315251 Preisdatenbank Los(e) gefunden, die Ihrer Suche entsprechen
315251 Lose gefunden, die zu Ihrer Suche passen. Abonnieren Sie die Preisdatenbank, um sofortigen Zugriff auf alle Dienstleistungen der Preisdatenbank zu haben.
Preisdatenbank abonnieren- Liste
- Galerie
-
315251 Los(e)/Seite
Los 48
EDUARDO CHILLIDA JUANTEGUI (San Sebastian, 1924 - 2002)."A peu pel llibre".Etching on Rives paper, copy 7/75.Hand signed and dated.Hatz d'Ignacio Chillida de San Sebastián Printing.Size: 12 x 25 cm (print); 65 x 50 cm (paper); 75 x 59 cm (frame).Engraving from the book "A peu pel llibre" with poems by Joan Brossa, etchings by Chillida and frontispiece by Pere Gimferrer, published by Polígrafa in Barcelona. Polígrafa summarises in its synopsis "The harshness of Brossa's poems, violent and harsh in their nakedness, combine with the serenity of Chillida's engravings. Each combination of poem and engraving constitutes, in fact, a triptych, formed by the title, on the title page, the text by Brossa and the engraving by Chillida, so that each of these elements contrasts with the previous one. At the same time, the title acts as a bridge to the optical and almost tactile poetry of the engravings".Chillida began drawing at the Círculo de Bellas Artes in Madrid, and his interest in sculpture gradually grew. It was during his years in Paris that he made his first plaster sculptures, impressed by the archaic Greek sculpture in the Louvre. He held his first sculpture exhibition in the French capital in 1950. In 1951 he returned to San Sebastián for good, and produced his first work in iron, the material he would work with for the rest of his life. Throughout his life, Chillida received numerous prizes and awards, including the Carnegie Prize, the Rembrandt Prize, the Wolf Foundation Prize for the Arts and the Prince of Asturias Prize for the Arts. He was also an academician of San Fernando, and a member of the American Academy of Arts and Sciences, Honorary of the Royal Academy of Arts in London and of the Imperial Order of Japan, and was awarded the Grand Cross for Humanitarian Merit by the Institution of the same name in Barcelona. In addition to his Chillida-Leku Museum in Hernani, he is represented in museums and collections all over the world, such as the Guggenheim in Bilbao, the MOMA in New York, the Reina Sofía in Madrid, the Tate Gallery in London and the Neue Nationalgalerie in Berlin.
Los 73
MANOLO VALDÉS BLASCO (Valencia, 1942)"Composition", 1982-1983.Collage (oil, acrylic, coloured pencils and letters) on paper.Signed in the lower left corner.Measurements: 90 x 71.5 cm; 103 x 83.5 cm (frame)Provenance: Private collection of the widow of Rafael Solves, who together with Manolo Valdés and Joan Antoni Toledo, formed the Equipo Crónica. This piece was a gift from Manolo Valdés to the widow.Exhibited at Galería Sen in Madrid.In the exhibition this piece was in, there were different canvases evoking different artists to whom Valdés paid homage, making a menina with the most representative characteristics/style/movement of each artist, without losing his focus and his own style.Manolo Valdés introduced in Spain a form of artistic expression that combines political and social commitment with humour and irony. He began his training in 1957, when he entered the San Carlos School of Fine Arts in Valencia. However, two years later he abandoned his studies to devote himself fully to painting. In 1964 he founded the artistic group Equipo Crónica, together with Juan Antonio Toledo and Rafael Solbes, in which he remained until the latter's death in 1981, despite the fact that Toledo had left the group two years after its foundation. Since then he has settled in New York, where he currently lives and where he has continued to experiment with new forms of expression, including sculpture. Among the numerous awards Manolo Valdés has won are the Lissone and Biella awards in Milan, the silver medal at the II International Biennial of Engravings in Tokyo, the Bridgestone Art Museum prize in Lisbon, the National Prize for Plastic Arts, the medal at the International Festival of Fine Arts in Paris, the International Festival of Fine Arts in Paris, and the National Prize for Sculpture, among others, the medal of the International Festival of Plastic Artists of Baghdad, the Decoration of the Order of Andrés Bello in Venezuela, the prize of the National Council of Monaco, the Gold Medal for Merit in Fine Arts, the Prize of the Spanish Association of Art Critics and the Prize for the Best Print Artist, among others. Formally, Valdés produces a large-format work in which the lights and colours express tactile values, due to the treatment given to the materials. His work forces the viewer to delve into memory and search for significant images from the history of art. He is represented in some of the world's leading museums, such as the Reina Sofía in Madrid, the Metropolitan, the MoMA and the Guggenheim in New York, the Centre Georges Pompidou and the Fons National d'Arts Plastiques in Paris, the Kusnthalle in Hamburg, the Kunstmuseum in Berlin and the Museo de Bellas Artes in Bilbao, among many others.
Los 226
Group of five various dolls, including a Parian-type bisque shoulder head doll with glass eyes, moulded hair-style and on a cloth body with bisque lower arms and legs, wearing original cotton print dress with flower pattern and underclothes, 13” (33cm) tall, (condition: lacks fingers to right hand and chip to right foot), together with a smaller similar doll with painted features, a Hertel, Schwab & Co bisque head girl doll, (hairline to back of head), a bisque shoulder head doll, English bisque head doll, two good velvet doll bonnets, fur stool, dolls cotton dress and underclothes, pink hat stand with composition ladies head, a pair of painted brown hat stands with finely painted flower patterns, 10”, (26cm) tall, two egg cosies, two doll reference books and a small amount of doll clothes, (lot).
Los 235
Very sweet miniature all-bisque J.D Kestner doll in wicker case with clothes, German circa 1910, with weighted brown glass eyes, closed mouth and original wig, fixed neck and jointed at shoulders and hips, with painted white socks and boots, wearing pink dress and underclothes, (condition: small chip to left shoulder, right leg loose and missing loop), 6” (15cm) tall, in a wicker case with folding sides, sewn in wardrobe including cotton print patterned dress, skirt, vest, bib, coat, bonnet, pyjamas, handkerchief, powder puff, comb and mirror.
Los 311
Four bisque head dolls, English 1915-20, including a B shoulder head doll with painted features, brown wig, cloth body and bisque lower arms and legs, wearing a floral print dress, 17” (43cm) tall, a J & M Gurly with painted features and moulded hair style, a D.P.C baby and another, (condition: all good, play worn), (4 items).
Los 329
Two Chad Valley cloth dolls, English circa 1930, the boy and girl both with painted features brown wigs, swivel heads girl wearing original floral print dress and matching underwear, red felt shoes, boy in original red polka-dot shirt and red felt shorts with braces, girl 16” (41cm), boy 13” (33cm) tall, (condition: good), (2 items).
Los 352
An Isleworth bowl and an interesting English porcelain plate, circa 1765The first of plain circular shape, printed in blue with the 'Fence' pattern, the reverse with a subsidiary print of a figure rowing past a willow tree on a towering rock, a narrow tramline border and a single daisy flower inside, 15.2cm diam, the plate of octagonal form, painted in blue in Chinese style with bamboo and lotus, within a panelled diaper and flowerhead border, 22.4cm diam (2)Footnotes:ProvenanceGeoffrey Gooden Collection, Bonhams, 30 June 2010, lot 99 (bowl)With Roderick JellicoeThis plate belongs to a group of curious plates with Isleworth characteristics, but the precise origin remains uncertain. It seems likely that another London maker was responsible, but the identity is presently unknown.For further information on this lot please visit Bonhams.com
Los 354
A Longton Hall teabowl and saucer, circa 1758-60Printed in black with the 'Tea Drinkers', a couple taking tea in a garden, an attendant nearby with a silver kettle at the ready, the teabowl with additional prints of a parrot, classical ruins and another bird in flight, the saucer signed 'Sadler Liverpool', 11.7cm diam (2)Footnotes:ProvenanceWatney Collection, Phillips, 22 September 1999, lot 97John Sadler referred to his version of this print as the 'Tea Drinkers' in his correspondence with Josiah Wedgwood rather than the 'Tea Party'. A similar teabowl and saucer is illustrated by Joseph M Handley, 18th Century English Transfer-Printed Porcelain and Enamels (1991), p.233, no.8.31. Maurice Hillis suggests this example of Sadler's print, where the couple are seated on chairs and not together on a settle, is an earlier iteration. See the Chaffers coffee cup illustrated by Hillis, Liverpool Porcelain (2011), p.542, fig.14.38.For further information on this lot please visit Bonhams.com
Los 412
A very rare Flight Worcester mug, circa 1785Of generous cylindrical form, the underglaze blue ground printed with honeycomb diaper and a floral chain and other borders, the reserved panels printed in red overglaze with European landscape vignettes, the front circular panel with a print of two boys using a brood of freshly hatched chicks as an excuse to peer under the skirts of their female companion, 11.3cm high, disguised numeral mark in blue and rare red printed mark 'WORCESTER Manufactory FLIGHT'Footnotes:ProvenanceLord and Lady Flight CollectionThis mug, or another like it, was first reported in the 1950s and caused controversy as at that time the disguised numeral marks were believed to indicate a Caughley origin. This suggested that Flights acted as decorators of Caughley porcelain. Excavations at Worcester subsequently proved that the disguised numeral marks were used by Worcester during the Flight period. No other example of this overglaze print has been recorded.For further information on this lot please visit Bonhams.com
Los 400
Jan Pienkowski, illustrator of Meg and Mog books Signed 14 x 7 inch Colour Related Print. Signed in black ink in 2004. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Los 401
The Guardian award-winning cartoonist/illustrator Ben Jennings Signed on his Printed Artwork Backed onto Card. Signed on Reverse in black ink. Print Shows Nick Clegg In a Coffin. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Los 406
Garfield Cartoonist Jim Davis Signed on 10x8 inch Colour Garfield Print. Signed in black ink. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Los 694
RAF Colour Print Titled 002 Airborne Signed by John Cochrane, Brian Trubshaw and the Artist Roy Lazell. 111 of 750. Print Measures 23x17 Inches. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Los 695
WW2 Mount includes Colour Print by Nicolas Trudgian (limited edition 30 / 250) Signed by the Artist and Signed FDC Signed by Bob Stanford Tuck approx. size 17 x 15. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Los 697
WW2 Arthur T Harris and Grp Cptn Leonard Cheshire Signed Robert Taylor Colour Print Titled Mosquito. Signed in pencil by the Pair. Print Measures 24x20 inches Overall. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Los 698
WW2 Flight Engineer Ray Grayston Signed 2/10 Conrad Lowen 12x8 inch Black and White Print Titled The flight Engineers Office. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Los 700
WW2 Colour Print The Straggler Returns by Robert Taylor Multi Signed by Bill Reid, David Shannon, James Tait, Leonard Cheshire, limited edition no 315 / 1000 also Signed by the Artist Robert Taylor approx. size inches 20 x 27. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Los 1702
‘Jersey Etchings’ by Michael A Richecoeur, Jersey 1976, a boxed and leather-bound volume of twelve copper plate etchings printed by the artist in a limited edition of one hundred, each print signed titled and numbered in pencil, comprising Fort Regent, La Saie Dolmen, Market, Noirmont, Faldouet Dolmen, Seymour, Mont Orgueil, Bunker, Grosnez, Le Pinnacle, La Collette, Witches Rock, each sheet 12 x 19¼in. (30.5 x 48.9cm.). Light foxing on the title page and occasional light foxing throughout. Box scuffed and spine damaged.
Los 1
The Martyrdom of St. Sebastian: an important German engraved glass panel attributed to the master 'H I', late 17th centuryThought to be Heinrich Jäger, of octagonal shape with bevelled edges, finely wheel-engraved in intaglio with the Martyrdom of St. Sebastian, the wounded semi-nude saint bound to a gnarled tree, his right arm tied at the wrist with rope to a branch above his head, further rope wrapped around the base of the trunk, his body impaled with three arrows including two to his chest and one to his leg, a bow with a broken string together with two broken arrows at his feet, traces of silvering to the reverse, in a carved and ebonised pine 'ripple' frame, the panel 22.2cm high, 16.4cm wideFootnotes:ProvenanceDesmond Coke Collection, Sotheby's, 22 July 1931, lot 14 (part)Private Swiss Collection, BernPreviously thought to be Venetian, this remarkable panel depicts the Martyrdom of St. Sebastian after an original engraving of circa 1600 by Jan Harmensz. Muller (Dutch, 1571-1628), in turn based on the 1594 altarpiece by Hans van Aachen (German, 1552-1615) in St. Michael's Hofkirche, Munich. In the late 3rd century AD Sebastian had been a member of the Praetorian Guard, the personal security detail for Roman emperors. Christians were militantly persecuted by Rome at this time, and Sebastian was caught actively trying to convert several prominent individuals. As punishment, he was stripped and tied to a tree before being shot with arrows, as depicted on the present panel. He was rescued by St. Irene of Rome after being wrongly presumed dead. Unfortunately for Sebastian, he was clubbed to death by order of the emperor shortly after his recovery.The distinctive style of the figure of Sebastian himself, with his square jawline and heavily marked facial features, together with the rendering of his body with a series of soft curved depressions seamlessly merging into one another without the need for much further detailing in the musculature, are characteristics seen in many pieces attributed to the monogrammist 'H I'. His work is discussed in detail by R J Charleston, 'The Monogrammist 'H I': A Notable German Engraver', Journal of Glass Studies, Vol.4 (1962), pp.67-84, who states that this master ranks amongst the best German glass engravers of the Baroque period, particularly in his rendering of the human figure. Figures by this engraver are typically slightly androgynous in appearance, and almost always shown holding their heads in exact profile and their bodies frontally, as is the case here. This characteristic style deviates slightly from Sebastian's pose in the original source print. Two beakers engraved with semi-nude figures of Vulcan and Venus and of Meleager and Venus respectively in a very similar style to the present lot are illustrated by Rainer Rückert, Die Glassammlung des Bayerischen Nationalmuseums München, Vol.2 (1982), p.161, nos.564 and 565. The identity of the monogrammist 'H I', sometimes interpreted 'I H', has been the subject of considerable debate but is traditionally thought to be Heinrich Jäger, a glass cutter and engraver from Reichenberg in northern Bohemia who was active from at least 1690 or earlier. Little is known about Jäger, but he worked in Berlin throughout the 1690s until about 1706, then subsequently in Central Germany. He finished his career at Arnstadt, Thuringia, from circa 1715-20. His engraving style shows little Bohemian influence but has much in common with Gottfried Spiller's Brandenburg works. In 1696 Spiller's wife was recorded as the godmother to one of Jäger's children in Berlin, and he is known to have supplied glass to Charlottenburg circa 1705-06, so he was clearly moving in high circles. No other panels attributed to this engraver would appear to be recorded, but it is possible that it represents an early work undertaken prior to his more complex vessel forms.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
Los 194
A Liverpool enamel plaque, circa 1780Of upright oval form, printed in dark brown with a portrait of Prince William Henry, probably by Guy Green, titled on a banner below, with original metal frame and hanging loop, 7.2cm high including frameFootnotes:ProvenanceBunny and Paul Davies CollectionAnother example is illustrated by Susan Benjamin, English Enamel Boxes (1978), p.89 (top). The source of the image is probably a print published in 1780 after a painting by Benjamin West, now in the Royal Collection.For further information on this lot please visit Bonhams.com
Los 216
A Chelsea 'Goat and Bee' jug, circa 1745-47Of pear shape, supported by two goats recumbent nose to tail on grass, applied in high relief with a finely modelled and naturalistically coloured bee, set on a delicately coloured flowering branch in lower relief, the handle modelled as an oak branch applied with leaves, 11.4cm high, incised triangle markFootnotes:ProvenancePurchased from Klaber and Klaber 1976An uncoloured example is illustrated by Paul Crane, Nature, Porcelain and the Age of Enlightenment, in Art Antiques London (2015), where the similarity between the recumbent goats on the base of the jug and base of the silver Ashburnham centrepiece made by Nicholas Sprimont is noted. Another possible source for the design has been suggested by Zorka Hodgson, Survey of the Sources of Inspiration for the Goat and Bee jug and some other noted Chelsea creations, ECC Trans, Vol.14, Pt.1 (1990), p.40, figs.21 and 22 where a woodblock print dated 1530 by Domenico Campagnola is suggested. Coloured 'Goat and Bee' jugs are rarer than those left in the white. For other examples see Margaret Legge, Flowers and Fables (1984), p.25, fig.3, John C Austin, Chelsea Porcelain at Williamsburg (1977), p.24, fig.6, and the F S Mackenna Collection of English Porcelain, Pt.1 (1972), p.60, fig.19. A coloured example was sold by Bonhams on 29 September 2020, lot 130.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
Los 22
A highly important engraved 'Adam and Eve' marriage goblet, dated 1714The generous round funnel bowl with a solid base, naively decorated in diamond-point with the 'Fall of Man', the semi-nude figures of Adam and Eve wearing leafy sprays around their waists, standing either side of the Tree of Knowledge, its branches laden with fruit and the serpent entwined around its trunk, a rabbit and a fox behind, the initials 'A/ I*E' to the left and the date '(17.14)' below the rim, a bestiary alternating with trees arranged in three tiers to the rest of the bowl, the animals including an elk, a dog, a seated fox, a unicorn, a lioness, a parrot perched on a branch, a large spotted elk, a recumbent lion and a doe, on a six-sided moulded stem containing an elongated tear, over a folded conical foot, 18.7cm highFootnotes:ProvenanceReverend and Mrs M de la Hey, North Cerney, GloucestershireMajor R M O de la Hey Collection, Sotheby's, 13 June 1977, Lot 69Stephen Pohlmann CollectionLiteratureW A Thorpe, A History of English and Irish Glass (1929), pl.CI, no.1F Peter Lole, 'Limpid Reflections', Glass Circle News, no.109 (December 2006), pp.12-13Dwight Lanmon, The Golden Age of English Glass (2011), p.153, figs.87a-dStephen Pohlmann, 'An Eclectic Collector', Glass Matters, no.14 (June 2022), p.21, fig.2The scene on this remarkable goblet depicts the Fall of Man in the biblical book of Genesis, in which Adam is seen accepting from Eve the fruit from the Tree of Knowledge of Good and Evil. The engraving is filled with symbolism. The parrot on a branch represents wisdom and other animals are emblematic of the four humours: cruelty, melancholy, sensuality and lethargy. The present lot is one of just six goblets decorated with similar depictions of Adam and Eve in diamond-point, and also represents the earliest dated glass with a moulded stem. The initials relate to an unknown couple whose surname began with A, with 1714 perhaps referring to the date of their marriage.Two early goblets of very different form to the present lot depict The Fall in diamond-point, both dating to the last quarter of the 17th century. One has a short swirled quatrefoil stem and is illustrated by W A Thorpe, A History of English and Irish Glass (1929), pl.XXXVII, reproduced by Dwight P Lanmon, The Golden Age of English Glass (2011), p.152, fig.85. Another virtually identical depiction features on a gadrooned goblet sold by Bonhams as part of the James Hall Collection on 17 December 2008, lot 22, illustrated by Lanmon (2011), p.152, fig.86. The scenes on both glasses are so similar to one another that they must have been inspired by the same source print, if not produced by the same hand, but are earlier than the present lot and thus of unrelated manufacture.Only two other goblets with moulded stems which depict The Fall would appear to be recorded, both with eight-sided stems. One of these is illustrated and discussed by Lanmon (2011), pp.148-53, no.45 and has a remarkably similar bestiary of animals and trees on the bowl, although the scene of Adam and Eve is a mirror image of that on the present lot. It bears the slightly later date of 1716 and features an octagonal stem moulded with 'GOD SAVE KING GEORGE' around the shoulder. In spite of some stylistic differences in the execution of the main scene and the date, close similarities in the rendering of the animals and trees suggests both this glass and the present lot were probably engraved by the same artist, perhaps using the same source print.The second is a fragmentary Dutch goblet applied with diamonds to the shoulder of the stem, excavated in Utrecht and illustrated by Ina Isings et al., Schitterend! (2009), pp.130-1 and front cover. Only the figure of Adam, the base of the tree trunk and serpent's tail, and the legs and hand of Eve holding the apple remain, but it is clearly a different interpretation of the scene. The reverse is decorated with the Crucifixion of Christ, with the scenes titled 'De Boom de Doods' (The Tree of Death) and 'De Boom des Levens' (The Tree of Life) respectively.The only other goblet recorded with The Fall is a heavy baluster of circa 1720 in the Ashmolean Museum (inv. no.HM477), illustrated by Lanmon (2011), p.153, fig.88. Whilst the engraving is slightly less naïve, Lanmon suggests that this goblet is likely to be by the same hand as the two dated moulded-stem examples, including the present lot, based on compelling stylistic similarities. The Ashmolean goblet is thought to have been acquired in Bristol. Goblets depicting The Fall have traditionally and almost certainly erroneously been attributed to Bristol on account of it being a centre for the production of delftware 'Adam and Eve' chargers in the 17th and 18th centuries, see Lanmon (2011), p.150.The contrapposto stance of Adam and Eve in the scene on this important group of goblets, with Adam's right arm distinctively raised, bears a number of similarities to Albrecht Durer's celebrated 1504 engraving of the couple, which inspired a number of later artists. The source is in fact likely to be De Royaumont's History of the Bible, translated from the original French and first published in London as two volumes in 1688 (History of the New Testament) and 1690 (History of the Old Testament) by Richard Blome. Third and Fourth editions were published in London in 1705 and 1712 which both expanded upon the previous versions. Containing many detailed and beautiful plates by various artists, 'The Fall of Adam' was engraved by the Dutch draughtsman Johannes Kip (1653-1722) after George Freman. Indeed, the two distinctively placed rabbits in the foreground of the engraving are almost exactly reproduced on the Ashmolean goblet, leaving little doubt as to the source.The distinctive way in which the figures on these glasses are executed, with very dense opaque scratching filling the bodies, but details including the facial features and breasts left completely blank to denote shadow, is seen on several 18th century glasses engraved in diamond-point in the Netherlands, including the aforementioned fragmentary example. Another Dutch engraved moulded-stem goblet featuring three Commedia dell'Arte figures engraved in a very similar style, attributed to Thomas van Borckelo, is illustrated by Anna Laméris, 'Lead Glass in Eighteenth-Century Holland', in Frides Laméris, Canes, Serpents and Ships (2018), p.43. A heavy baluster goblet signed by van Borckelo and dated 1748, featuring an orange tree engraved in very similar style to the Tree of Knowledge on the present lot, is in the Victoria and Albert Museum (inv. no.C.163-1956). Whilst these glasses post-date the present lot by some years, the stylistic similarities raise the interesting possibility that a Dutch hand may have been responsible, perhaps working in England.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
Los 225
An exceptional Chelsea model of a parakeet, circa 1749-52Modelled perched on a branch, head cocked inquisitively to one side, its plumage picked out in vibrant tones of purple, red, green, yellow and blue, the branch painted with delicate mossy sprigs, the base modelled with leaves shaded in green, turquoise and yellow, 13.2cm high, raised anchor mark picked out in redFootnotes:ProvenanceWith Simon Spero, 1998The source for this extraordinary bird is George Edwards' publication, A Natural History of Uncommon Birds. The first volume was published in 1743 and illustrated on plate 6, perched on a similar stump, is 'The Smallest Red and Green Parrakeet'. Edwards writes that he drew the bird from a specimen 'pickled in spirits' and brought back from a Dutch settlement in the East Indies by Dr Cromwell Mortimer, Secretary to The Royal Society. See Paul Crane, Nature, Porcelain and Enlightenment: George Edwards and the Chelsea porcelain Birds, ECC Trans, Vol.28 (2017), pp.33-34. A pair of Chelsea parakeets is illustrated, the colours of their feathers most faithfully copied from Edwards. The present lot is of identical modelling, but the painter has taken bold artistic licence with the bird's multicoloured plumage, to great effect. Painters at Chelsea had access to Edwards' work, but it is most likely this parakeet was decorated outside the factory. The distinctive moss-like sprigs painted on the stump also point to an independent decorator, probably the London workshop of William Duesbury. Duesbury's account books for the years 1751-53 make mention of various bird models by charming names including 'chelsay pshesons','partrichis' and 'Boollfinchis'. The same moss-like painting with dark vermiculé appears on a Chelsea model of an Indian Green Finch, sold by Bonhams on 5 June 2019, lot 131.A pair of parakeets in the Metropolitan Museum of Art (inv. no.64.101.435.436), from the collection of Irwin Untermyer is illustrated and discussed by Yvonne Hackenbroch, Chelsea and other English Porcelain, Pottery and Enamel in the Irwin Untermyer Collection (1957), col. pl.11, fig.22. These too are painted with imagination rather than with scientific accuracy in mind. Evidently, Edwards found this adaptation of his work less than pleasing. In 1758 he wrote:'I have observed, that several of our manufacturers that imitate China Ware, several print-sellers, and printers of linen and cotton cloths, have filled the shops in London with images, pictures and prints, modelled, copied or drawn, and coloured after the figures in my History of Birds, most of which are sadly represented both as to shape and colouring.'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
Los 228
A very rare pair of Bow duck tureens and covers, circa 1755-58Realistically modelled with their heads turned to one side, their wings and tail forming the covers, carefully painted with yellow bills, the drake with puce and green feathers, the duck painted in tones of brown with green flashes, only their collars left in the white, 11.8cm wide (4)Footnotes:ProvenanceWith Simon SperoA single duck from the Geoffrey Freeman collection is illustrated by Anton Gabszewicz and Geoffrey Freeman, Bow Porcelain (1982), no.264 and was sold by Bonhams on 5 December 2007, lot 168.For a pair see Yvonne Hackenbroch, Chelsea and other English Porcelain, Pottery and Enamel in the Irwin Untermyer Collection (1957), col. pl.10, fig.20, where the source is given as George Edwards, A Natural History of Uncommon Birds, Vol.3, pl.157. However, the print shows little similarity to the porcelain model and another as yet unknown source may have been used. See Paul Crane, Nature, Porcelain and Enlightenment: George Edwards and the Chelsea porcelain Birds, ECC Trans, Vol.28 (2017), p.62, figs.78 and 79.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
Los 254
A Worcester finger bowl, circa 1754-55Printed in outline and hand-coloured with the 'Red Bull' pattern, Chinese figures in conversation beside cattle, the reverse with a full version of 'La Terre' a finely dressed lady arranging flowers with her attendant, the landscape washed in a distinctive palette of turquoise and pink, a black line border below the interior rim, 7.4cm highFootnotes:ProvenanceSir Anthony Tuke CollectionUltimately derived from a Boucher drawing engraved by Pierre Aveline, this is the second version of La Terre used as an onglaze transfer print at Worcester. Joseph Handley illustrates an early Worcester teabowl and saucer with a similar version, see 18th Century English Transfer-Printed Porcelain and Enamels (1991), p.128, no.4.1. On this rare finger bowl, the chinoiserie print of 'La Terre' has been used in conjunction with The Red Bull which was copied directly from Chinese porcelain.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
Los 257
Three Worcester coffee cups, teabowls and saucers, circa 1756-60Printed in black after Jean Pillement with 'Les Garçons Chinois', the coffee cups with grooved loop handles, a further chinoiserie print to the reverse, the interior of the teabowls with a single swimming swan, fine black lines painted below the rims, saucers 11.2cm diam (9)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
Los 258
A good Worcester teapot and cover, circa 1756-60Of shouldered form, with a faceted spout, the low domed cover with a flower finial, printed in black with chinoiserie scenes after Jean Pillement, including 'Les Garçons Chinois', the reverse with another whimsical print of huts balancing on stilts and rocky outcrops, with black lines below the rims, 12.5cm high (2)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
Los 259
A Worcester sparrow beak jug, circa 1756-60Of baluster shape with a fine, grooved loop handle, printed in black after Pillement with 'Les Garçons Chinois', a subsidiary print of a man holding a rod and loop in rococo scrolled framework, a black line below the interior rim, 8.6cm highThis 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
Los 260
A Worcester saucer dish and slop bowl, circa 1756-60Printed in black with chinoiserie scenes after Jean Pillement, including 'Les Garçons Chinois', the bowl also with 'The Chalet Double' and 'Le Pont Chinois', the interior with a further print of two swans swimming, their reflections mirrored in the water below, with black line rims, saucer dish 18cm diam, bowl 15.2cm diam (2)Footnotes:'The Chalet Double' and 'Le Pont Chinois' both appear in 'The Ladies Amusement'. All three prints are illustrated by Cyril Cook, The Life and Work of Robert Hancock (1948), items 22, 44 and 86.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
Los 262
A Worcester teabowl and saucer, circa 1755Decorated with the 'Two Geese' pattern, transfer printed in outline and filled in with famille rose enamels, the birds standing beside flowering peonies, saucer 11.8cm diam (2)Footnotes:ProvenanceBrenda Dunning CollectionThe pattern appears to have been copied from a Chinese export design from the Yongzheng period. Worcester used a 'Smokey Primitive' print as an outline, in the same manner as the more popular 'Red Bull' pattern.For further information on this lot please visit Bonhams.com
Loading...-
315251 Los(e)/Seite