) inscribed with date, reading 1.7.1955, 87cm long The gambus is derived from the South Arabian qanbus. This example is one of two types, the gambus Melayu which has a hide resonator unlike the gambus Hadhramaut, made of wood. For a photograph of the instrument being played in Bolaang Mondondow, accompanied by a drum, see Kunst 1994, p.176.
A Sino-Tibetan bronze figure of Lokapala Dhritarashtra, early 20th century, the guardian king of the East seated in lalitasana whilst playing a lute, sat atop a lotus base, 11.2cm high二十世紀早期 銅鎏金持國天王坐像 品相報告 Condition Report: The base sealed with object inside. Surface wear, particularly to the extremities, with a few old marks and nicks to the edges.
THIRTEEN KOZUKA (KNIFE HANDLES)Edo period (1615-1868), 18th to 19th centuryAll chiselled and inlaid with gold, silver, shakudo, or shibuichi, the first four copper; the first with a flying crane and moon; the second with a shakujo (Buddhist priest's staff with jingles) and a bell (inlaid in shell); the third with a biwa (Japanese lute), plectrum, and hagi (bush clover), signed Toshiyuki/Nagayuki and with a kao; the fourth with a Chinese man holding a large flageolet; the next two brass or sentoku; the fifth with a gourd vine; the sixth with Chinese heroes, signed Gyokuunsai; the next four shibuichi; the seventh with an egret in a willow tree, signed Jochu with a kao (see Haynes 02107); the eighth with a fishing boat, swallow, and moon, signed Nara saku; the ninth with a hiogi fan, a suehiro, an eboshi (courtier's cap) and writing equipment; the tenth with zodiac animals; the eleventh with a shakudo plate within a shibuichi frame depicting a tiger and bamboo; the twelfth shakudo with a gold nashiji pommel and collar, the ground with a mokume (wood-grain) texture, inlaid in gold with a shishi (Chinese mythical lion) and paulownia; the thirteenth iron, with egrets and a willow tree. (13).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
![A 1:24 SCALE MODEL OF THE FIGUREHEAD FOR THE WINCHELSEA [1764]after the NMM model, carved in pear and ash and depicting a cla](https://cdn.globalauctionplatform.com/d5a399e5-3749-460f-aa1b-af2400ae63ac/c3b323e0-d4db-40db-ba2d-af2400c36aba/468x382.jpg)
A LARGE WUCAI BALUSTER JAR AND COVERShunzhiDecorated with a lady in a long sleeved robe, her arms outstretched, amongst male and female attendants, bearing large fans, carrying vessels and wrapped qin, all in a lush pavilion garden setting, the cover and neck with large, leafy peony sprays and blue rockwork. 48cm (19in) high (2).Footnotes:The scene on the present vase, with a central figure of a lady with long sleeves flanked by attendants, appears on large wucai jars and covers, as well as sleeve vases, produced in the Shunzhi period. See a pair of sleeve vases in the San Antonio Museum, Texas, gift of Lenora and Walter F. Brown, illustrated by John Johnston in Chinese Ceramics: The Lenora and Walter F. Brown Collection at the San Antonio Museum of Art, San Antonio, 2014, p. 112, no. 67, where the scene is identified as from The Romance of the Lute, written by Sun You in the late Ming dynasty.Compare a related wucai jar, Transitional Period, illustrated by C.J.A.Jörg, Chinese Ceramics in the Collection of the Rijksmuseum, London, 1997, no.75, p.84, and a jar illustrated by M.A.Pinto and J.P.Desroches, Chinese Export Porcelain from the Museum of Anastácio Gonçalves, Lisbon, 1996, no.86, pp.170-171.For further information on this lot please visit Bonhams.com
LAULE, Johann Baptist(1817 Sargans (St. Gallen) - 1895 Schönenbach/Furtwangen) König Enzio von Sardinien in ritterlicher HaftÖl/Leinwand. Links unten signiert. Datiert: 1861. 83 x 96 cm. Gerahmt : 100 x 114 cm. Der mittelalterliche König mit nachdenklichem Blick zum Lautenspiel der jungen Frau im Kerker. Literatur : Thieme/Becker. LAULE, Johann Baptist(1817 Sargans (St. Gallen) - 1895 Schönenbach/Furtwangen) King Enzio of Sardinia in Chivalrous DetentionOil/canvas. Signed lower left. Dated: 1861. 83 x 96 cm. Framed : 100 x 114 cm. The medieval king with pensive look to the lute playing of the young woman in the dungeon. Literature : Thieme/Becker. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Schäferin mit Mandoline. Ludwigsburgmarke, 19. Jh. Entwurf: 1762. BEYER?, Johann Christian Friedrich Wilhelm(1725 Gotha - 1806? Schönbrunn/Wien) Polychrom bemalt. H 17,5 cm. Auf einem Felssockel sitzende, eine Laute spielende junge Dame mit Lamm. Brandriss in den Saiten, linker Schuh, Lautenhals, linke Hand und linke Ärmelrüsche restauriert. Shepherdess with mandolin. Ludwigsburg mark, 19th c. Design: 1762. BEYER?, Johann Christian Friedrich Wilhelm(1725 Gotha - 1806? Schönbrunn/Vienna) Polychrome painted. H 17.5 cm. Sitting on a rock pedestal, playing a lute young lady with lamb. Fire crack in the strings, left shoe, lute neck, left hand and left sleeve ruff restored. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Japaner-Gruppe. Meissen. 1924-1934. Modell-Nr. 610 x (neue Form-Nr. 65519). Höhe: 10 cm. Modell von Johann Joachim Kaendler 1745. Farbig bemalt, gold staffiert. Ritzmarke, Pressmarke, Malermarke, Schwertermarke. Oberer Lautensteg restauriert, hinterer Arm der Japanerin mit Riss. Kaendler 1745: "Grouppgen, aus 2. Figuren bestehend, einen Indianer nebst Weibgen, so neben einander sizen und sich küßen, der Indianer aber spielt auf der Laute, und die Indianerin trinckt Coffeé". Meissen-Manufaktur-Preis: 6490,- Euro * Partnerauktion Bergmann. Literatur : Bergmann (2017), Abb. 1558. Japanese group. Meissen. 1924-1934. model no. 610 x (new mold no. 65519). Height: 10 cm. Model by Johann Joachim Kaendler 1745. Colorfully painted, gold painted. Incised mark, press mark, painter's mark, sword mark. Upper lute bridge restored, rear arm of the Japanese woman with crack. Kaendler 1745: "Grouppgen, consisting of 2. figures, an Indian nebst female, so sit next to each other and kiss, but the Indian plays the lute, and the Indian woman drinks coffeé". Meissen manufactory price: 6490, - Euro * Partner auction Bergmann. Literature : Bergmann (2017), fig. 1558. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
THOMA, Hans(1839 Bernau im Schwarzwald - 1924 Karlsruhe) Landschaft mit LautenspielerBleistiftsignatur. Platte: 19 x 24,5 cm. Gerahmt & hinter Glas : 33 x 42,5 cm. Blatt gebräunt. Deutscher Maler und Grafiker; laut Meyers Konversations-Lexikon aus dem Jahre 1909 war er "einer der Lieblingsmaler des deutschen Volkes geworden" (vgl. Thoma, Hans. In: Meyers Großes Konversations-Lexikon, Leipzig/Wien 1909, S. 493). THOMA, Hans(1839 Bernau im Schwarzwald - 1924 Karlsruhe) Landscape with lute playerPencil signature. Plate: 19 x 24.5 cm. Framed & behind glass : 33 x 42.5 cm. Sheet browned. German painter and graphic artist; according to Meyers Konversations-Lexikon from 1909 he had "become one of the favorite painters of the German people" (cf. Thoma, Hans. In: Meyers Großes Konversations-Lexikon, Leipzig/Vienna 1909, p. 493). *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
A late 16th century German parcel-gilt silver setzbecher or stacking beaker, no apparent town or maker's mark, possibly trace of a mark to the inside of the foot rim, circa 1570, circular form, central girdle, engraved with a silver-gilt border finely engraved with a gentleman holding a candle, a court jester playing a lute in front of a lady and gentleman, a man in a garden scene, two fish within a cloud cartouche, a lady cooking on a fire within a kitchen setting, and a lady working at a table preparing food, with a plain vacant circular cartouche, on a stem pierced with a running stag and a bear in foliate decoration, on a spread circular foot with scenes of a wild boar hunt, the underside with unidentified scratched symbols and scratched 'II' over XIII.L', height 8.5cm, approx. weight 6.5oz.
Lladro group of three singing angels, 17cm; and four other Lladro models, of angels, plus two others and a Royal Doulton "Fragrance" figurine.Condition report:The lute has been repaired on one figure, the end of the violin has snapped off and been reglued on another figure. All are very yellow and grubby from being in a smkers house. Otherwise they are good.
A GROUP OF ORIENTAL CERAMICS AND SUNDRY ITEMS, to include five oriental figurines depicting ladies reading, playing a lute, a lady with a dragon and a female figure holding a bowl of fruit, tallest figurine 36cm, a Satsuma-style baluster vase decorated with birds and flowers, height 30.5cm, a pair of brass bookends in the form of singing bowls with beaters, a pair of Zenith No 653 binoculars, a walking stick with resin dogs head handle, etc (18) (Condition report: generally good condition, sd)
The matching two-door side cabinet: the galleried top decorated with a hunting scene, a mounted Oriental about to spear a running deer, with two half-width doors further japanned and decorated with a seated Oriental playing a lute and one further reading within countryside surroundings, square chamfered moulded legs with pierced ear pieces and the legs united by a cross framed stretcher (107cm wide x 53.5cm deep x 101.5cm high including galleried back)
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