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Lot 306
An excellent scale model of an English brass 32 pdr. deck cannon (originally circa 1780); the heavy 31cm cannon on oak carriage and simulated deck with a raft of accessories to include ram rods, cannon balls, cluster and chain shot etc., together with gun powder measure and further cleaning equipment etc., together with various accompanying paperwork (the slatted deck 45cm x 29cm)
Lot 31
A large, heavy and unusual ceramic model of a standing white rabbit with a young kitten climbing out of a pierced wickerwork basket and two further mischievous kittens standing on a green mound of green leaves and flowerheads, probably late 19th century Continental (27.5cm highest x 27.5cm wide)
Lot 34
A finely modelled Japanese blanc de chine ceramic model of the Japanese goddess Kannonsama; she wears a long flowing headdress and robe and grasps a leafy branch in her left hand, small oval impressed character mark to underside, together with original accompanying paperwork when purchased in Japan (some damage to the lower section of the bottle she holds in her right hand and vertical hairline to right hand side) (29.5cm high)
Lot 191
Heilbronner Jugendstil-GirandoleHöhe: 60,5 cm. Gewicht: 1730 g. Meistermarke Bruckmann und Söhne. Heilbronn, um 1902.Silber, getrieben, gegossen. Über rundem Stand der passige organische Fuß in die fünf Brennstellen mit vegetabiler Zier übergehend.Literatur: Ein gleicher Leuchter in: Reinhard Sänger u.a., Silber aus Heilbronn für die Welt. P. Bruckmann & Söhne (1805-1973), Heilbronn 2001. S. 149, Nr. 71. Dort der Entwurf Carl Stock (1876 Hanau-1945 Frankfurt) zugeschrieben, erstmals gefertigt 1902 und mit Modellnummer 8025 versehen. Vgl. Bruckmann-Album Nr. 55, Tafel 20. Vgl. Bruckmann-Album Nr. 56, Tafel 19. (12713916) (13)Heilbronn Art Nouveau girandoleHeight: 60.5 cm. Weight: 1730 g.Maker’s mark: Bruckmann und Söhne.Heilbronn, ca. 1902.Silver; wrought and cast. Literature:A similar candelabra in: Silber aus Heilbronn für die Welt- P. Bruckmann & Söhne (1805 - 1973), p. 149, no. 71. The design is attributed here to Carl Stock (Hanau 1876 - 1945 Frankfurt), manufactured for the first time in 1902 with model no. 8025. Bruckmann-Album no. 55, plate 20. Bruckmann-Album no. 56, plate 19.
Lot 766
Monumentale Skulptur der Aphrodite von KnidosHöhe: 203 cm.Breite: 80 cm. Tiefe: 45 cm. Am Rand der Plinthe Darstellungsbezeichnung. Florenz, Ende 19. Jahrhundert, nach antikem Vorbild.Bronze mit dunkelbrauner Patina.Die hier angebotene Bronze als Teil eines Ensembles, bestehend aus vier großen patinierten Bronzefiguren. Die nackte Figur der schönen Aphrodite auf rechteckiger Basis in leichtem Kontrapost, mit ihrer rechten Hand ihre Scham verdeckend, während der andere Arm auf einer sie stützenden großen Vase mit einem Tuch ruht. Modell für die hier angebotene Bronze war eine Marmorskulptur aus römischer Zeit, ausgeführt nach einem griechischen Original von Praxiteles, datiert um 360 v. Chr., welche sich im Museo Pio-Clementino im Vatikan, Rom befindet.Anmerkung: Die künstlerische Gießerei Ferdinando Marinelli (Fonderia Artistica Ferdinando Marinelli, auch bekannt als FAFM) ist eine der letzten verbliebenen florentinischen Gießereien, die Werke in Bronze nach der Renaissance-Technik des Wachsausschmelzens herstellen. Eine große Anzahl von Bronzeskulpturen, die im letzten Jahrhundert in Florenz hergestellt wurden, stammen aus dieser künstlerischen Gießerei. Die Ursprünge der Bronzegießerei von Fernando Marinelli gehen bis in das 16. Jahrhundert zurück. (1261823) (18)Monumental sculpture of Knidos AphroditeHeight: 203 cm.Width: 80 cm.Depth: 45 cm.Depiction designation on the edge of the plinth.Florence, late 19th century, after the antique model.Bronze with dark brown patina.After an original beautiful sculpture from classical antiquity by Praxiteles, dating ca. 360 BC, which is to be found in Museo Pio-Clementino, Vatican.
Lot 84
Paar bedeutende Deckelvasen in gelbem Siena-MarmorHöhe: 41 cm. Breite: 21 cm. Tiefe: 15 cm. Frankreich, zweite Hälfte 19. Jahrhundert.Über einem quadratischen Fußsockel erhebt sich ein eingezogener Rundfuß, der den im unteren Teil godronierten Vasenkörper trägt; der obere Teil der Vase rundum glatt, hier seitlich vollplastisch herausgearbeitete Widderköpfe, deren Hörner dem Oberrand aufliegen. Die gewölbten Scheindeckel mit Wulstprofil. Kleiner Abschlussknauf. Der seltene gelbe Marmor wurde bereits in der Epoche Ludwigs XIV hoch geschätzt, fand daher auch für Möbeleinlagen etc. Verwendung. Die Gestaltung nach Modellzeichnung des 18. Jahrhunderts, veröffentlicht in einem Modellkatalog, erwähnt in der Collection de Louis Marie Augustin d’Aumont de Rochebaron, 1782, redigiert von Philippe-François Julliot fils und Alexandre-Joseph Paillet. A.R.Anmerkung:Eine vergleichbare Vase in gelbem Sienna-Marmor befindet sich im Louvre in Paris, Inv. Nr. 5183. (1271816) (11)A pair of important lidded vases in yellow Siena marble Height: 41 cm. Width: 21 cm. Depth: 15 cm.France, second half of the 19th century.The rare yellow marble was already highly appreciated during the time of Louis XIV and was therefore also used for inlays in furniture and furnishings. The design is after an 18th century model drawing published in a catalogue and mentioned in the Collection de Louis Marie Augustin d’Aumont de Rochebaron, 1782, and edited by Philippe-François Julliot fils and Alexandre Joseph Paillet.Note:A similar vase in yellow Sienna marble is held at the Louvre, Paris, Inv. no. 5183.
Lot 113
Paar exquisite SchwanenfigurenHöhe: 25 cm. Breite: 18 cm. Tiefe: 29 cm. Paris, um 1750.Bronze, gegossen, hochfein ziseliert und feuervergoldet. Auf durchbrochen gearbeiteten Rocaillesockeln mit Muscheln jeweils die Figur eines Schwans, die einander zugewandt sind. Die Darstellung geht auf ein Modell von Johann Joachim Kaendler (1706-1775) von 1748 zurück, der für den Meissener Manufakturdirektor Heinrich Graf von Brühl (1700-1765) 1737 das Schwanenservice fertigte – hier waren die Saucièren sowie die Essig- und Ölkännchen etwa als Schwäne modelliert. Bildliche Vorlagen finden sich beispielsweise in zwei Stichen von Wenzel Hollar (1607-1677), die auf Zeichnungen von Francis Barlow (1626-1702) zurückgehen. Die Modelleure Johann Joachim Kändler (1706-1775) und Johann Friedrich Eberlein (1696-1749) wurden mit den Entwürfen für die verschiedenen Gefäße beauftragt, die der Flora und Fauna des Wassers sowie seinen mythologischen Gestalten gewidmet sind. Vergleichbare Gefäße in Porzellan finden sich etwa im Rijksmuseum in Amsterdam. (†)Anmerkung: Ein vergleichbares Werk: Auktion Christie‘s, New York, 2. November 2000, Auction 9502 Magnificent French Furniture, a pair of royal Louis XV ormolu swans, Lot 5, Ergebnis: 721,000 USD. Als dortige Provenienz höchstwahrscheinlich von Mme de Pompadour bei dem Händler Lazare Dvaux 1755 für ihr Appartment im Hôtel d‘Evreux (heute Palais d‘Elysée) in Auftrag gegeben. Dieser lieferte nämlich: „une grille de cheminée pour les bains composée d‘un cygne dans des roseaux en bronze doré d‘or moulu, modèle fait exprès avec les poupées 550 l., le port à l‘hôtel“. Vierzig Jahre später wurde im Besitz der Madame Lorimier de Chamilly ein weiteres Paar erwähnt: „un feu orné de cuivre doré d‘or moulu reprèsentant deux cignes 900 l.“ Literatur: Catalogue of the collection of George and Florence Blumenthal, New York, t. VI, Paris 1930, Tafel XLV. Louis XV, Un moment de perfection de l‘art français, catalogue de l'exposition, Hôtel de la monnaie, Paris 1974, S. 337. Ulrich Pietsch, Schwanenservice. Meissener Porzellan für Heinrich Graf von Brühl, Leipzig 2000. Abraham Lambertus den Blaauwen, Meissen porcelain in the Rijksmuseum. Rijksmuseum Amsterdam, Waanders 2000, S. 417, Kat. 304. Rainer Rückert, Meissener Porzellan 1710-1810, München 1966, Nr. 1117 - 1118. (1271833) (13)A pair of exquisite figures of swans Height: 25 cm.Width: 18 cm.Depth: 29 cm.Paris, ca. 1750.Bronze; cast, finely chased and fire-gilt. The depiction dates back to a model by Johann Joachim Kändler (1706-1759) from 1748, Heinrich, Count of Brühl (1700-1765), the director of Meissen manufactory, who created the swan service in 1737, whereby the saucières, oil and vinegar jugs are modelled as swans. An illustration can, for example, be found in two engravings by Wenzel Hollar, based on drawings by Francis Barlow. The modellers Johann Joachim Kändler and Johann Friedrich Eberlein were commissioned with the creation of the various vessels, dedicated to water flora and fauna and its mythological creatures. Similar vessels in porcelain can be found at the Rijksmuseum, Amsterdam. (†)Notes:A similar work sold at: Auction Christie’s, New York, 2 November 2000, Auction 9502, Magnificent French Furniture: a pair of royal Louis XV ormolu swans, lot 5, hammer price: 721,000 USD. The provenance there is stated as very probably by Mme de Pompadour, purchased by the art dealer Lazare Duvaux 1755 comissioned for her apartment in Hôtel d’Evreux (today Palais d’Elysée). He delivered: “une grille de cheminée pour les bains composée d’un cygne dans des roseaux en bronze doré d’or moulu, modèle fait exprès avec les poupées 550 l., le port à l’hôtel”. Forty years later the estate of Madame Lorimier de Chamilly lists another pair of: “un feu orné de cuivre doré d’or moulu reprèsentant deux cignes 900 l.”Literature:Catalogue of the collection of George and Florence Blumenthal, New York, t. VI, Paris 1930, plate XLV.Louis XV, Un moment de perfection de l’art français, catalogue de l’exposition, Hôtel de la monnaie Paris 1974, p. 337.U. Pietsch, Schwanenservice. Meissener Porzellan für Heinrich Graf von Brühl, Leipzig 2000.A. L. d. Blauwen, Meissen Porcelain in the Rijksmuseum. Rijksmuseum Amsterdam, Waanders 2000, p. 417, cat. 304.R. Rückert, Meissener Porzellan 1710 - 1810, Munich 1966, nos. 1117 - 1118.
Lot 850
James Bond car collection edition no 37 Chevrolet Corvette scale Model from A View To A Kill comes complete with magazine.. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Lot 175
Figurengruppe "Musizierende Amoretten"; nach Model von J.J. Kändler; Meissen; um 1900.Weißporzellan; farbig bemalt und goldstaffiert; auf geeckt-gebogtem Felssockel mit polychrom bemalter Naturstaffage die heitere 5-köpfige Rokoko-Amorettengruppe mit einem in der Mitte erhöht stehenden Putto als Dirigent; umgeben von etwas niedriger darum gruppierten 4 Kinderfiguren beim Spielen verschiedener Instrumente (Flöte; Violine; Cello; Laute); alle Figuren in tänzerisch-bewegter Pose; nach einem Rokoko-Figurenentwurf von Johann Joachim Kändler (1706 - 1775); 1. Wahl; kleine Restaurierungen an 3 Füßen und einer Hand; kleine Bestoßungen der Flötenspitze und des Violinbogens; Höhe 16 cm; unter Glasur blaue Knaufschwertermarke mit geritzter Modell-Nummer "2489"; blindgeprägter Bossierernummer "145" und eisenroter Malernummer "18."; Reste einer vermutlich späteren blauen Sammlermarke auf der Glasur.
Lot 11
Henri Matisse (1869-1954)Nu assis à la chemise de tulle (Duthuit 465) Lithograph, 1925, on chine laid paper, signed and inscribed 'essai' in pencil, a rare proof aside from the edition of 50 (Duthuit records only one trial proof of this subject), the full sheet with deckle edges at top and below, in good condition, framedImage 368 x 270mm. (14 1/2 x 10 5/8in.); Sheet 561 x 376mm. (21 3/4 x 14 3/4in.)Footnotes:Without voluptuous pleasure, nothing existsHenri MatisseNowadays we associate Matisse with vibrancy and sensuality. No other works exemplifies these qualities better than his 'Odalisques' from the 1920s. Matisse fled Paris after the First World War and move to sunny Nice where he started depicting exotic-looking women in opulently decorated, interior settings. He met a young ballerina and musician called Henriette Darricarère who was to become her favourite model from 1920 to 1927 and the sitter for his famous Odalisque paintings for this decade. It is said that Matisse ''liked her natural dignity, the graceful way her head sat on her neck and, above all, the fact that her body caught the light like a sculpture''. In this beautiful lithograph, Henriette is elegantly sitting on a Persian carpet with her naked, curved silhouette resting against a striped wall. The erotic charge of this nude and portrait transcends pure lust, depicting a passion that is not just between two people but between Matisse and the very act of painting and drawing. Matisse keeps the same texture, lavish detail and patterned decorations in these lithographs of Odalisques than in his paintings of the same subject. Click for an instant shipping quoteThis 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
Lot 1
A fine late 18th / early 19th century Chinese export carved ivory and hardstone diorama of figures in a terraced gardenQing dynasty, circa 1800the elaborately detailed scenic group depicting a large gathering of scholars within a naturalistic setting bounded by geometric and roundel pierced paling, variously playing musical instruments, playing go, and practising calligraphy and painting, a number of boys in attendance and a goat herd in the background, the overhanging gilt lacquered leafy and flowering trees and shrubs decorated in coral, agate, amber, pearl, kingfisher feather and other hardstones, the figures and garden setting in polychrome and gilt decorated ivory, set on a carved hongmu stand, together with a modern fitted Perspex cover and storage case, 52cm wide x 43cm high x 31.5cm deep including the stand (3)Footnotes:ProvenanceProperty of a lady.Received as a wedding gift in Penang in 1884 and thence by family descent.For other examples of elaborately modelled ivory and hardstone dioramas in the Victoria and Albert Museum see: a model of a Daoist temple, accession number 9347 (IS)/1; a model of a mountain scene, accession number 9349 (IS); and another similar, accession number 9346 (IS). Also see a large ivory model of a temple garden, Hatfield House Collection.This lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the EU, see clause 13.Ф This lot contains or is made of ivory. The United States Government has banned the import of ivory into the USA.For further information on this lot please visit Bonhams.com
Lot 13
A French late 19th/early 20th century ormolu mounted kingwood and bois satine parquetry table a the by Francois Linke (1855-1946)Each tier of circular outline with projecting eared angles, the detachable glass tray upper tier with a moulded edged border, the upper tier held aloft by four acanthus cast scroll-form figural supports each modelled as Nerites or a male sea nymph, above a geometric trellis inlaid top, over a shaped apron mounted with foliate embellished chutes centred by a waterfall surmounted by a scallop shell, on four keeled cabriole legs with floral and stylised foliate adorned scrolled mounts, terminating in leaf wrapped scroll sabots, the reverse of mount stamped: 'F.L.', 80cm wide x 72cm deep x 93cm high, (31in wide x 28in deep x 36 1/2in high)Footnotes:The offered lot is essentially identical to one of two tables a the by Francois Linke, index number 1009, which is illustrated in C. Payne, Francois Linke 1855-1946, The Belle Epoque of French Furniture, 2003, Woodbridge, pl.'s 105 & 106, pp.'s 94-5. This comparable, along with the very similar model featuring in the same image, both incorporate the renowned 'crab-like' shell, waterfall and foliate mount originally designed by Roux and Leon Message. Of course this mount has become more widely recognised as a central element on some of the most important furniture produced by the Linke workshop.Two related designs for tables of more rectilinear outline (one a watercolour and the other a pencil drawing), both index number 610, appear to have served as the basis for ones supplied by Linke to the Paris Exposition Universelle in 1900. These illustrations are shown alongside each other in C. Payne, Francois Linke 1855-1946, The Belle Epoque of French Furniture, pl.'s 131 & 132, p. 117. Whilst one example based on index 610 appears in C. Payne, Ibid, pl. 152, p. 145 and another slightly more elaborate variant is illustrated in an old black and white image towards the end of the book, Ibid, p. 494.Four conforming Linke tea tables to the present lot, all index number 1009, have understandably performed strongly at auction over the last decade: Christie's, New York, 18 April 2013, The Opulent Eye, lot 29; Christie's, New York, 16 April 2015, The Opulent Eye, lot 13; Christie's, New York, 13 April 2017, Opulence, lot 93; and Christie's, New York, 7 May 2020, The Collector, lot 102.The French sculptor Léon Messagé (1842-1901) collaborated with the most established cabinet makers of his time. He notably worked for Joseph Emmanuel Zwiener in the 1880s and 1890s when he was celebrated for his ingenious designs before collaborating with Linke for the 1900 Paris Exposition Universelle which was evidently the most successful point in his career.François Linke was born in Bohemia, but moved to Paris where he established his business circa 1880 at 170, Rue du Faubourg Saint-Antoine, and from 1900 onwards he opened a showroom at 26, Place Vendôme. Linke made a huge impact at the Paris 1900 Exposition Universelle at which he presented vigorous reinterpretations of the Rococo style. He was ultimately honoured with a Gold medal and his success acquired wealthy patrons from across the world. He was admired so much in France that he was even awarded the 'Croix de la Légion d'Honneur' in 1906.LiteratureC. Payne, François Linke (1855-1946), The Belle Epoque of French Furniture, 2003.C. Mestdagh and P. Lécoules, L'Ameublement d'Art Français (1850-1900), 2010.This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 53
A mid Victorian 'Geometric gothic' carved solid oak chair after an 1862 design by John Pollard Seddon (1827-1906)made by Doveston, Bird and HullWith moulded and chamfered frames, the leather upholstery embossed with rosette trelliswork, the splat comprising panels of various proportions, the central tablet flanked to each end by a quatrefoil above a cusped pointed arch, surmounted by a chevron-cut frieze, with conforming trefoil pierced outswept Y-form arms each carved with a leaf wrapped crocket terminal, above a channelled seat frame, terminating in tapering square section legs, stamped: 'DOVESTON, BIRD AND HULL MANUFACTURERS', 58cm wide x 53cm deep x 108cm high, (22 1/2in wide x 20 1/2in deep x 42 1/2in high)Footnotes:ProvenanceThe present lot was purchased by the current owner and vendor on 5 May 2012 from The Fine Art Society, New Bond Street. A copy of this invoice, numbered 32375, is available to view online. A closely comparable version of this J. P. Seddon chair was exhibited in the Medieval Court of the London International Exhibition in 1862. Whilst the design itself is in the reserve collection of the Victoria and Albert Museum, London and appears illustrated in J. Cooper, Victorian and Edwardian Furniture and Interiors, 1987, fig. 220, p. 104. The original chair itself also appears in the foreground of a stereoscopic slide showing the Morris, Marshall, Faulkner & Co. stand at the 1862 International Exhibition, which likewise features in J. Cooper, Ibid, fig. 221, p. 104. A related ebony armchair, also dated circa 1862 and designed by John Pollard Seddon, sold Christie's, London, 7 November 2002, 20th Century Decorative Arts including late 19th Century Design, lot 10. Added to this, an almost identical example to this Christie's model is illustrated in J. Cooper, Victorian and Edwardian Furniture and Interiors, 1987, fig. 227, p. 105.Further LiteratureOfficial Catalogue of the International Exhibition, 1862, London, p. 34, Class XXX, No. 5815. William Burges, The Gentleman's Magazine and Historical Review, CCXIII, October 1862.Michael Whiteway & Charlotte Gere, Nineteenth Century Design, 1986 illus. p. 84.This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 55
A George III carved mahogany and ormolu mounted bureau cabinet attributed to Gillowsthe carving probably by James TownsonCirca 1760, the dentil moulded cornice above a blind fretwork frieze, over a pair of shaped and scrolled panelled doors each with cartouche-embedded acanthus spray angles, enclosing six short adjustable shelves, two short fixed shelves, ten pigeon holes and five short drawers, flanked by two stop-fluted Corinthian pilasters, with a blind fretwork waist below, the hinged fall above three frieze drawers, the two shorter end drawers each with a sliding lid, over three long graduated drawers, flanked by fluted Corinthian columns, on shaped ogee bracket feet, 123cm wide x 64cm deep x 234cm high, (48in wide x 25in deep x 92in high)Footnotes:A detailed painting by Shirley Slocombe, dating to 1906, of a virtually identical model of - possibly even the same - bureau cabinet as the present lot appears in both P. Macquoid, A History of English Furniture, 1989, London, Pl. XXXVII and S.E. Stuart, Gillows of Lancaster and London, 1730-1840, Vol. II, 2008, Woodbridge, pl. 605, p. 59. Stuart describes this painting as showing an: 'unrecognised superb Gillow bureau clothes press or bookcase' so it is exciting to consider that the offered cabinet is, even if not the direct subject of Slocombe's illustration, at the very least a supreme showcase piece made by the Gillows workshop in circa 1760.The distinctive carving of the Corinthian capitals on the stop-fluted pilasters flanking the doors of a Gillow clothes press supplied to Ralph Bell of Thirsk Hall, Yorkshire, in 1761, is very similar to the Corinthian ones on the present example. We know that the carving on the Thirsk Hall press was executed by James Townson, who was employed by the Gillows firm at that time, so it seems logical to presume that Townson also completed the carved details on the above as well. The Thirsk Hall press features in S.E. Stuart, Idem, pl.'s 595 & 596, pp.'s 52-54. The shaped cartouches with foliate spray angles on the doors of the offered lot correspond to the panelling on the upper section of a secretaire clothes press and two wardrobes produced by Gillows in 1766 and 1772 respectively, Ibid, pl.'s 598, 606 & 607, pp.'s 54-61. It is also interesting to note that the secretaire press, which was supplied to John France in 1766, has a conforming pattern of blind fretwork frieze to that appearing on the bureau cabinet in the Slocombe painting. A related bureau cabinet, likewise attributed to Gillows and dated circa 1760, which was also possibly carved by James Townson sold Christie's, New York, 14 October 2016, Living with Art, lot 230. The stop-fluted Corinthian pilasters flanking the doors of this comparable appear essentially identical to the ones carved on the offered example. And in turn both of these pairs of pilasters conform to those known to have been executed by James Townson on a Gillows clothes press supplied to Ralph Bell of Thirsk Hall, Yorkshire in 1761, S.E. Stuart, Gillows of Lancaster and London, 1730-1840, Vol II, 2008, Woodbridge, pp.'s 52-53, pl.'s 595 & 596.LiteratureP. Macquoid, A History of English Furniture, 1989, London.S.E. Stuart, Gillows of Lancaster and London, 1730-1840, Woodbridge, 2008.This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 60
A George I giltwood and gilt-gesso mirrorin the manner of John BelchierCirca 1725, the later bevelled plate within a rosette-and-ribbon slip and gadroon moulded surround, surmounted by two opposing volute scrolls, below a shaped and scrolled swan neck pediment, with a central acanthus-adorned cartouche cresting, the shaped floral carved apron centred by a scallop shell, the pediment and apron with low-relief scrolled foliate and bellflower strapwork decoration, re-gilt in the 19th century, 132cm high x 73cm wide.Footnotes:The flattened arching to the top of the plate which is surmounted by two characteristically bold volute scrolls appears to be one of the recurrent aesthetic elements found on mirrors executed by John Belchier. However other aspects widely associated with Belchier's output are the inclusion of foliate strapwork decoration terminating in an acanthus scroll, gadrooning to the frame and a Venus-shell clasped apron. All of which can be seen on the present mirror. Related mirrors, those either by or attributed to John Belchier, include the important 'Erddig' pier glass supplied on behalf of John Meller for the Best Bedchamber of Erddig Park, Clwyd (or Denbighshire) in North Wales during the period 1722-1726. This 'Erddig' or 'Erthig' mirror has similar distinctive double volute scrolled cappings above its flattened arched plate as appear on the offered lot. The former is illustrated in A. Bowett, Early Georgian Furniture, 1715-1740, Woodbridge, 2009, pl. 6:51, p. 292 and R. Edwards and M. Jourdain, Georgian Cabinet-Makers, 1700-1800, London, 1962, fig. 36, p. 137. Although it is interesting to note that Edwards and Jourdain attribute the Erthig model to the Moore and Gumley partnership rather than to Belchier.Other notable comparables appear in G. Beard and J. Goodison, English Furniture, 1500-1840, Oxford, 1987, fig. 4, p. 67, H. F. Schiffer, The Mirror Book, 1983, Exton, fig. 141, p. 69 and G. Child, World Mirrors, 1650-1900, London, 1990, fig. 53, p. 78. Whilst two further mirrors, both dated circa 1720, feature in H. Cescinsky, English Furniture from Gothic to Sheraton, 1937, New York, pp.'s 196 & 199.Further similar versions include mirrors sold by the late Anne, Lady Hollenden, Christie's, London, 23 November 2006, lot 31; Christie's, London, 22 November 2007, Important English Furniture, lot 652; Christie's, Cowdray Park, 13 September 2011, The Cowdray Sale, lot 211 whilst most recently and arguably the closest comparable sold Christie's, London, 23 July 2020, Wilton Crescent: A Robert Kime Interior, lot 157.LiteratureA. Bowett, Early Georgian Furniture, 1715-1740, Woodbridge, 2009.R. Edwards and M. Jourdain, Georgian Cabinet-Makers, 1700-1800, London, 1962.G. Beard and J. Goodison, English Furniture, 1500-1840, Oxford, 1987.H. F. Schiffer, The Mirror Book, 1983, Exton.G. Child, World Mirrors, 1650-1900, London, 1990.H. Cescinsky, English Furniture from Gothic to Sheraton, 1937, New York.This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 22
DeckelvaseMeissen Porzellan. Goldstaffage. Balusterform mit Haubendeckel. Auf purpurrotem Fond ausgesparte Goldrankenkartuschen mit bunter Küchenszene im Stil des niederländischen Bauerngenres bzw. Blumenbukett. Blaue Schwertermarke mit Knäufen, Mod.-Nr. H 128. Deckel besch. H. 22 cm. A lidded vase Meissen Porcelain, gold decoration. Blue crossed swords mark with pommels, model number H 128. Damage to lid. Height 22 cm.
Lot 24
Service, 38 TeileNymphenburg, Anfang 20. Jh., nach Modell von Dominikus AuliczekPorzellan. Blau und Gold staffiert. Form "Perl". Dekor "Bayerisches Königsservice" mit Schleifenmedaillons mit betitelten Ansichten in Grau-Camaieu. Press- und blaue Stempelmarken. Am Boden in Schwarz betitelt. Zwei Deckel besch, wenige Teile min. best. Bestehend aus Terrine, drei Gemüseschüsseln mit Deckeln, Teil eines Kaviarkühlers, Saucière, zwei runden und zwei ovalen Platten, Dreieckschale, sechs tiefen Tellern, neun Tellern, sechs Desserttellern und sechs Beistelltellern. A 38-piece serviceNymphenburg, early 20th century, after the model by Dominikus AuliczekPorcelain. Blue and gold decoration. Impressed marks and blue maker's marks. Titled in black on the bottom. Two lids damaged, minor damage to a few pieces. Consisting of tureen, three vegetable bowls with lids, part of a caviar cooler, gravy boat, two round and two oval platters, triangular bowl, six deep plates, nine plates, six dessert plates and six side plates.
Lot 29
Kavalier mit MuffLudwigsburg, um 1770, Modell von Pierre François LejeunePorzellan. Farb- und Goldstaffage. Auf Rasensockel stehend. Blaue CC- Marke. Best. H. 12 cm. Vgl. Flach, Hans Dieter, Ludwigsburger Porzellan. Stuttgart 1997, S. 189, S. 528, Nr. 175, S. 394. A gentleman with muffLudwigsburg, circa 1770, model by Pierre François LejeunePorcelain. Coloured and gold decoration. Blue CC mark. Damaged. Height 12 cm. Cf. Flach, Hans Dieter, Ludwigsburger Porzellan. Stuttgart 1997, page 189, page 528, number 175, page 394.
![Andrea del Sarto (Andrea d'Agnolo [di Francesco])1486 Florenz - 1530 ebenda, NachfolgeMaria mit dem Kind, dem Johannesknaben](https://cdn.globalauctionplatform.com/9f1584dc-e58f-4b4d-a858-ad3600e9e9d4/82585952-aa59-4e26-94f1-ad3b00801f22/468x382.jpg)
Lot 318
Andrea del Sarto (Andrea d'Agnolo [di Francesco])1486 Florenz - 1530 ebenda, NachfolgeMaria mit dem Kind, dem Johannesknaben und drei EngelnÖl auf Lwd. 126 x 100 cm. Doubliert. Rest. Rahmen min. besch. Die sitzende Muttergottes hält mit der rechten Hand behutsam das Christuskind auf ihrem Schoß. Während dieses seinen Blick auf zwei der assistierenden Engel lenkt, wendet sich Maria dem Johannesknaben zu, der links von ihr steht und liebevoll Schulter und Oberarm Mariens berührt. Hinterfangen wird die Szene von einem Baldachin, der kunstvoll an zwei Astgabeln befestigt ist. Die vorliegende Komposition war im 16. Jahrhundert sehr populär. Sie geht auf ein - offenbar verschollenes - Vorbild Andrea del Sartos zurück, die sog. Madonna Corsini. Nach Giorgio Vasari schuf Sarto diese für Alessandro Corsini, das Aussehen des Originals ist durch eine Kopie überliefert, die sich lange Zeit in der Capella Corsini in San Gaggio bei Florenz befand. Zahlreiche Kopien, aber auch variierende Versionen lassen sich bis heute nachweisen. Auch Künstler aus nordalpinen Kunstkreisen ließen sich von Del Sartos Vorbild inspirieren: So wurde vor Kurzem eine deutlich variierende Kopie als Werk Cornelis van Cleves im Auktionshandel angeboten (Dorotheum, Wien, Auktion 17. Oktober 2017, Kat.-Nr. 24). Ein kleinere Version van Cleves befindet sich im Chrysler Museum of Art in Norfolk, Virginia (Inv.-Nr. 2014.34). Ebenso hat Vincent Sellaer die Madonna Corsini abwandelnd kopiert (vgl. Dorotheum, Wien, Auktion 25. April 2017, Kat.-Nr. 45). Auch bei unserem Gemälde handelt es sich - bei allen kompositionellen und detailbezogenen Übereinstimmungen - nicht um eine starre Kopie, sondern um eine variierende Weiterentwicklung eines noch unbekannten Meisters. Die Variation betrifft die Darstellung am unteren Rand. Auffallend an dieser Variante ist das beigegebene Notenblatt in der rechten unteren Ecke. An dieser Stelle befand sich auf dem verschollenen Original offenbar ein Blatt mit der Signatur des Künstlers. Das Notenblatt findet sich jedoch auch auf anderen Kopien. Besonders interessant hingegen ist die Beifügung von Johanniskrautblüten annähernd in der Mitte des unteren Randes. Das Johanniskraut - im Volksmund auch als "Herrgottsblut" bezeichnet - blüht in der Zeit des Johannestages (24. Juni) und steht damit traditionell in ikonographischer Verbindung mit Johannes dem Täufer. Stilistische Übereinstimmungen lassen sich mit einer als sehr qualitätvoll erachteten Kopie in Petworth House, East Sussex (Sammlung Duke of Buckingham; Öl auf Holz 132 x 97 cm) feststellen. Hinsichtlich der Physiognomie Mariens sehr ähnlich ist eine Fassung in Stourhead House, Wiltshire, The Hoare Collection (National Trust, NT 732112; Öl auf Holz 111 x 92 cm). Auffallend an den Kopien nach dem verlorenen Original ist die unterschiedliche Behandlung der Farbigkeit der Kleidung. Die einzigen in der Literatur bekannten Kopien nach der Madonna Corsini größeren Formats (des annähernden Originalformats?) auf Leinwand befinden sich im Palais des Beaux-Arts in Lille bzw. wurden 1953 im holländischen Kunsthandel angeboten. Vgl. hierzu Shearman (s. u.), S. 219, Nr. 32 VI (ein Gemälde, das am 6. Dezember 1953 bei Mak in Dordrecht mit Kat.-Nr. 487 versteigert wurde; 126 x 108 cm) und Nr. 32 VIII (das Gemälde in Lille, 121 x 101 cm). Literatur: Shearman, John, Andrea del Sarto. London 1965, Bd. 2, S. 217-219, WVZ-Nr. 32: zur Madonna Corsini und den damals bekannten Kopien. Provenienz: Privatsammlung Österreich. Andrea del Sarto (Andrea d'Agnolo [di Francesco])1486 Florence - 1530 ibid.(follower of) Madonna and Child with the Infant St. John the Baptist and three AngelsOil on canvas. 126 x 100 cm. Relined. Restored. Minor damage to frame. This composition was very popular in the 16th century. It goes back to an - obviously lost - painting by Andrea del Sarto, the so-called Madonna Corsini. According to Giorgio Vasari, the artist painted it for Alessandro Corsini. The original's appearance has been preserved by a copy that was found for a long time in the Capella Corsini in San Gaggio near Florence. Numerous copies, but also varying versions can still be found today. Artists from northern Alpine schools were also inspired by Del Sartos model: Recently, for example, a significantly varying copy was offered as a work by Cornelis van Cleve (Dorotheum, Vienna, auction 17 October 2017, lot 24). A smaller version by van Cleve can be found in the Chrysler Museum of Art in Norfolk, Virginia (inv. no. 2014.34). Vincent Sellaer also copied the Madonna Corsini in a varying version (cf. Dorotheum, Vienna, auction 25 April 2017, lot 45). Our painting is not a rigid copy, but also a varying version by a still unidentified artist. The variation concerns the representation at the lower margin. Of particular interest is the addition of St. John's wort blossoms. St. John's wort blossoms are traditionally associated with St. John the Baptist iconographically. Stylistic similarities can be found with a copy in Petworth House, East Sussex (Duke of Buckingham Collection; oil on panel 132 x 97 cm), which is considered to be of very high quality. Regarding Mary's physiognomy a version in Stourhead House, Wiltshire, The Hoare Collection (National Trust, NT 732112; oil on panel 111 x 92 cm) is quite comparable. Remarkable about the copies after the lost original is the different treatment of the clothes' colouring. The two only known copies on canvas after the Madonna Corsini of larger size (of the approximate original size?) are kept at the Palais des Beaux-Arts in Lille respectively were offered on the Dutch art market in 1953. Cf. Shearman (see below), p. 219, no. 32 VI (a painting that was auctioned at Mak in Dordrecht as lot 487, 6 December 1953; 126 x 108 cm) and no. 32 VIII (the painting in Lille, 121 x 101 cm). Literature: Shearman, John, Andrea del Sarto. London 1965, vol. 2, pp. 217-219, no. 32: the Madonna Corsini and the copies known to Shearman. Provenance: private collection, Austria.
Lot 35
Japanerin mit KindernMeissen Porzellan. Farb- und Goldstaffage. Auf Rasensockel sitzend. Blaue Schwertermarke mit Knäufen, Mod.-Nr. 2683. Best. H. 13,5 cm. A Japanese with childrenMeissen Porcelain. Coloured and gold decoration. Blue crossed swords mark with pommels, model number 2683. Damaged. Height 13.5 cm.
Lot 36
Kavalier und zwei GärtnerkinderMeissen Porzellan. Farb- und Goldstaffage. Auf Rocaillesockel Kavalier mit Blumenstrauß, Mädchen mit Blumenkorb und sitzendes Mädchen mit Weinreben. Blaue Schwertermarken mit Knäufen, Mod.-Nrn. 2892, 2, und F 12. Besch., tlw. rest.. H. ca. 14 cm und 11 cm. A gentleman and two gardener childrenMeissen Porcelain. Coloured and gold decoration. Blue crossed sword marks with pommels, model numbers 2892, 2, and F 12. Damaged, partly restored. Height approx. 14 cm and 11 cm.
Lot 37
Vier AmorettenMeissen (3x) und Nymphenburg Porzellan. Farb- und Goldstaffage. Auf Terrainsockeln stehend. Putto als Frühling, Putto als Herbst, Putto als Winter und Putto mit Schlagbecken. Blaue Schwertermarken mit Knäufen, Mod.-Nrn. A 64, A 69, A 71 bzw. Pressmarke. Best. H. 12,5 cm bis 14 cm. Four cupids Meissen (3x) and Nymphenburg Porcelain. Coloured and gold decoration. Blue crossed sword marks with pommels, model numbers A 64, A 69, A 71 / impressed mark. Damaged. Height 12.5 cm to 14 cm.
Lot 39
Vier Figuren aus der Nymphenburger JagdNymphenburg Porzellan. Farb- und Goldstaffage. Reiterin, zwei Reiter und Waldhornbläser. Press- und Stempelmarken, Mod.-Nrn. 531, 279, 362 und 712. Min. rest. Four figures from the Nymphenburg HuntNymphenburg Porcelain. Coloured and gold decoration. Impressed marks and maker's marks, model numbers 531, 279, 362 and 712. Minor restoration.
Lot 8
Dreiteiliger "Persischer" Vasensatz mit "fleurs en terrasse"-DekorKPM Berlin, 1837 - 1844, Modell von Karl Friedrich Schinkel, 1823Porzellan. Polychrome Aufglasurmalerei. Reicher, tlw. radierter bzw. mattierter Golddekor. Aus drei Teilen verschraubte Balusterformen im orientalischen Stil. Blaue Szeptermarke über KPM, rote Malereimarke, große Vase mit Malermonogramm "E. F." in Blau, Mod.-Nr. 1556 und 1557. Rest., min. berieben. H. 72 cm und 68 cm. Mit ihrer "persischen" Form stellen die Vasen eine sehr frühe und seltene eklektizistische Variante innerhalb des vorherrschenden Klassizismus in Preußen dar. Vor genau 200 Jahren, 1821, fand anlässlich eines Besuches des russischen Großfürstenpaares in Berlin das prachtvolle, große Hoffest "Lalla Rookh" statt. Die Großfürstin, eine geborene Prinzessin Charlotte von Preußen, war die älteste Tochter Friedrich Wilhelms III. und der legendären Königin Luise. Seit ihrer Hochzeit 1817 mit Nikolaus Pawlowitsch, dem Großfürsten von Russland, trug sie den russischen Namen Alexandra Feodorowna. Nach dem Tod des Zaren Alexander I. im Jahre 1825 folgte ihm Nikolaus als Kaiser Nikolaus I. auf den Thron nach und erstmals wurde eine Preußin Kaiserin von Russland. Das Motto des Festes Lalla Rookh folgte einer literarischen Vorlage. 1817 veröffentlichte Thomas Moore ein am persischen Hof in Indien spielendes Gedicht, die orientalische Romanze "Lalla Rookh". Der Titel ist dem Namen der Heldin, einer fiktiven Tochter des Großmoguls Aurangzeb, aus dem 17. Jahrhundert entlehnt. Der Kosename Lalla Rookh oder Lala-Rukh steht für "Tulpe" oder auch "rosige Wange/Gesicht" und wurde häufig in der persischen Dichtkunst verwendet. Im Nachklang dieses Hoffestes entwarf 1823 der berühmte preußische Architekt und Entwerfer für Kunsthandwerk, Karl Friedrich Schinkel, diesen Vasensatz im Auftrag des preußischen Hofes. Ein Jahr später, 1824, wurde der Entwurf von der Königlichen Porzellanmanufaktur, der KPM Berlin, zum ersten Mal für König Friedrich Wilhelm III. von Preußen ausgeführt. Diese Ausführung war bemalt mit Szenen aus Lalla Rookh mit den Darstellern in historischen Kostümen, - daher leitet sich auch der Name "Persische Vasen" ab. Ein weiterer Dreiersatz mit Szenen aus "Lalla Rookh" wurde 1843 ausgeführt und als Erinnerung an das Hoffest dem russischen Zarenpaar geschenkt. Er befindet sich heute in der Eremitage in St. Petersburg. Dem Kontobuch des Königs Friedrich Wilhelms III. und (seit 1840) Friedrich Wilhelms IV., dass sich im KPM-Archiv der Stiftung Preußische Schlösser und Gärten (SPSG) Berlin-Brandenburg in Potsdam befindet, ist mit Eintrag vom 15. Februar 1846 zu entnehmen, dass ein weiterer Vasensatz für Herzog Ernst II. zu Sachsen-Coburg und Gotha in Auftrag gegeben wurde. Belegt ist zudem eine aquarellierte Entwurfszeichnung Schinkels in gleicher Form, aber mit abgewandelter Dekorvariante, bezeichnet als "Geschenk des Herren Geheimen Ober Bergrath Frick" von 1847, die in der Vorbildersammlung der Staatlichen Porzellan Manufaktur Berlin aufbewahrt wird. Ferner befinden sich im Topkapi Museum in Istanbul zwei KPM Einzelvasen der großen Form, wovon eine mit einer der vorliegenden Vasen vergleichbaren Blumenmalerei versehen ist und auf der Weltausstellung in London 1851 wurde eine große einzelne "Persische" Vase der KPM Berlin präsentiert. Vgl. Köllmann, Erich, Berliner Porzellan. Braunschweig 1966, Taf. 215. - Ouvrier-Böttcher, Marianne, Die Arbeiten der Königlichen Porzellanmanufaktur Berlin zwischen 1835 und 1890, Philosophische Dissertation TU-Berlin 1982, S. 63, 65, 100, Abb. S. 21.- Official Description and Illustrated Catalogue of the Great Exhibition, London 1851, Abb. 201. A three-piece "Persian" set of vases with "fleurs en terrasse" decorationKPM Berlin, 1837 - 1844, model by Karl Friedrich Schinkel, 1823Porcelain. Polychrome onglaze painting. Rich, partly etched / matted gold decoration. Blue sceptre mark above KPM, red painting mark, large vase with painter's monogram "E. F." in blue, model numbers 1556 and 1557. Restored, minimally rubbed. Height 72 cm and 68 cm. Cf. Köllmann, Erich, Berliner Porzellan. Brunswick, 1966, plate 215. - Ouvrier-Böttcher, Marianne, Die Arbeiten der Königlichen Porzellanmanufaktur Berlin zwischen 1835 und 1890, Philosophische Dissertation TU-Berlin 1982, page 63, 65, 100, illustration page 21.- Official Description and Illustrated Catalogue of the Great Exhibition, London 1851, illustration 201.
Lot 664
A GENTS SEAMASTER PROFESSIONAL CHRONOMETER WRISTWATCH with navy blue wavy patterned dial, luminous dot and baton numerals and hands, with a date aperture and a red tipped second hand. The bezel is also blue and the case stainless steel. Currently fitted with a generic brown leather strap, the original link bracelet is included. Bought new in 2000, with original receipt, swing tag, warranty card, booklet and repair card (2013) Diameter of the case 4.1cm, weight 79.18gms Condition Report: Winds and is ticking, strap needs replacing. Model number 25318000, mov cal no 1120, Watch number 80060477.
Lot 693
A LE VIAN LEOPARD INTO THE WILD DIAMOND SET WATCH the diamonds are marketed as blackberry, chocolate and vanilla colour, both the dial and the bezel set with estimated approx 6.5cts of diamonds and green tsavorite eyes. A Limited Edition of 42/500, model number LV1219S-37A style ZAG240. With a genuine stingray strap with diamond set buckle and stainless steel case. Available to purchase with le Vian $16,550 USD approximately £11,700. Diameter of the dial 4.3cm, weight of the watch 74.3gms, with box and papers 886.3gms Condition Report: Winds and is ticking.
Lot 106
A Staffordshire table base group of the 'Ale Bench', circa 1830Modelled as a colourfully dressed couple seated on yellow high-backed chairs, draining the contents of the cups held in their right hands, a beer jug on the red table between them, before bocage and a turreted building forming spill holders, the mottled table base embossed with foliate swags, titled 'ALE BENCH' twice, 21cm highFootnotes:ProvenanceJames and Timmey Challenger Collection, ChicagoThe aftermath of this drinking scene is shown on a companion model of the same title, where the table and vessels lie upturned and the husband and wife are at each other's throats. A third group titled 'Tee Total' shows a responsible, happy family having tea and cake. These groups document contemporary concerns centred around drunkenness and domestic violence threatening respectability, especially amongst the middle classes. All of these models are illustrated by Rosalie Wise Sharp, Ceramics, Ethics and Scandal (2002), pp.106-7. See also Myrna Schkolne, People, Passions, Pastimes and Pleasures (2006), pp.170-3.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
Lot 108
A pearlware model of a cat, circa 1800-20Possibly Scottish, modelled seated with its tail curled around its body and legs, sponged in black and ochre, the ears and facial features picked out in black and the edge of the base sponged in sea-green, 9.3cm highFootnotes:ProvenanceA private collection of British ceramic catsThis 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
Lot 122
A Bow model of a cat, circa 1758-60Modelled seated and with an alert expression, its fur delicately painted in pale puce with eyes picked out in red and yellow, set on an oval base with puce scrolls, 6.8cm highFootnotes:ProvenanceRobyn Robb exhibition 2003, no.33A private collection of British ceramic catsA pair of similar models is illustrated by Anton Gabszewicz and Geoffrey Freeman, Bow Porcelain (1982), p.151, fig.253. A related Bow model of a cat with a mouse from the Billie Pain Collection was sold by Bonhams on 26 November 2003, lot 37.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
Lot 135
A Worcester creamboat or small sauceboat, circa 1753Of corrugated 'low footed' oval form with a broad spout and plain handle with a curled thumbrest, the exterior crisply moulded with rococo panels of simple Chinese landscapes, a smaller vignette below the spout, the interior with precious objects and a flower sprig, 14.5cm longFootnotes:ProvenanceSimon Spero exhibition 1998, no.9John Alchin CollectionThis rare model was only made for a short time during the early years of production at Worcester. A creamboat or small sauceboat of the same form is illustrated by Samuel M Clarke, Worcester Porcelain in the Colonial Williamsburg Collection (1987), p.15, pl.1 and two other examples were sold by Bonhams on 12 November 2014, lot 91 and 31 March 2010, lot 29. All three are of the same pattern, which differs from the present lot.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
Lot 153
An early Worcester pickle dish, circa 1752-53Of ivy leaf shape with a stalk handle, fine moulded veins to the underside, painted in delicate hues with scattered flower heads and leaves, 9.9cm longFootnotes:ProvenanceFaith and Dewayne Perry Collection, Simon Spero exhibition 2008, no.33Ralph Kenber CollectionLund's Bristol first produced this model in underglaze blue two or three years prior to Worcester. The manufacture of pickle leaf dishes with the more costly enamelled decoration is mostly concentrated in the short period between 1752-55, after when it was, presumably, conceded that the delicate overglaze decoration was not best suited to serve acidic pickles. For a similar example see H Rissik Marshall, Coloured Worcester Porcelain (1954), pl.45, no.931.For further information on this lot please visit Bonhams.com
Lot 181
A very rare Worcester tureen and cover and a centrepiece, circa 1770-75The tureen of shallow circular form, the final finely modelled as cow, lying and with details picked out in blue, printed in blue with flowers from the 'Rose-Centred Spray Group' (II.C.10) and the 'Pine Cone Group' (II.C.11), 21.2cm diam, the centrepiece of quatrelobed oval footed form, an elaborate pierced design below the scroll-moulded rim, a simpler one above the foot, printed in blue with the 'Gillyflower' pattern (II.C.22), 29.2cm wide, crescent mark (3)Footnotes:The cow finial of the tureen is similar to a model made at Plymouth or Bristol and this provides an important link to John Toulouse, who is likely to have provided the model for this remarkable finial. An example in the Museum of Royal Worcester is illustrated by John Sandon, The Dictionary of Worcester Porcelain (1999), p.119. An example from the Zorensky Collection was sold by Bonhams on 22 February 2006, lot 352 and is illustrated by Spero and Sandon, Worcester Porcelain (1996), p.486, no.666. The pierced borders of the centrepiece are reminiscent of contemporary creamwares, the fine quality of which would have made them worthy competitors in the market for Worcester's products. An identical dish from the Zorensky Collection was sold by Bonhams on 23 February 2005, lot 366 and is illustrated by Spero and Sandon (1996), p.477, no.649.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
Lot 198
A Lowestoft model of a pug dog, circa 1770Left in the white, modelled seated on a rectangular base with its head turned to the right, its collar secured with a rosette, 9.1cm highFootnotes:Most examples of this rare model are decorated with patches of manganese or enamelled in a more naturalistic style. A pair of manganese pugs is illustrated by Geoffrey Godden, Lowestoft Porcelains (1985), p.130, pl.161. Although initially attributed to Longton Hall, corresponding fragments recovered from the Lowestoft factory site in 1967 suggested otherwise. The highly phosphatic body disproves a Staffordshire origin in any case. For further discussion see John Howell, Lowestoft Manganese-Decorated Animals, ECC Trans, Vol.13, Pt.3 (1989), pp.183-4 and pls.167-9.For further information on this lot please visit Bonhams.com
Lot 199
Another Lowestoft model of a pug dog, circa 1770Left in the white, modelled seated on a rectangular base with its head turned to the left, its collar secured with a rosette, 9cm highFootnotes:ProvenanceEileen Pull CollectionSee the footnote to previous lot, the companion to the present lot. An example of this model decorated with manganese and underglaze blue is in the Victoria and Albert Museum (acc. no. C.24-1925).For further information on this lot please visit Bonhams.com
Lot 222
A rare Lowestoft model of a swan, circa 1790Left in the white, naturalistically modelled with an elegantly arched neck and delicately moulded wings held close to its body, 6cm highFootnotes:ProvenanceMargaret CorsonFlowerday CollectionShards matching the swan's right wing were found at the Lowestoft factory site in 1903-04 and are illustrated by Sheenah Smith, Lowestoft Porcelain in Norwich Castle Museum, Vol.2 (1985), pl.20. A version with the eyes and beak picked out in enamels from the Brian Wood Collection was sold by Bonhams on 14 November 2018, lot 398. Further polychrome 'sepia' examples are illustrated and discussed by John Howell, Lowestoft Manganese-Decorated Animals, ECC Trans, Vol.13, Pt.3 (1989), p.182 and pl.165(b), who suggests that this decoration was intended to mimic the downy feathers of cygnets.For further information on this lot please visit Bonhams.com
Lot 227
A rare Lowestoft creamboat, circa 1770Crisply moulded in relief with a panel of sheep and their lambs, the reverse with cattle, reserved on a moulded basketweave ground, the scrolled borders and foliate foot picked out in blue, the interior with flower sprigs below a thin line border, 10.1cm long, indistinct painter's numeral inside footrimFootnotes:The moulded scenes on this creamboat are particularly crisp and lovely, left in the white but framed by the sparse blue highlights around the cartouche and foot to great effect. A similar example from The E D Levine Collection is illustrated by Geoffrey Godden, Lowestoft Porcelains (1985), p.115, pl.138 and discussed at p.201. See also Bernard Watney, English Blue and White Porcelain (1973), fig.79B. The model relates to a slightly larger version produced at Bow, see the example sold by Bonhams on 21 May 2014, lot 83.For further information on this lot please visit Bonhams.com
Lot 237
A Lowestoft model of a cat, circa 1770Modelled seated on a green mound base, its fur realistically rendered with dark blackish-brown stripes, its belly and face left in the white with eyes, mouth and whiskers picked out in a somewhat indignant expression, 5.6cm highFootnotes:ProvenanceBillie Pain Collection, Bonhams sale, 26 November 2003, lot 244A private collection of British ceramic catsExhibited at The International Ceramics Fair and Seminar Loan exhibition in 1999, no.65. A similar cat and a corresponding mould excavated at the factory site are illustrated by Geoffrey Godden, Lowestoft Porcelains (1985), p.133, pls.166A and B. Two further examples from the Sheila Davis Collection were sold by Phillips on 28 January 1999, lots 12 and 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
Lot 238
A rare Derby model of a cat, circa 1760The smirking animal modelled seated with its long tail curled round to one side and resting between its front paws, the striped fur marked in shades of puce and brown, set on a scroll-edged base picked out in puce and green, 10.2cm highFootnotes:ProvenanceBonhams sale, 7 December 2005, lot 234A private collection of British ceramic catsA pair of similar cats was sold by Christie's on 14 May 2003, lot 222 and a single cat by Bonhams on 3 June 2015, lot 15. See also Yvonne Hackenbroch, Chelsea and other English Porcelain, Pottery and Enamel in the Irwin Untermyer Collection (1957), pl.105, fig.282.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
Lot 63
A good English Delftware model of a cat, mid-18th centuryPossibly London, modelled seated and painted in blue with its striped tail curled around its haunches, the fur denoted with ermine-like markings, delicate whiskers on a mournful face and a chain collar around its neck, the hollow mound base washed in blue, 10.3cm highFootnotes:ProvenanceA private collection of British ceramic catsA closely related model is illustrated by Jonathan Horne, A Collection of Early English Pottery, Part V (1985), fig.118. Another similar example painted with a chain around its neck was bequeathed by Liane Richards to the Victoria and Albert Museum (acc. no. C.13-2016). See also the model illustrated by Leslie B Grigbsy, The Longridge Collection (2000), p.388, no.D352.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
Lot 67
A rare Staffordshire saltglaze model of a cat, circa 1750-60In two tones of reddish-brown and white 'solid agate', modelled laying down with its tail curled around its hindquarters and head turned to the right, the eyes picked out in yellow, 6.2cm highFootnotes:ProvenanceCharles J Lomax CollectionSheila Davis Collection, Phillips sale, 28 January 1999, lot 15For further information on this lot please visit Bonhams.com
Lot 80
A very rare creamware 'Tipsy Man' Toby jug, circa 1785Modelled seated in a chair, holding a very large jug overflowing with beer in both hands, wearing a broad grin, ochre breeches and a jacket with vertical stripes in green, ochre and brown, 26.5cm highFootnotes:ProvenanceSotheby's sale, Colstoun, Haddington, East Lothian, 1990James and Timmey Challenger Collection, ChicagoIllustrated by Vic Schuler, Collecting British Toby Jugs (Third Edition, 1999), p.77 and discussed at p.49 where the author states that only six examples of the model were recorded at the time of writing. Another 'Tipsy Man' jug from the James and Timmey Challenger Collection was sold by Bonhams on 15 December 2020, lot 45. This differed from the present lot in that the chair was supported on four short legs. The example in the Bute Collection sold by Christie's on 8 July 1996, lot 50 has a similarly striped jacket to the present lot but a third version of the base, the chair having legs and standing on a shallow platform.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
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