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French school c. 1630, follower of Leonardo Da VinciThe Virgin of the rocks On its original canvasold restorations67,7 x 46,1 in.PROVENANCEChâteau de la Pierreuse in Marigny-les-Usages (Loiret), c.1840Remained in the family of the former owners to the present dayOur version of the Virgin of the rocks is an early testimony of France’s fondness for Leonardo da Vinci because the original, now in the Louvre (ill. 1), arrived there very early, around 1508, several years before the master’s arrival in Amboise in 1516.The Virgin of the rocks (ill. 1) was commissioned by a lay brotherhood for the chapel of the Immaculate Conception in the church of San Francesco Grande in Milan, which was destroyed in 1806. It was to be placed in the centre of a complex altarpiece built by the woodcarver Giacomo del Maino. A contract bound Leonardo and his pupils Ambrogio and Evangelista de Prédis to deliver their artwork for the feast of the Immaculate Conception in May 1484 (we attribute to the last two the angels on the side panels). The artists deemed that they had spent too much money on the altarpiece’s gilding and that what they had received was too little, after which they complained to Ludovico Le More (Ludovic Sforza, Duke de Milan). They stated that they had received a much higher offer for the Virgin of the rocks. Twenty-five years of litigation ensued between the three companions and the brotherhood. Leonardo probably yielded his painting, although it is unknown whether it was offered to Louis XII or François Ist. Furthermore, with the participation of the Predis brothers, he produced a replica with some variations that is now in the National Gallery in London (ill.2). Amongst the principal differences between the two paintings most noticeable is the gesture of the angel pointing to the little Saint John at the Louvre, a detail that is absent in the London version. In the English version the figures are haloed and Saint John holds a cross. The sfumato is slightly more shaded, more tanned, and the choice of plant species, with Marian connotations, has been rethought. This holy conversation fascinates us due to the psychological relationship between the four figures. Their presence is strange, both recluse in a cave and inserted in a mountain landscape. Their interaction with the nature that surrounds them is metaphysical. The composition is very simple at first glance, a pyramid as a symbol of elevation, but which breaks down into a very skilful triangulation, reinforced by the stalagmites in the background. The great spirituality that emerges from the image is counterbalanced by the naturalism of the volumes. The alpine topographic realism and the scientific description of each plant species reveal the harmony of Nature and Creation. This balance of contradictory forces, between the microcosm and the macrocosm - a reduced model imitating the entire complexity of the universe - made this painting incredibly innovative at the time and still remains fascinating today. The space is suggested by delicate gradations of colors creating a diffused light. To position his group in space, Leonardo did not rely on a building or an architectural perspective, as had been invented by the painters of the Florentine Renaissance, but on a subtle structure in motion, where the air revolves around the figures and the landscape reflects their state of mind.Leonardo da Vinci’s body of painted works is very small, only fifteen religious compositions and five portraits, though revolutionary, matured and reflected, all of which have marked the history of painting. His studio and his pupils in Milan produced replicas of his paintings at various stages of execution 1. Dozens of replicas of the Saint Anne, the Redeemer and the Virgin of the Rocks are known 2.We do not know the exact date when the latter arrived in France; it was either given to Louis XII, confiscated by Charles II d’Amboise, or offered by the ambassador to François Ist. WHO IS THE AUTHOR OF OUR VERSIONOur painting can be dated in the early 17th century, so outside the sphere of Leonardo’s Milanese pupils. There is every reason to believe that only court artists had access to the paintings in the royal collection at the Château de Fontainebleau. From the 1540s onwards, the collection was exhibited in the Appartement des bains, a suite of rooms built on the model of ancient baths, on the ground floor of the François Ist’s gallery. It consists of three bathrooms and four small salons ending in a vestibule, which were demolished in 1697 to create new accommodations 3. Fontainebleau, which was visited by the last Valois but left untouched, was one of the favourite residences of Henry IV, who wanted to establish himself as the successor to François Ist. From 1593/1594, he undertook major works that doubled the surface area of the palace. Little is known about the layout of the royal collection at this time, as sources are incomplete and contradictory. We have to wait for the inventory of Father Dan in 1642 for precise data. Between April 1594 and May 1600, the date of the Fontainebleau Conference, the arrangements were completed, and the easel paintings were transferred from the hot and humid ovens, to the painting room on the second floor of the central pavilion of the Stoves wing, rebuilt under Henri II. In the baths, the originals were replaced by copies of the same dimensions, inserted into the existing stucco frames. Logically, Henri IV entrusted this task to the artists working on the castle site. Ambroise Dubois reproduced Titian’s Magdalene, his son Jean Dubois reproduced Raphael’s Belle Jardinière, Jean Voltigeant reproduced Raphael’s Saint Margaret slaying the Dragon and perhaps also Sebastiano del Piombo’s Visitation, and Jean Michelin reproduced the Virgin of the rocks 4. This copy was transferred under Louis-Philippe to the Trianon chapel in Versailles5 (for reasons of dates, this Jean Michelin does not seem to be the painter born in Langres in 1623, follower of Le Nain). We propose to attribute our version to the bellifontain milieu of the first third of the 17th century. The deep and soft shadows, the blue (lapis-lazuli) and green of the draperies evoke the palette of Ambroise Dubois’ original creations. The copy of the Mona Lisa, kept at the Clos-Lucé for the last ten years, for example, is attributed to him (the earth tone undercoat of this painting is quite close to that of ours, ill. 3). A direct and late copy of our painting and not of the painting in the Louvre- is known in the church of Boigny-sur-Bionne 7 (ill.4), that is to say a few dozen kilometres south of the castle. This is another element in favour of a bellifontain origin of our work. Here, the painter is committed to transcribing as faithfully as possible the Italian master: the modelling of the volumes, the famous «sfumato», is transcribed in a virtuoso manner, particularly in the faces and bodies of the children, the most difficult parts to reproduce. The fact that he simplified the description of the plants, for example the leaves on the vault of the cave, shows a history painter more attached to and accustomed to figures and narration than to a profusion of details. However he has kept those that are essential to the symbolic and poetic atmosphere of the painting: the swamp iris, the aconite, the St John’s wort... The leaves of the rhapis palm on the left are less detailed and a little larger than at the Louvre.
A fine late 17th century French 'contra-partie' brass inlaid clock of long durationDaniel Clavier, ParisThe case possibly attributable to Andre Charles Boulle and decorated allover with cut brass over tortoiseshell and silvered inlay in the 'contra-partie' technique, the arched cresting flanked by a pair of pedestals and surmounted by three swagged urn flambe finials, the long door with a beaded bezel over a shaped drapery cartouche flowing over the base between the cast ball feet, the sides set with arched windows framed by seven geometric panels of tortoiseshell within silvered line borders, the arched black velvet-covered dial with silvered Roman chapter ring with each minute hand engraved to the edge, with good pierced and engraved gilt hands, set over an applied Baroque style signature plaque centred by a female mask, the rectangular plates united by five pillars (four vase-shaped in brass and one facetted steel) pinned through the backplate, with verge escapement to a light pendulum with lenticular bob suspended on silk between cycloidal cheeks, the strike train with numbered outside countwheel, decorative steel stopwork, striking the hours and the half-hours on the bell above, signed in a flowing script to the lower edge Daniel Clavier a Paris. Ticking and striking, together with a winding key and door key. 58cms (22.5ins) high. Footnotes:Daniel Clavier is recorded as working in La Cite, Paris from 1679 until 1685. His neighbours included Pierre Du Chesne, Samuel Panier, Joseph Baronneau, Isaac-Paul Du Hamel, Pierre Gaudron, Pierre Langlois and the Martinot family - many of them clients of Andre Charles Boulle. Another clock by him is illustrated in Plomp, 'Early French Pendulum Clocks' figure 128.This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com
TROIKA POTTERY. Troika Pottery, Newlyn coffee mug & ash tray. Ash tray has small stress crack, mug has light stress cracks & some crazing. Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING. The absence of a condition report does not imply the lot is perfect.WE CAN SHIP THIS LOT, but NOT if part of a large, multiple lots purchase.
CHARLES ROFF & BOB BERRY. A Charles Roff, black & white photographic print, signed & dated 2001. Image size 59 x 49cm. Also, a coloured photographic print by Bob Berry 'Holding The Light'. Signed & titled to the reverse. Image size 50 x 50cm. Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING. The absence of a condition report does not imply the lot is perfect. WE CANNOT SHIP THIS LOT or other large, glazed or fragile pictures. Our recommended carrier is MBE Plymouth on +44 (0) 1752 257224 or info@mbeplymouth.co.uk Proceeds from this lot will be donated to the RNLI Penlee Crew Comfort Fund.
Miller & Sons of Paris carriage clock with Roman numerals to the enamel dial, with subsidiary alarm dial, foliate engraved plate, five-sided glass and brass case, numbered 12513 to the back, all housed in brown leather travel case, 17cms to the top of the handle Condition ReportSome light surface scratches and scuffs to both glass and brass. Tarnishing and wear to areas of brass. Leather case has scratches, scuffs and knocks.Is just repeater clock, less frequent that quarter hour. 17 cm to the top of the handle.
Chinese porcelain teapot, bulbous and decorated in blue with precious objects, 11cm high (repaired to neck), Kangxi four-character mark to base and a Chinese porcelain miniature double-gourd vase, 11cmCondition ReportTeapot has some light surface marks, accretions and staining. Some small chips to glaze, the rim has some areas of loss and repair.The gourd vase has some light surface marks and some chips to the rim. See photos.
Brass and black painted metal tubular double bed frame, 54" wideCondition ReportSome surface scratches, chips to paint, light tarnishing to areas of the brass. White sheet is sewn around mattress base so can't get image of underside of bed base. General wear and tear. See photos.All parts seem to be present. No mattress.
Possibly early 20th century wing back chair stamped Gregory and co in light brown leather with brass studding, on cabriole front legs Condition ReportNumerous surface scratches, scuffs and accretions to the leather. Areas of fading, discolouration and staining. Appears to be a small cigarette burn and hole in between the seat and the arm. Scratches and scuffs the the legs. Some cracks to the leather. There are three buttons missing from the seat. Frame is sound. There is a repair to the back right leg. General wear and tear. See photos.
19th century Spode porcelain miniature Campana vase decorated with pattern no. 1166, 7.5cm high, Royal Copenhagen porcelain miniature robin (damaged), German porcelain vase, floral decorated and sundry porcelain miniatures (7)Condition ReportSpode has some light surface marks, wear to the gilt, one of the handles has an old repair.Narrow neck vase has a small chip to the rimBulbous pot is in good conditionJug has a star crack to the baseChip to the beak of the birdGeneral wear and tear to all. See photos
Edwardian glass inkwell with silver overlaid mounts by William Comyns, London 1903, with pierced trellis and floral decoration, 10cm diameter, a silver photograph frame mount and a silver plated pepperette (3) Condition ReportInkwell has some light surface scratches and accretions. Tarnishing and polish residue to silver. Small chip to rim of glass. The silver comes away from the glass completely, has some areas of loss and splits. See photos.
Gentleman's stainless steel Tudor Oyster Royal bracelet watch, the dial with Arabic numerals and on expanding braceletCondition ReportWatch appears to be working, although unable to say whether in full working order. Hands are moving.. Crown screws down as it should. Some light surface scratches, accretions behind the glass. General wear and tear. Diameter approx. 3cm
Gentleman's Zenith automatic wristwatch no. 28800, with additional strap links, 69g in total approx. Condition ReportSome light surface scratches to both glass and metal, some accretions. Strap is not gold. The watch has no signs of base metal underneath. Hands and date setting ok, doesn't work when wound, Unable to get back off, not hallmarked. Watch not working.
Wilkinson Limited Clarice Cliff ashtray of circular form decorated in the 'Coral Firs' pattern, 12.5cm diameter with printed and impressed marks Condition ReportSome light surface scratches, small nibbles/rough areas to the edge in places. Some crazing to the underside. general wear and tear. See photos.
19th century Sevres porcelain presentation tazza or ‘Coupe Cybele’ for the Paris Exposition 1878, awarded to a Prize Bull, circular with everted rim, the centre with pate-sur-pate portrait of Cybele, decorated with scrolling foliage and wheatears on yellow ground, cream, gilt and royal blue scroll and motif in a border, the exterior border decorated with circular roundels and gilt motifs, fruit, floral and wheatear garland to bleu celeste ground, with panel inscribed ‘Exposition Universelle Paris ’78, on urn-shaped column with scroll supports, laurel leaf garland, all in royal blue and gilt, stepped circular base with four yellow shaped medallions, inscribed ‘Sevres, 1878, Paris Exposition’, 37cm diameter x 26.5cm high Condition ReportSome light surface marks, minor wear to areas of gilt, two small chips to base. No signs of repair or restoration under UV light. General wear and tear, see photos
Gold Queen Victoria Diamond Jubilee medal, 1897 (56mm diameter 91.0g) together with a Queen Victoria Diamond Jubilee silver medal, designed by George De Saulles, (2)Condition ReportPlease contact "mjmpost@gmail.com" for postage options. Some light surface scratches, tarnishing to the silver medal.Not tested.
Poole pottery dish decorated in oranges and turquoise, 26.5cm dia., a Cobridge stoneware vase of baluster form decorated with dolphins in blue and brown glazes with impressed and painted marks, 17cm high, a Royal Copenhagen blue glazed bowl, a Caithness purple glass vase and an Okra iridescent glass paperweight in the form of an apple (5)Condition ReportAll appear in good order. Some light surface scratches to all items.
Extensive Herend porcelain matched service, various pieces in green floral and gilt patterns, viz:- hors d'oeuvres set of five wedge -shaped dishes, circular bowl and the matching circular tray, six salad crescents, two-handled sauceboat, two-handled oval osier-pattern serving dish, four variously shaped bowls, teapot, bachelor's coffee pot, cream jug, pickle dish, sauce ladle, butter dish and cover, lidded two-handled tureen with lemon pattern finial, six soup plates and a pair two light candelabra each on circular foot, 23cm high
A large and impressive forty-branch crystal chandelier, modern, consisting of five tiers, the lower three each holding twelve floral-form light sconces each suspending cut glass pear-form lustres and joined by cut-glass beaded swags, the fourth tier holding six sconces, the top tier a scalloped bowl suspending similar beaded swags and drop lustres, with chain hanging, overall dimensions approximately 5ft high excluding the chain and 5ft in diameter. CONDITION REPORT: This chandelier is currently installed in our client's home in the NE3 area of Newcastle Upon Tyne and is not available to view in person. Upon completion of sale, Thomas N Miller Auctioneers will assist the buyer in liaising with the vendor to arrange collection.
A Hammond of Winchester percussion cap rifle, with light cross-hatched design to the stock, swag decoration to the lock plate and the arm of the hammer, the hammer in the form of a fish, marked the makers name to the lock plate and the 86cm long barrel, bore approx. 20.1mm, complete with ram rod
A pair of Chamberlain Worcester yellow ground tapered beakers, late 19th Century, painted en grisaille with titled allegorical scenes and verso also titled scenes, red script marks, 9cm high/see illustration CONDITION REPORT: 'Justice and Sculpture' beaker has a stained star crack in the base. Both with some minor flaking to the black enamels, with some signs of light re-touching, and rubbing to the gilding on the rim.
A Spode part tea service, circa 1820, pattern No. 3073 in pink, red and gilt, comprising a square teapot, cover and stand, milk jug, sugar bowl, teacup, coffee cup and two saucers CONDITION REPORT: Overall good condition. Some light surface scratches and rubbing to gilt in line with age and usage
A group of English ceramics decorated with flowers and leaves, comprising five plates, three cups and saucers and two jugs CONDITION REPORT: Green leaf shaped plate- handle glued. Chip to rim and chip to footrim.Pair of plates with blue beaded borders- cracked through and glued. One with 5" stained hair crack, off centre and with losses to the blue enamel decoration.Coalport aesthetic plate- overall good.Coalport plate with gilt oak sprigs- stained and faintly crazed, two faint hair cracks.Jug with butterfly handle - good.White jug- good.Blue petal cup & saucer- saucer cracked almost through.Pink petal cup & saucer- small chip to footrim of cup.Snowdrop cup & saucer- handle has metal repair, small hair crack to rim of cup. Light crazing
A Chinese blue and white double gourd vase, Transitional period, decorated figures within garden settings, a band of stiff leaves between upper and lower sections, drilled above foot, 34cm high/see illustration CONDITION REPORT: Slight wear and dark bubbles to glaze at rim. A few small firing blemishes to surface including dimples in glaze. Some light scratches. Drilled hole about an inch above the foot. Small area of glaze loss to inner foot rim. Firing cracks visible to underside. Overall appearance quite good.
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