A FINE ICON SHOWING THE PRAISE OF THE MOTHER OF GOD (THE PROPHETS FORETOLD YOU) Russian, Nevyansk, circa 1800 Tempera on wood panel. Against a golden background. In the center the enthroned Mother of God, above the seated Christ bearing the Gospels. The Old Testament saints who surround the Mother of God, offering her praises. The individual faces rendered with fine brushstrokes. The drapery of the garments formed with gradations of red and greens. Minimally restored. 34.7 x 30.2 cm. FEINE IKONE MIT DER GOTTESMUTTER 'DIE PROPHETEN HABEN DICH VORHER VERKÜNDIGT' Russland, Newjansk, um 1800 Laubholz-Einzeltafel mit zwei Stirnseiten-Sponki. Eitempera auf Kreidegrund, Hintergrund und Nimben vergoldet. 34,7 x 30,2 cm. In der vertikalen Bildachse die auf einem goldenen Thron sitzende Gottesmutter, ihre Hände in Fürbitte erhoben. Zu beiden Seiten flankieren sie vierzehn Propheten mit geöffneten Schriftrollen. Am oberen Bildrand erscheint der thronende Christus in einer Aureole. Sehr feine Malerei. Die Gewänder der elegant gelängten Figuren vornehmlich in Blau und Rot gehalten. Detailreiche Gesichts- und Bartbehandlung. Partiell min. rest.
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TWO ICONS SHOWING IMAGES OF THE MOTHER OF GOD: THE THREE-HANDED MOTHER OF GOD AND 'JOY TO ALL WHO GRIEVE' Russland, 19. Jh. Russian, 19th century Ölmalerei auf Holz. 30 x 23,8 cm / 31 x 26,5 cm. Min. Farbverluste. Oil on wood panels. Minor losses. 30 x 23.8 cm / 31 x 26.5 cm. ZWEI IKONEN MIT GNADENBILDERN DER GOTTESMUTTER: TRICHEIROUSA UND FREUDE ALLER LEIDENDEN Russland, 19. Jh. Ölmalerei auf Holz. 30 x 23,8 cm / 31 x 26,5 cm. Min. Farbverluste.
A LARGE ICON SHOWING THE MOTHER OF GOD 'JOY TO ALL WHO GRIEVE' Russian, 2nd half 19th century Oil on wood panel. The upper panel showing four selected saints within cartouches. Vertical crack. 41.8 x 32.9 cm. GROSSE IKONE MIT DER GOTTESMUTTER 'FREUDE ALLER LEIDENDEN' Russland, 2. Hälfte 19. Jh. Verbund zweier Bretter mit zwei Stirnseiten-Sponki. Ölmalerei. 41,8 x 32,9 cm. Im oberen Bereich vier Ovalmedaillons mit ausgewählten Heiligen. Vertikaler Riss.
AN ICON SHOWING THE MOTHER OF GOD 'JOY TO ALL WHO GRIEVE' Central Russian, mid 19th century Tempera on wood panel with kovcheg. Finely executed in great detail on a gold ground. Four selected saints appearing on the upper part. 35.4 x 30.5 cm. IKONE MIT DER GOTTESMUTTER 'FREUDE ALLER LEIDENDEN' Zentralrussland, Mitte 19. Jh. Verbund zweier Laubholz-Bretter mit zwei profilierten Rückseiten-Sponki. Kowtscheg, Eitempera auf Kreidegrund, Goldgrund. 35,4 x 30,5 cm. Über den Leidsuchenden erscheinen vier ausgewählte Heilige.
AN ICON SHOWING THE MOTHER OF GOD 'JOY TO ALL WHO GRIEVE' WITHIN A KYOT Russian, 19th century Tempera on wood panel. Executed on a gold ground. Partially restored. 73.5 x 52 cm (with glazed kyot). IKONE MIT DER GOTTESMUTTER 'FREUDE ALLER LEIDENDEN' IM KIOT Russland, 19. Jh. Eitempera auf Kreidegrund auf Holz, Hintergrund vergoldet. 73,5 x 52 cm (mit verglastem Kiot). Restaurierungen.
AN ICON SHOWING THE MOTHER OF GOD 'JOY TO ALL WHO GRIEVE' Russian, 19th century Tempera on wood panel. The background made of silver, covered by a golden lacquer. St. Matrona appearing on the left border. Vertical cracks restored. 41.7 x 33.5 cm. IKONE MIT DER GOTTESMUTTER 'FREUDE ALLER LEIDENDEN' Russland, 19. Jh. Verbund dreier Bretter mit zwei Rückseiten-Sponki (verloren). Eitempera auf Kreidegrund, versilberter Hintergrund goldfarben lasiert. 41,7 x 33,5 cm. Auf dem linken Rand erscheint die heilige Matrona. Vertikale Risse rest., Kanten best.
A MINIATURE ICON SHOWING THE MOTHER OF GOD 'JOY TO ALL WHO GRIEVE' Russian, late 19th century Tempera on wood panel with kovcheg. Finely executed with golden haloes. 10.8 x 8.7 cm. MINIATUR-IKONE MIT DER GOTTESMUTTER 'FREUDE ALLER LEIDENDEN' Russland, Ende 19. Jh. Laubholz-Tafel. Eitempera auf Kreidegrund, partielle Vergoldung. 10,8 x 8,7 cm.
AN ICON SHOWING THE MOTHER OF GOD 'JOY TO ALL WHO GRIEVE' Russian, 19th century Tempera on wood panel with kovcheg. The haloes made of silver, covered by a golden lacquer. Two selected saints on the borders: the Guardian Angel and St. Tatiana. Partially restored. 35.2 x 31 cm. IKONE MIT DER GOTTESMUTTER 'FREUDE ALLER LEIDENDEN' Russland, 19. Jh. Verbund dreier Bretter mit zwei profilierten Rückseiten-Sponki. Kowtscheg, Eitempera auf Kreidegrund, versilberte Nimben goldfarben lasiert. 35,2 x 31 cm. Zwei Randheilige: Schutzengel und heilige Tatiana. Partiell rest.
A SMALL ICON SHOWING THE MOTHER OF GOD 'JOY TO ALL WHO GRIEVE' Russian, late 18th century Tempera on wood panel. The lower border minimally restored. 26.6 x 22.3 cm. KLEINE IKONE MIT DER GOTTESMUTTER 'FREUDE ALLER LEIDENDEN' Russland, Ende 18. Jh. Einzeltafel mit zwei Rückseiten-Sponki (verloren). Eitempera auf Kreidegrund. 26,6 x 22,3 cm. Unterer Rand min. rest.
AN ICON SHOWING THE MOTHER OF GOD 'JOY TO ALL WHO GRIEVE' Russian, 19th century Tempera on wood panel. The background made of silver. Losses. 37.8 x 30.4 cm. IKONE MIT DER GOTTESMUTTER 'FREUDE ALLER LEIDENDEN' Russland, 19. Jh. Verbund zweier Bretter mit zwei Rückseiten-Sponki (verloren). Eitempera auf Kreidegrund, partielle Versilberung. 37,8 x 30,4 cm. Substanzverluste.
AN ICON SHOWING THE MOTHER OF GOD 'JOY TO ALL WHO GRIEVE' Russian, 19th century Oil on wood panel. The background made of silver, covered by a golden lacquer. Two selected saints on the borders, the Guardian Angel among them. Losses, restored. 28 x 22.6 cm. IKONE MIT DER GOTTESMUTTER 'FREUDE ALLER LEIDENDEN' Russland, 19. Jh. Einzeltafel mit zwei Stirnseiten-Sponki. Ölmalerei auf Kreidegrund, versilberter Hintergrund goldfarben lasiert. 28 x 22,6 cm. Zwei Randheilige, darunter der Schutzengel. Substanzverluste, rest.
AN ICON SHOWING THE MOTHER OF GOD 'JOY TO ALL WHO GRIEVE' Russian, 2nd half 19th century Tempera on wood panel. Executed in bright colours with gold details. The lower border restored. 28.2 x 23.3 cm. IKONE MIT DER GOTTESMUTTER 'FREUDE ALLER LEIDENDEN' Russland, 2. Hälfte 19. Jh. Einzeltafel mit zwei Stirnseiten-Sponki. Eitempera auf Kreidegrund, partielle Vergoldung. 28,2 x 23,3 cm. Unterer Rand rest.
A LARGE ICON SHOWING THE MOTHER OF GOD 'JOY TO ALL WHO GRIEVE' Russian, 19th century Tempera on wood panel. The haloes made of gold. Areas of restoration. 49 x 39.2 cm. GROSSFORMATIGE IKONE MIT DER GOTTESMUTTER 'FREUDE ALLER LEIDENDEN' Russland, 19. Jh. Verbund dreier Bretter mit zwei Rückseiten-Sponki. Eitempera auf Kreidegrund, Nimben vergoldet. 49 x 39,2 cm. Restaurierungen.
AN ICON SHOWING THE MOTHER OF GOD 'JOY TO ALL WHO GRIEVE' Russian, 19th century Tempera on wood panel with kovcheg. Partially restored. 31 x 26.5 cm. IKONE MIT DER GOTTESMUTTER 'FREUDE ALLER LEIDENDEN' Russland, 19. Jh. Verbund dreier Bretter mit zwei Rückseiten-Sponki. Kowtscheg, Eitempera auf Kreidegrund. 31 x 26,5 cm. Partiell rest.
AN ICON SHOWING THE MOTHER OF GOD 'JOY TO ALL WHO GRIEVE' Russian, 19th century Tempera on wood panel. Vertical crack restored, damages. 35.4 x 30.9 cm. IKONE MIT DER GOTTESMUTTER 'FREUDE ALLER LEIDENDEN' Russland, 19. Jh. Aus drei Brettern zusammengefügtes Bildfeld mit zwei Stirnseiten-Sponki. Eitempera auf Kreidegrund. 35,4 x 30,9 cm. Vertikaler Riss rest., besch.
AN ICON SHOWING THE MOTHER OF GOD 'JOY TO ALL WHO GRIEVE' WITH A SILVER-GILT RIZA Central Russian, 2nd half 19th century (icon), Russian, Moscow, 1876 (riza) Tempera on wood panel with kovcheg. Executed with gold details. Overlaid with a finely chased and engraved silver-gilt riza. Marked with city hallmark, assayer's mark, 84 standard and master's mark 'IG' in Cyrillic. Minor areas of retouching. 35.6 x 30.3 cm. FEINE IKONE MIT DER GOTTESMUTTER 'FREUDE ALLER LEIDENDEN' MIT VERMEIL-RIZA Zentralrussland, 2. Hälfte 19. Jh. (Ikone), Russland, Moskau, 1876 (Riza) Verbund zweier Bretter mit zwei Rückseiten-Sponki (einer verloren). Flaches Kowtscheg, Eitempera auf Kreidegrund, partielle Vergoldung. Silber, getrieben, graviert und vergoldet. 35,6 x 30,3 cm. Punziert mit Stadtmarke, Beschaumeisterzeichen, Feingehalt '84' und Meistermarke 'IG' in Kyrillisch. Punktuelle Einstimmungen.
AN ICON SHOWING THE MOTHER OF GOD 'JOY TO ALL WHO GRIEVE' Russian, circa 1870 Tempera on wood panel. Against a gold tooled background, the patterns of spandrels and borders emulating contemporary metal oklads. Partially restored. 26.8 x 22.2 cm. IKONE MIT DER GOTTESMUTTER 'FREUDE ALLER LEIDENDEN' Russland, um 1870 Verbund zweier Bretter mit zwei Stirnseiten-Sponki. Eitempera auf Kreidegrund, Goldgrund und Rand ornamental graviert. 26,8 x 22,2 cm. Partiell rest.
A SMALL ICON SHOWING THE MOTHER OF GOD 'JOY TO ALL WHO GRIEVE WITH THE COINS' Russian, after 1888 Tempera on wood panel. Against a gold tooled background, the patterns of the borders emulating contemporary metal oklads. Losses, restored. 22.4 x 17 cm. KLEINE IKONE MIT DER GOTTESMUTTER 'FREUDE ALLER LEIDENDEN MIT DEN MÜNZEN' Russland, nach 1888 Eitempera auf Kreidegrund auf Holz, verso Samtabdeckung, vergoldeter Hintergrund und Rand ornamental punziert. 22,4 x 17 cm. Substanzverluste, rest.
A SMALL ICON SHOWING THE MOTHER OF GOD 'JOY TO ALL WHO GRIEVE WITH THE COINS' Russian, after 1888 Tempera on wood panel. The background with etched design, the border emulating contemporary enamelwork. Minor losses. 22.5 x 17.3 cm. KLEINE IKONE MIT DER GOTTESMUTTER 'FREUDE ALLER LEIDENDEN MIT DEN MÜNZEN' Russland, nach 1888 Laubholz-Einzeltafel. Eitempera auf Kreidegrund, vergoldeter Rand und Hintergrund ornamental graviert. 22,5 x 17,3 cm. Min. Farbabsplitterungen.
A MONUMENTAL ICON SHOWING THE MOTHER OF GOD 'JOY TO ALL WHO GRIEVE' KIRCHEN-IKONOSTASE Russian, mid 19th century Russland, Mitte 19. Jh. Tempera on wood panel with kovcheg. Finely executed on a gold ground. Minor areas of retouching. 88.8 x 71.3 cm. MONUMENTALE IKONE MIT DER GOTTESMUTTER 'FREUDE ALLER LEIDENDEN' AUS EINER KIRCHEN-IKONOSTASE Russland, Mitte 19. Jh. Verbund dreier Bretter mit zwei Rückseiten-Sponki. Kowtscheg, Eitempera auf Kreidegrund, Goldgrund. 88,8 x 71,3 cm. Minimale Einstimmungen.
A MULTI-PARTITE ICON SHOWING THE MOTHER OF GOD 'JOY TO ALL WHO GRIEVE', THE MOTHER OF GOD OF THE 'SEVEN SORROWS' AND SELECTED SAINTS Russian, Old Believers Workshop, mid 19th century Tempera on wood panel. The garments' folds highlighted in gold. The images of the Mother of God flanked by Sts. Matthew, the apostle James the Great, Sts. Anna and Thekla. The lower border restored. 35.3 x 30.8 cm. MEHRFELDER-IKONE MIT DER GOTTESMUTTER 'FREUDE ALLER LEIDENDEN', DER GOTTESMUTTER 'DER SIEBEN SCHMERZEN' UND HEILIGEN Russland, Altgläubigen-Werkstatt, Mitte 19. Jh. Verbund zweier Bretter mit zwei Rückseiten-Sponki (verloren). Eitempera auf Kreidegrund, Gewandfalten in Assistgold. 35,3 x 30,8 cm. Flankierende Heilige: Evangelist Matthäus, Apostel Jakobus, die Prophetin Anna und die heilige Thekla. Unterer Rand rest. Expertise: Ikonenmuseum Schloss Autenried bei Günzburg/Donau.
A FINE SILVER CIGARETTE CASE SHOWING THE KIEV TRAM Russian, Kiev, Mashak, 1896-1908 Of rectangular form. Gilt interior. The hinged cover set with an enamelled plaque. Marked with assayer's mark, 84 standard and master's mark 'MARSHAK' in Cyrillic. 11 cm long, 215 gr. Wettbewerb für das beste Projekt zur In 1886, the Kiev City Council held a competition for the best project for the construction of a light railway, which was won by the military engineer and entrepreneur Amand Jegorowitsch Struve, who had already been involved in the construction of the water supply and the railway bridge in the decades before. On 7 July 1889, a contract was signed with him for the construction of the tramway. On 19 February 1892 the first steam tram ran and less than four months later the first electric tram followed on 13 June. In the following years, different trams with different gauges were built by different companies in the city. Between 1894 and 1901, all horse-drawn tram lines were converted to electric operation. The quality of this cigarette case suggests that it was an expensive gift to one of the first people in the Kiev light railway company or the city administration. It is very likely that it belonged either to Struve himself or to one of the first people in the leadership or to the governor of Kiev. SELTENES ZIGARETTENETUI 'GESELLSCHAFT DER KIEWER STADT-EISENBAHN' Russland, Kiew, Maschak, 1896-1908 Silber, innen vergoldet, teils gegossen, vergoldet, Email. L. 11 cm, 215 g. Punziert mit Marke der Bezirksbeschauadministration mit Feingehalt '84' und Meisterzeichen 'MARSCHAK' in Kyrillisch. Polnische Repunzierungen. Der Kiewer Stadtrat veranstaltete 1886 einen Wettbewerb für das beste Projekt zur Errichtung einer Stadtbahn, den der Militäringenieur und Unternehmer Amand Jegorowitsch Struwe, der bereits in den Jahrzehnten zuvor an der Errichtung der Wasserversorgung und der Eisenbahnbrücke beteiligt war, gewann. Am 7. Juli 1889 wurde mit ihm ein Vertrag zum Bau der Straßenbahn abgeschlossen. Am 19. Februar 1892 fuhr die erste Dampfstraßenbahn und noch nicht einmal vier Monate später folgte am 13. Juni die erste elektrische Straßenbahn. In den folgenden Jahren wurden unterschiedliche Bahnen mit unterschiedlichen Spurweiten von verschiedenen Unternehmen in der Stadt gebaut. Zwischen 1894 und 1901 wurden alle Pferdebahnlinien auf elektrischen Betrieb umgestellt. Die Qualität dieses Zigarettenetui lässt vermuten, dass es ein teures Geschenk an eine der ersten Personen der Kiewer Stadtbahngesellschaft oder der Stadtverwaltung war. Es ist sehr wahrscheinlich, dass es entweder Struwe selbst oder einer der ersten Personen in der Führung oder dem Gouverneur von Kiew gehörte.
A VERY LARGE AND RARE ICON WITH THE VISUAL REPRESENTATION OF THE LORD'S PRAYER 'OUR FATHER' AND THE MOTHER OF GOD 'O VSEPYETAYA MATI' Russian, Old Believer's Workshop, circa 1800 Tempera on wood panel. Finely executed on gold ground. The prayer 'Our Father' rendered allegorically over two register and five scenes each one illustrating a verse; beginning from the central scene at the top frieze, God Father encircled by archangels in a double glory standing for: Our Father, who art in heaven. The lower scenes symbolising the verses: Give us today our daily bread and forgive us our trespasses as we forgive those who trespass against us, and lead us not into temptation but deliver us from evil (Adam and Eve in the Paradies). The figures portrayed with elongated proportions. Painted with bright colours. Minor losses. 80.2 x 28.5 cm. GROSSFORMATIGE UND SELTENE IKONE MIT DEM 'VATERUNSER' UND DER GOTTESMUTTER 'O VSEPYETAJA MATI' Russland, Altgläubigen-Werkstatt, um 1800 Holztafel mit zwei Rückseiten-Sponki. Eitempera auf Kreidegrund, Goldgrund. 80,2 x 28,5 cm. Spiegelsymmetrischer Bildaufbau mit dem in einer Aureole thronenden Gottvater im oberen Bereich. Seine Hände hält er segnend erhoben. Neun Erzengel, auf Wolken stehend, entourieren ihn (Vater unser, der Du bist im Himmel). Im Bildzentrum thematisiert ein Rundmedaillon die Eucharistiefeier der Apostel (Geheiligt werde Dein Name, Dein Reich komme. Dein Wille geschehe). Unten links wird die Anbetung der drei Könige, unten rechts Adam und Eva im Paradiesgarten gezeigt, darunter erscheint die Hölle (Und führe uns nicht in Versuchung, sondern erlöse uns von dem Bösen). Mittig knien Männer vor einem Tisch (Unser täglich Brot gib uns heute). Min. Farbabsplitterungen.
A SMALL ICON SHOWING THE MOTHER OF GOD 'JOY TO ALL WHO GRIEVE' SET INTO A PANEL Russian, 18th century Tempera on wood panel. The haloes made of gold. The central icon flanked by the prophet Elijah and St. John Chrysostom. Minor paint blisterings, partially restored. 22.6 x 18 cm. KLEINE IKONE MIT DER GOTTESMUTTER 'FREUDE ALLER LEIDENDEN' MIT IKONENRAHMEN Russland, 18. Jh. Eitempera auf Kreidegrund auf Holz, Nimben vergoldet. 22,6 x 18 cm. Der Prophet Elias und Johannes Chrysostomus flankieren die eingesetzte Miniaturikone. Min. Farbaufwölbungen, partiell rest.
TWO ICONS SHOWING THE MOTHER OF GOD 'JOY TO ALL WHO GRIEVE WITH THE COINS' AND A MULTI-PARTITE ICON Russland, 19. Jh. Russian, 19th century Eitempera auf Kreidegrund auf Holz, partielle Versilberung goldfarben lasiert, ornamentale Tempera on wood panel. The background made of silver, covered by a golden lacquer. Losses, restorations. 21.6 x 17 cm / 30.3 x 25.6 cm. ZWEI IKONEN: GOTTESMUTTER 'FREUDE ALLER LEIDENDEN MIT DEN MÜNZEN' UND MEHRFELDER-IKONE Russland, 19. Jh. Eitempera auf Kreidegrund auf Holz, partielle Versilberung goldfarben lasiert, ornamentale Gravuren. 21,6 x 17 cm / 30,3 x 25,6 cm. Substanzverluste, Restaurierungen.
TWO ICONS SHOWING THE MOTHER OF GOD 'JOY TO ALL WHO GRIEVE' AND THREE HIERARCHS OF ORTHODOXY Russland, 19. Jh. Russian, 19th century Eitempera auf Kreidegrund auf Holz, partielle Versilberung. 35 x 31 cm / 38,5 x 31,2 cm. Tempera on wood panels. One icon with four selected saints on the borders. Wearings. 35 x 31 cm / 38.5 x 31.2 cm. ZWEI IKONEN: GOTTESMUTTER 'FREUDE ALLER LEIDENDEN' UND DIE DREI HEILIGEN HIERARCHEN Russland, 19. Jh. Eitempera auf Kreidegrund auf Holz, partielle Versilberung. 35 x 31 cm / 38,5 x 31,2 cm. Eine Ikone mit vier Randheiligen. Bereibungen.
TWO ICONS SHOWING THE ANASTASIS WITHIN A SURROUND OF THE MAIN LITURGICAL FEASTS AND THE MOTHER OF GOD 'JOY TO ALL WHO GRIEVE' Russland, 19. Jh. Russian, 19th century Eitempera auf Kreidegrund auf Holz, Versilberung goldfarben lasiert. 30,8 x 26,5 cm / 35,3 Tempera on wood panels. Executed with silver, covered by a golden lacquer. Restorations, wearings. 30.8 x 26.5 cm / 35.3 x 31.2 cm. ZWEI IKONEN: FESTTAGSIKONE UND IKONE MIT DER GOTTESMUTTER 'FREUDE ALLER LEIDENDEN' Russland, 19. Jh. Eitempera auf Kreidegrund auf Holz, Versilberung goldfarben lasiert. 30,8 x 26,5 cm / 35,3 x 31,2 cm. Restaurierungen, Bereibungen.
TWO ICONS SHOWING THE MOTHER OF GOD 'JOY TO ALL WHO GRIEVE' AND AN ICON SHOWING SELECTED SAINTS Russland, 19. Jh. Russian, 19th century Tempera/Ölmalerei auf Kreidegrund, partielle Vergoldung. 29,4 x 23,5 cm / 33 x 26,5 cm. Tempera/oil on wood panels. Restorations. 29.4 x 23.5 cm / 33 x 26.5 cm. ZWEI IKONEN: GOTTESMUTTER 'FREUDE ALLER LEIDENDEN' UND PATRONATSIKONE Russland, 19. Jh. Tempera/Ölmalerei auf Kreidegrund, partielle Vergoldung. 29,4 x 23,5 cm / 33 x 26,5 cm. Restaurierungen.
A Japanese netsuke from Edo period circa 1800. Signed Hidemasa on a side. In carved elephant tusk portraying a standing Ashinaga, holding Tenaga, who is grabbing with his left hand an octopus that is climbing Ashinaga's leg, and a carp with his right hand, 94,4x33x19 mm. 33,38 gr. Elephant ivory specimen previous to 7/1/1947, as stated by the regulations CE 338/97 of 12/9/1996, article 2w.
A 19th century Japanese netsuke-okimono. Signed Norishige on the base. In carved elephant tusk portraying a family group of characters, where the mother and the two kids are sat on a horse while the father, who goes ahead, hold the reins, 37,5x26x38,3 mm. Similar netsukes published on Mateu Guillem, "NETSUKE. Las grandes miniaturas de la escultura japonesa", Barcelona: 1998. Page 90. Elephant ivory specimen previous to 7/1/1947, as stated by the regulations CE 338/97 of 12/9/1996, article 2w
A late 19th century Japanese netsuke from Meiji period. Signed Kogyoko on a red kanji on the base. In carved elephant tusk portraying a child knelt on the floor, giving a pair of ballons to his grandfather, who is sat on a trunk,39,5x29,7x25,5 mm. 16,26 gr. Elephant ivory specimen previous to 7/1/1947, as stated by the regulations CE 338/97 of 12/9/1996, article 2w.
A 19th century Japanese netsuke. Signed Gyokushun on the base. In carved elephant tusk portraying a toad resting on the back and the head of a monkey sat on the floor, who is holding a fruit with his left hand, 36,7x29,1x26,6 mm. 23,29 gr. Elephant ivory specimen previous to 7/1/1947, as stated by the regulations CE 338/97 of 12/9/1996, article 2w.
A 19th century Japanese netsuke. Signed Mitsuyuki on the back. In carved elephant tusk portraying 'Komuso' the warrior, who hides his face under a basket while plays the flute, 55,2x22,2x20 mm. 14,6 gr. Elephant ivory specimen previous to 7/1/1947, as stated by the regulations CE 338/97 of 12/9/1996, article 2w.
A mid 19th century Japanese netsuke from Edo period. Signed Masakazu on the base. In carved elephant tusk portraying a kappa that holds and bites the leg of a fisherman who is on the top pf a gigant pumpkin, 27,9x38,9x25,5 mm. 24,96 gr. Elephant ivory specimen previous to 7/1/1947, as stated by the regulations CE 338/97 of 12/9/1996, article 2w.
BAGLIONI MICHEL-ANGELO, & others. Esequie (Funeral) Fatte In Venetia Dalla Natione Fiorentina Al Serenissimo Cosimo II Quarto Gran Duca Di Toscana. 2 parts in one, 25pp. 2 eng. architectural titles, eng. port. frontis., eng. plan of the church, 15 eng. plates of church appointments (incl. the magnificent catafalque), the ceremony, allegorical paintings by Ingoli within the church etc. & woodcut printer`s colophon. Final part, with its own title is Giulio Strozzi`s oration. Small folio. Damp staining throughout, worn cond. in crude brds. with some plates cropped to outer margin but rare. Battista Ciotti, Venice, 1621. An account and details of a funeral ceremony for Cosimo II (de Medici of Florence) which was celebrated in Venice in effigy (i.e. in the absence of the deceased) in the Dominican church of the Saints John and Paul, at the initiative of those "Florentine gentlemen, who for their affairs are entertained in the city of Venetia" Cover chipped and heavily worn on both sides. Spine creased. Fore edges chipped and worn, especially on plates, with close cropping to margins and into some plates, however with no text loss. All pages have damp staining with additional sporadic foxing. Browning, foxing, chipping and taped repairs to title page. Second page has top right corner missing. Page bindings strengthened with binder's tape throughout.
(BROWN, OR BROUN, JOHN, OF WAMPHRAY). An Apologeticall Relation of the Particular Sufferings of the Faithfull Ministers & Professours of the Church of Scotland since August 1660 ... by a Well Wisher to the Good Old Cause. Small 8vo. 19th cent. calf in poor cond. with top brd. det. but present, contents with some browning & spotting, tear without loss noted to one leaf, but generally good internally. Neat old annotations to title. (Believed printed in Holland), 1665. "This book is ordered to be burnt by the hand of the hangman, in the High Street of Edinburgh. All who have any copies are ordered to give them up to the next magistrate by such a day; and after that, if any have them in their possession, they are to be fined in two thousand merks" (Scottish Privy Council, 1666).
Late 20th-century longcase clock, 8-day movement striking on a single bell, brass arched dial with silvered chapter ring, walnut veneered case of Queen Anne design, door stamped "J. Craven, Nantwich".John Craven was a well-known clockmaker and antique dealer who lived on the outskirts of Nantwich, he was an active member of Nantwich Museum and encouraged the present collection of clocks, which is now held there, he is known to have made a limited number of longcase clocks, generally for friends and for relations.with 36cm (14in), depth 24cm (9in), height 174cm (68in)Condition report: Overall good condition with figured walnut still giving vibrant figuring and colouring.
![Canaan. Speed (John), Thomas Bassett & Richard Chiswell, 1651 [1676], hand-coloured engraved map, inset plan of Jerusalem](https://cdn.globalauctionplatform.com/c0cb1ef4-1c7a-45bd-b802-acf50116941e/1c7036aa-d7e7-47f5-99ab-ad0900f7b4d0/468x382.jpg)
Canaan. Speed (John), Thomas Bassett & Richard Chiswell, 1651 [1676], hand-coloured engraved map, inset plan of Jerusalem.41.5cm x 54.5cm (16.25in x 21.5in)Footnote: * Speede's maps usually showed the land as it was experienced. Even if not to the levels of accuracy of a modern ordnance survey map, they strove to show the locations as they related to each other and the land on which they were situated. From the first though, Canaan was different. Canaan is a land created in two places. The first is on the ground, in the towns, rivers, mountains and other features of geography, both natural and man-made. The other is in the mind, particularly of Christians, who will be comparing the land they see with that they first experienced through the words of the Bible. This was especially true for readers of the King James Version for whom this map was an integral part of their reading of the Bible. The map was first featured in the Geneva Bible as published by Robert Barker. Speede was still a tailor when he first became involved with this map - his first cartographic work. John More (credited on the map) did the first work on it whilst a Fellow of Christ's, Cambridge. After his death in 1592 it was passed to Speede who finished it and received a licence to print and insert it in the KJV for ten years from 1610. By the time the KJV was first published in 1611, Speede was already one of the most important cartographers in England, and busily working on his famous county maps, many of which feature in this sale. Interestingly, this map did not feature in the first issue of Speede's Prospect, but was added later. Despite current knowledge, Speede's map contains oddities to the modern eye. Most specifically the coastline follows the Ptolemaic slump, despite the actual coastline being known. This is part of the purpose of this map. The map is not the territory. The map does not even follow Ptolemy's desire to be accurate (within the limits of contemporary knowledge), but rather to use Ptolemy's coast as a short-hand to evoke the era. This map sets out to create a place that never existed, it is not a tool for explorers of anything but the words on a page. Speede's map shows events, places, people, and details from across Biblical history. The Dead Sea is the Lake of Sodom, Pharoah's armies (equipped as expected in Jacobean armour) drown even as Judas hangs himself. Ancient Kingdoms share space with Jewish settlements. The inset map of Jerusalem lists important places in the story of the Passion, but they are not a pilgrim map, rather a reminder, a positioning in a space not physical but mental. Despite all this, there are suggestions that the map inhabits a 'real' world and is not merely a fairytale realm. The new habit for framing the map in longitude and latitude is followed. Whilst a traveller could never hope to find a location using them, it reminds the reader that the place (and by extension the events depicted and remembered) is real. The leviathan frolics in the depths but this is not to say there are literal monsters beneath the waves (nor even to recall Jonah's whale) but rather to remind of the troubles of travel. Even the choice of name is suggestive. Whilst Christians today might accept 'The Holy Land', to a Protestant this would be redolent of Papistry, whilst other more accurate names might be overly Jewish in suggestion. Canaan is the ancient name, all other names (whether Israel or Outremer) are tranistory compared to the Biblical truth which underlies all. In Protestant eyes, the holy places had no intrinsic spiritual value and visiting them was unnecessary - as the map reminds us, ''Nether in Ierusalem, nor in this Mountaine shal ye worship''. The idea of pilgrimage was, if not anathema, highly suspicious. Whilst English ships crossed the seas, they did so for trade, and there was little to trade in Palestine - not even treacle in Gilead. For the strict Protestant Englishman, the critical thing was your relationship with God through Christ, the rest was confusing trappings which got in the way. This map was all you needed to give a context to your reading of the Bible, and the experience of the Word would open you to God's Grace.Condition report: The map is in good, original condition. There is some light time staining and browning around the edges of the paper near the mount board. There are one or two minor tears and holes around the edges of the paper and one small hole in the paper within the map. There is some creasing and cockling across the paper and some minor spots of foxing across the sheet. The map is framed and glazed.
JAMES SEYMOUR (1702-1752) and Studio, An elegant lady and gentleman hare coursing in an extensive landscape, oil on canvas, 84cm x 127cm, in a contemporary giltwood and gesso frame. Provenance: The Troyte-Bullock family and thence by descent. Recorded in an inventory of the contents of North Coker House, Somerset, in 1920. Literature: Another version of this composition is illustrated in "Game and the English Landscape", by Vandervell & Coles, published 1980. This particular painting is understood to be in a private collection in Hampshire. It is highly likely that the central figure in the painting is HRH Princess Amelia, known as Emily, the second daughter of George II, who hunted regularly and was by all accounts "quite a tearaway". The same lady, in her distinctive gold embroidered hunting outfit, appears in at least five other oils by Seymour. Princess Amelia was appointed Ranger of Richmond Park and got herself into all sorts of bother by trying to exclude the public, a battle which she eventually lost in the courts. It is plausible that this oil was a celebratory commission from her, or that the impecunious Seymour was acting speculatively. We are grateful to Richard Mills, who is compiling a book on James Seymour and has proposed a date of circa 1750 for the present work. He has further suggested that the studio assistant was none other than Thomas Spencer, who is recorded as working with Seymour in the 1740's and supposedly took on unfinished work after June 1752.
GEORGE BEARE (fl. 1740-1749) A portrait of William Coles of Salisbury (1701-1789) depicted half-length, the sitter wearing a white wig resting on his shoulders, an open brown tunic over a waistcoat with gold buttons and brocade, signed "G. Beare pinxt" lower left, feigned oval, oil on canvas, 75cm x 62cm; together with the companion portrait of his wife Jane Coles (1708/9-1801), depicted half-length together with her cat, signed "G. Beare pinxt" lower right, feigned oval, oil on canvas, 75cm x 62cm, original giltwood frames (2). George Beare was a portrait painter who worked mainly in the West Country. Little is known of his training, but some fifty signed paintings, all dated between 1744 and 1749, suggest a knowledge of Philip Mercier (1691-1760) and particularly of William Hogarth (1697-1764), with whom he has sometimes been confused. Â William and Jane Coles of The Close, Salisbury, Wiltshire had one daughter, also called Jane (c.1742-1801), who married Thomas Hutchings Medlycott (1729-1795) on 16th September 1766. Medlycott was a practising barrister and MP for Milborne Port, Somerset, between 1763 and 1770 and again in 1790. The Medlycott Family owned Ven House in Milborne Port throughout the 18th and 19th centuries, until they sold much of the estate between 1918 and 1925. The house itself was let to a succession of tenants until Sir Hubert Mervyn Medlycott sold it in 1957. Â A memorial to William and Jane Coles, together with their daughter Jane Medlycott and granddaughter Jane Paget Ainslie, can be found in Salisbury Cathedral today.
AN IMPORTANT ORMOLU SIX-LIGHT CHANDELIER in the manner of Andre-Charles Boulle, with ring-suspension above a central urn stem framed by foliate "C"-scrolls, the foliate hexagonal socle above a circular platform issuing gadrooned and scrolling branches terminating in dished and rocaille-cast drip-pans above a tapering boss with a berried finial, 80cm high (excluding the suspension loop) x 73cm dia. This magnificent chandelier, with its richly chased decoration, relates to other documented examples and designs by Boulle, who was appointed Ebeniste du Roi in 1672. His engravings were published around 1720 under the title "Nouveau Desseins ...." by Mariette and give a clear indication of his production and a number of designs for chandeliers were published. A parallel may be drawn with the set of four six light chandeliers in the Audienzzimmer at the Residenz in Ansbach illustrated in H. Ottomeyer, "T Proschel et al, Vergoldete Bronzen", published Munich 1986, vol. I, page 55, fig. 1.6.11. There is a related chandelier is in the Royal Palace in Stockholm, whilst another was formerly in the collection of Jean Bloch (1886-1942) a French industrialist and passionate collector of Louis XIV and Regence decorative arts. To be removed at the buyer's risk and expense.
THOMAS BEACH (1738-1806) A portrait of William Craven, 6th Baron Craven, depicted three-quarter length, his right hand resting on a cane and his left in his pocket, wearing a powdered wig 'en queue' and a blue silk waistcoat under his pale green jacket, oil on canvas, 127cm x 100cm. William Craven, 6th Baron Craven (1738-1791) was an English nobleman. He was the son of Rev John Craven of Staunton Lacy, Shropshire and succeeded his uncle, William Craven, as Baron Craven in 1769. In 1775, he built Benham Park at the site of Benham Valence in Speen, Berkshire where he lived with his wife, Lady Elizabeth Berkeley. The marriage, however, was not a success. Both Elizabeth and her husband indulged in affairs, notably Elizabeth's scandalous liaison with the French ambassador, the Count of Guines, in 1773, which even made it into the pages of the Morning Chronicle. Eventually Elizabeth left him in 1780 to travel in Europe. They had issue of three sons and four daughters. After his death on 27 September 1791 at age 53 in Lausanne, Switzerland, she married the Margrave of Anspach. It was Lord Craven who, in 1780, built the original Cottage at what is now an English Premier League stadium Craven Cottage,Fulham.
Circle of Michael Dahl the Younger (Stockholm circa 1659-1743 London)Portrait of a lady, said to be Lady Crew, bust-length, in a red dress bears inscription '*e Lady Crew/Honble. Ld. Crew.' (centre left)oil on canvas, corners made up62.2 x 48.8cm (24 1/2 x 19 3/16in).Footnotes:The present portrait most likely depicts Anne, daughter and co-heiress of Sir William Airmine, 2nd Baronet, who was the second wife of Thomas Crew, 2nd Baron Crew (1624-1697) after they married in 1674.For further information on this lot please visit Bonhams.com
Circle of Sir Anthony van Dyck (Antwerp 1599-1641 Blackfriars)Portrait of Virginio Cesarini (1595-1624), bust-length, in clerical dress oil on canvas55.3 x 46.7cm (21 3/4 x 18 3/8in).Footnotes:Virginio Cesarini was a poet and defender of Galileo who was a courtier in the service of Cardinal Barberini, the future Pope Urban VIII. The present composition, which shows Cesarini in clerical dress, is related to van Dyck's portrait of circa 1623-4 in the Hermitage, Saint Petersburg.For further information on this lot please visit Bonhams.com
Circle of Giovanni Andrea Sirani (Bologna 1610-1670)Saint Cecilia in Ecstasyoil on canvas 64.5 x 54.5cm (25 3/8 x 21 7/16in).Footnotes:The rediscovery of Saint Cecilia's tomb in her church in Trastevere in Rome by Cardinal Sfondrato and his ensuing promotion of her cult, provides a likely explanation for the popularity of Saint Cecilia in 17th century art. Sfondrato commissioned from Guido Reni a half-length portrait of the Saint holding a violin, which became a popular motif for Reni and his followers, who produced multiple copies and variations of the subject.For further information on this lot please visit Bonhams.com
Niccolò Codazzi (Naples 1642-1693 Genoa)A capriccio of classical ruins with elegant figures promenading oil on canvas 95.4 x 128.2cm (37 9/16 x 50 1/2in).Footnotes:ProvenanceSale, Christie's, London, 28 April 2006, lot 102, where purchased by the present ownerDavid Marshall confirmed the attribution to Codazzi at the time of the last sale and suggested a date of circa 1680, the end of the artist's Roman period. Codazzi was in Rome between 1675 and 1681, living near the church of San Macuto. He was one of the artists who worked on the decoration of the piano nobile of the Palazzo Altieri at that time.For further information on this lot please visit Bonhams.com
Attributed to Sir James Thornhill (Dorset 1675-1734 Stalbridge)Modello for a mythological mural, possibly depicting Jupiter and Io discovered by Juno oil on canvas63.9 x 90.5cm (25 3/16 x 35 5/8in).Footnotes:The present work is an interesting and rare preparatory sketch for one of the many staircases in English houses that were executed in the early 1700s but few of which have survived. Typically they were adorned with subjects from classical mythology, as was the case with a comparable modello by Thornhill for a mural showing Psyche Obtaining the Jar of Forgetfulness from Pluto in Hades in the National Trust Collection, Hinton Ampner. Thornhill's most celebrated works are the ceiling of the Painted Hall at Greenwich Hospital (1707-14, now Royal Naval College), and the grisaille paintings on the Life of Saint Paul in the dome of Saint Paul's Cathedral, London (1716-19). An alternative possible attribution that has been suggested is Louis Laguerre (1663-1721), who was Thornhill's main rival in this genre of painting. Working mostly in country houses, notably Burghley House, Chatsworth, and Blenheim Palace, the most obvious comparison to the present work is his modello for the Rape of Proserpine which adorned the Staircase at Devonshire House, London (circa 1704, Yale Center for British Art). Another comparable example of a finished mural by Laguerre is The Triumph of Elizabeth, Duchess of Somerset in the National Trust's Collection, Petworth House, West Sussex.For further information on this lot please visit Bonhams.com
A framed photograph signed by members of the England team who played and won the 1966 World Cup. Signatures include Nobby Stiles, Roger Hunt, Gordon Banks, Jackie Charlton, George Cohen, Ray Wilson, Martin Peters, Geoff Hurst, Alan Ball, with certificate of authenticity to back, measures 50 x 70cms. Together with a signed photograph of Jimmy Greaves playing for England VS Rest of the World at Wembley in 1963 with certificate of authenticity, measures 46 x 60cms.
AN OVAL KPM BERLIN PORCELAIN PLAQUE painted with a portrait of Beatrice Cenci, 14.5cm x 11cm, impressed KPM to reverse Beatrice Cenci was a young Roman noblewoman who murdered her abusive father, Count Francesco Cenci. The subsequent, lurid murder trial in Rome gave rise to an enduring legend about her. She was condemned and beheaded for the crime in 1599. Condition Report : tiny chip to rim on back, just visible from front bottom left, otherwise fine Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
20TH CENTURY SCHOOL Still life with candle, bottle and fruit Oil on board 33.5cm x 42cm Condition Report : thick impasto to oil. 7cm crack/split running vertically top right. The frame needs a little TLC - would look much better in a different frame. Provenance - unsigned, but the vendor informs me it was a gift to her late husband by an artist who was also a journalist for the Bristol Evening Post - which ties in with the label verso. She couldnt remember the name, and I havent been able to trace him Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
![[MISCELLANEOUS] Inderwick, F.A., editor. A Calendar of the Inner Temple Records, three volumes (1505-1603; 1603-1660; 1660-1](https://cdn.globalauctionplatform.com/51259f05-0d95-447b-9efb-acde00b55ab1/254c9751-e961-4490-aebf-ad0500e17944/468x382.jpg)
[MISCELLANEOUS] Inderwick, F.A., editor. A Calendar of the Inner Temple Records, three volumes (1505-1603; 1603-1660; 1660-1714), By Order of the Masters of the Bench, sold by Sotheran & Co. et al., London, 1896 1898 / 1901, quarter crimson leather, plate and text illustrations, quarto; together with Darling, Sir Charles. Inner Templars who Volunteered and Served in the Great War, no date, original boards, quarto; and Doyle, James. The Official Baronage of England, three volumes, Longmans, Green & Co., London, 1886, quarter crimson leather, text illustrations (including portraits and facsimile signatures), quarto, (7).
Gems by Thomas Worlidge 1768: ''Gems: A Select Collection Of Drawings From Curious Antique Gems; Most Of Them In The Possession Of The Nobility And Gentry Of This Kingdom; Etched After The Manner Of Rembrandt by T Worlidge, Painter.'' A fine copy of this famous book, ''London: Printed By Dryden Leach, For M. Worlidge, Great Queen Street, Lincoln's-Inn-Fields, And M. Wicksteed, Seal Engraver At Bath. MDCCLXVlll.'' (1768), with two volumes in one book, comprising a total of 180 engraved plates of cameos after the antique ( the cameos acquired on the ''Grand Tours'' of the aforementioned ''Nobility and Gentry'' ), finely bound in tooled red Morocco leather with gilt impressions including a crown and batons plus gilt tooling to the spine edge; Ex Libris plates for LORD FARNHAM, (Sir William Maxwell), Baron and Peer of Ireland, a military leader and member of the family of landed gentry, who had a noted collection of rare books in his Irish home; Ex Libris: Thomas Inman, DD (Doctor of Divinity), a famous writer of religious books and pamphlets, his works being in most famous libraries and museum collections; he purchased this copy of the Worlidge book in 1885 for 14 guineas (£14 14s); his family originated in Preston, Lancashire and it is from his direct descendants that this book is being passed on
A pair of WW2 Japanese Toko 7 x 7˚10’ Military/Naval binoculars no. 6347, in tropical canvas-bound case fitted with red filter subject lens-covers, the exterior painted with Japanese characters. Provenance: originally the property of Capt Tokuishi Asahina, who was rescued from the sea off Ramree Island, Burma, 18th February 1945, then by descent from the vendor's uncleoverall wear and some corrosion; some impairment to internal lenses and prisms
Vincenzo Verdejo (1809-1859)A hunting sceneMicro mosaic Gold frame Italy, 19th centuryLiterature: Benjamin, John, Starting to Collect Antique Jewellery, Suffolk: The Antique Collector’s Club, 2003. Bennett, David & Mascetti, Daniela, Understanding Jewellery, Suffolk: The Antique Collector’s Club, 2011. Bury, Shirley, Jewellery: The International Era 1789-1910, Volume II 1862-1910, Suffolk: The Antique Collector’s Club, 1997. Gere, Charlotte & Rudoe, Judy, Jewellery in the Age of Queen Victoria, London: The British Museum Press, 2010. Grieco, Roberto, Micromosaici Romani, Rome: Gangemi Editore, 2001. Mack, John, The Art of Small Things, Boston: Harvard University Press, 2007. Soros, Susan Weber & Walker, Stefanie, Castellani and Italian Archaeological Jewelry, New Haven: Yale University Press, 2004. 7,8x4 cm Additional Information:The vernacular expressions “God is in the details” and The Devil is in the details” express the concept that all must be made and thought in a thorough manner, and that something that might be perceived as plain and simple at first sight, can hide great effort and dedication.The plaque that we are now bringing into sale is an accomplished example of a meticulous and labour consuming art, in which the master crafter applied with a tweezers, hundreds if not thousands of tiny tesserae, in order to compose a scene depicting a lion attacking a dog.It was Sir Arthur Gilbert (1913-2001) – a notable British decorative arts collector – who coined the term micro mosaic. Such pieces were, up until then, simply known as ”roman mosaics”, a clear misnomer which, although alluding to ancient arts, was being applied to objects that did not exist up to the 18th century.These dense artworks are nonetheless a type of mosaic created from minute glass fragments or tesserae. Fired at high temperature, tesserae are mosaic components normally made in glass or enamel that can be produced in a wide range of colours, known as smalto. This smalto is produced in thin rods or strands, the filati (meaning strand enamel) which, once cooled are cut into hundreds of minuscule cubes, the tesserae, that are carefully applied onto a metal (copper, gold or silver) or stone ground (in the 19th century Belgium black was the favoured stone). They are fixed onto a layer of mastic or cement to create the desired pattern – be it a portrait, a landscape or a hunting scene. Once this substrate hardens, a layer of coloured waxes is applied to the whole surface and polished to reach a smooth and uniform finish. SOME HISTORICAL CONTEXT It is generally believed that the art of mosaic originated in the Far East, albeit the earliest mosaic compositions – created with pebbles and shells – are dated to the 3rd century B.C.E. and have been unearthed in Macedonia. It was however in Ancient Rome that mosaics, composed of small marble, terracotta and glass fragments, reached their utmost popularity for the decorating of floors in wealthy patrician villae.The climax of this art was reached during the Byzantine Empire (330-1453 C.E.), when mosaics were chosen for decorating the earliest Christian temples. Such choice is certainly related to the material durability but it is also associated to the sumptuous and extravagant impression they convey, particularly through the abundant use of gilt tesserae, such as those seen at the Mausoleum of Galla Placidia in the Italian city of Ravena.Throughout the Renaissance (14th – 17th century) and the Baroque (17th – 18th century) the use of decorative mosaic compositions decreased as painted frescoes became favoured for both inner and outer surfaces. The use of mosaics however, was never totally abandoned as is suggested by Michael Angelo’s (1475-1564) plans for the dome of Saint Peter’s Basilica in Rome.Although the Vatican’s mosaic workshops emerge initially under the Papacy of Gregory XIII (1572-1585) with the purpose of producing the mosaics that were being applied in Saint Peter’s, as well as on the altarpiece of the Basilica of the Vatican, they would not be fully inaugurated until the 18th century. By then some of the Basilica’s decorative paintings had deteriorated and the decision was made to replace them with mosaic compositions. This fact, together with the increasing numbers of papal commissions, contributed to the growth of master crafters able to fulfil the demand. The availability of free time in-between papal commissions allowed these crafters to experiment and perfect the use of the minute tesserae, that would eventually become the small portable artworks that we now know as micro mosaic.Almost simultaneously the aristocratic taste for the Grand Tour emerges amongst the European educated elites. Lasting for months or even years the Grand Tour was perceived as an essential step in the education of the upper classes. Its main ideal was that these Grand Tourists would return home imbued with the culture of the cites they had visited and their greatest art. Within that mind frame, and to be able to remember and revisit what they had seen and experienced, the Grand Tourists developed a growing awareness of the importance of acquiring souvenirs. As such, a visit to micro mosaic workshops became almost as important as a visit to famous classical ruins or art museums.Easy to carry – they could be kept with luggage until the end of the trip or sent home as “postcards” – they could portray a variety of subjects such as Roman ruins, flowers, birds, animals or Italian country scenes. Later, inspired by the latest archaeological discoveries in Europe (particularly those at Pompey), Northern Africa or the Middle East, they would replicate newly unearthed Roman motifs, Etruscan tombs, early Christian signs and hieroglyphs.Often adapted or applied to pieces of jewellery these small precious objects became undisputed Grand Tour mementos.Bibliografia/Literature:Benjamin, John, Starting to Collect Antique Jewellery, Suffolk: The Antique Collector’s Club, 2003;Bennett, David & Mascetti, Daniela, Understanding Jewellery, Suffolk: The Antique Collector’s Club, 2011;Bury, Shirley, Jewellery: The International Era 1789-1910, Volume II 1862-1910, Suffolk: The Antique Collector’s Club, 1997;Gere, Charlotte & Rudoe, Judy, Jewellery in the Age of Queen Victoria, London: The British Museum Press, 2010;
BeechTextile upholstery pined with yellow metal tacksStamped "BOVO"France, 18th century(signs of wear)105x150x70 cm Additional InformationThe BOVO stamp is attributed to Léonard Beauvau, a French ébénist from the 18th century who inherited his father's studio on rue de Cléry, and who remained active during the 1750s, until the reign of Louis XVI, having died in the early 1780s.His cabinetry activity is marked by the attention to the balance of the carvings, whether they are made of natural wood in the shape of flowers, of Rococo influence, or of a Neoclassical influence. His work also shows us the purity of the lines highlighted by the simple treatment of the wood in the molding of the upholstery, as can be seen in this example.Of his authorship stands out a chair from the Wrightsman collection that is now in the collection of the Metropolitan Museum in New York.Bibliografia/Literature:J. Nicolay, L'art et la manière des maîtres ébénistes français au XVIIIe siècle, Paris, 1982, p.80;P. Kjellberg, Le mobilier français du XVIIIe siècle, Dictionnaire des ébénistes et des menuisiers, Les éditions de l'Amateur, Paris, 2002, p. 127.
SEBASTIEN ERARD (1752–1831)A Symphonic harpBirchRaised decoration of mythological figuresEngraved yellow metal plaques "Sebastian Erard / Patent no. 4449 / 18 Great Marlborough Street, London" and on the opposite face "Harp and Piano forte Maker in Ordinary to her Majesty and the ROYAL FAMILY"Eight pedalsEngland, 19th century(losses, faults and evidence of woodworm)Alt.: 171 cm Additional Information: Sébastien Erard (1752-1831)Sébastien Erard (1752-1831), was a famous French manufacturer of musical instruments, dedicated to the production of pianos and harps. He was born in Strasbourg on April 5, 1752, being the fourth son of the second marriage of the upholsterer of Swiss origin Louis- Antoine Erard (1685-1758). When his father died, Sébastien was only six years old, so the somewhat romanticized reports that the carpenter's skills were acquired in his father's workshop cannot be proven. However, it is known that he grew up in a community of qualified artisans, with uncles, cousins, his godfather, and his older brother, all employed as carpenters, upholsters and gilders, mostly dedicated to the production of church furniture.It is not known what led him to become a manufacturer of musical instruments, nor is it known where he was taught. His arrival in Paris takes place in the year of 1768, when he was sixteen years old, but again it is impossible to ascertain the account of his arrival. However, it is known that the Duchess of Villeroy (1731-1816) was one of his first patrons, providing him with facilities for a workshop at the Hotel de Villeroy on the rue de Bourbon in Paris.His willingness to explore the fundamentals of making musical instruments helps him to show his genius for finding ways to get around mechanical problems, a skill that catches the attention of Abbot Roussier and, little by little, his success as a manufacturer of musical instruments he attracts rivals, who often accuse him of working without a license. At that time, he obtains royal protection from King Louis XVI and the license to produce on his own.The success he achieved in 1779, when he began to explore the new market for five-octave fortepianos, forced him to ask for the help of his older brother Jean-Baptiste Erard (1749-1826). Together they moved to number 109 of the rue de Bourbon and then, in 1781, to number 13 rue du Mail, a place that they acquired in January 1791, and which remain as the company's headquarters until it closes in the 20th century. Through the success they achieved in the 80s of the 18th century, they produce fortepianos for Queen Marie Antoinette and, according to the London Post Office Directory of 1786, open a store on London's Great Marlborough Street. From January 1788, they start to operate under the name Erard frères. That same year, the sales record shows us an annual production of 254 fortepianos, a number that almost doubled in the following year, registering the production of 410 fortepianos.Until this point, the production of harps by him is unknown, and when in the early 1790s Sébastian was forced to leave France to settle in London – from where he returned for the first time only in 1796 – there is no record of having left any harp behind.However, in a letter exchanged with his brother, the problem of the harp is addressed, in which he observes that ‘the mechanism is very complicated’.When he moved to London, he handed the management of the Paris branch to his brother and, in the year of 1792, opened a workshop at No. 18 of Great Marlborough Street. it is here that he focuses on the manufacture of harps, until then all imported from France. In November of 1794, he registered the first British patent for a harp (Improvements in Pianofortes and Harps, patent nº 2016), a single action instrument tuned in E-flat major hat can be played in eight major and five minor tones, through the ingenious mechanism bifurcation that allows the strings to be shortened in semitone. In London, the harp is a notable success and the Erard’s Stock Books, shows us that the aristocracy became interested in these instruments. From November 1800 the sales increased and Her Highness the Princess of Wales, Carolina of Brunswick (1768-1821), was paying £ 75 120 for harp no. 357.In the year of 1807, at the London branch, a harp cost £ 83 700 and, a set of strings, £ 1 180.In that same year a new commercial agreement is made between the two brothers and in the following year Sébastian returns to London where he remains for five years focused on the development of the harp.As previously stated, its single-action harp, despite exhibiting a revolutionary mechanism, was limited to playing only thirteen tones (E flat, B flat, F, C, G, D, A and E major, with three of its minor relatives).Only in May of 1810 (with London patent No. 3332) did he manage to perfect and patent a double action mechanism. It was such a popular innovation that in September of that year 1,374 harps were sold to clients as Dussek, Krumpholtz and many French refugees. Out of curiosity one of these harps can be seen at the Museum für Kunst und Gewerbe in HambHowever, in the year of 1813 the commercial and industrial restrictions imposed by the Napoleonic wars compromised the Paris company, and on February 26, it was declared bankrupt. At the same time, between 1811 and until 1820, the London branch sells 3,500 of these harps, with a Greek-style decoration where the column's capital features elements such as winged caryatids (a decorative element that will last in the following decades and which we can see in the example that now we bring for auction), winged lions, griffins, Greek masks, and acanthus leaves. The profits obtained from these sales paid off all external debts incurred by the Paris company and, on April 12th of 1824, the bankruptcy was cancelled.Meanwhile Sébastian returns to Paris, where in the year 1820 he acquires part of the Château de la Muette, which he orders to be restored and enlarged to house his cellar with 2,047 bottles of wine and also his rich art gallery, with about 260 paintings of exceptional quality. Many of these works of art are in museum collections, such as the portrait of King Philip IV by Velázquez's atelier (today in the Hermitage museum in St. Petersburg), the "Adoration of the Magi" by Albert Dürer (today at the Uffizzi Gallery, Florence), the portrait of his mother made by Rembrandt in 1634 (today in the National Gallery of London), as well as paintings by Correggio, Murillo, Teniers and Titian.It was here that on August 5th of 1831, at the age of 79, he died and his nephew inherited all his assets. Provenance of this harpAccording to Erard's Stock Books, kept in the library of the Royal College of Music in London, we realize that this harp was conceived in the London workshop in April 1831 and sold on the 28th of the same month to a Dublin musical instrument dealer, Mr Edw. MCCullogh.Through a later note, we find out that this harp was sold at auction by Sullivan & Callaghan in the year of 1906. Bibliografia/Literature:Alain Roudier – Les origines de la famille Erard, in Sébastien Erard, 1752-1831, ou la rencontre avec le pianoforte. Exhibition Catalogue, Luxeuil-les-Bains, 1993;Anik Devriès – Sébastien Erard, un amateur d’art du début du XIXe siècle, in Sébastien Erard, 1752-1831, ou la rencontre avec le pianoforte. Exhibition Catalogue, Luxeuil-les-Bains, 1993; VERITAS Art auctioneers would like to thank the Center Sébastian Erard, in particular to Professor Robert Adelson of the Conservatoire de Nice for his help with the information of this piece.
An important necklaceSilver and gold, 19th century Articulated links set with 44 various types of brilliant cut diamonds totalling (ca. 40ct) mainly J/K colour and various purities , Vs1, Vs2 Sl, P1 Unmarked in compliance with Decree-Law 120/2017, art. 2º, nº.2 CLength: 35,5 cm44.9 g Additional InformationEduardo Alves MarquesRoyal Collections researcherTowards the end of the Portuguese monarchy, there were two rivière necklaces recorded in the royal collections. One of these still belongs to the royal jewellery collection that is kept in the National Palace of Ajuda.The French word “rivière” refers to a necklace or bracelet comprised of a single row of diamonds, whose light and sparkle allude to the clear water running in a stream (a rivière). The term is adopted in the 18th century to refer to this type of jewel which, for its inherent value and rarity was not affordable to most families, being exclusively associated with the highest aristocracy and with the wealthiest patrons.Such important and ostentatious pieces were only displayed in the grandest formal court events, such as balls, the royal kissing of the hand ceremonies or weddings. Their wearing is particularly well recorded in Portuguese official state occasions, both from newspaper articles and from photographs of the two last Portuguese Queens: Maria Pia of Savoy (1847-1911) and Amelia of Orleans (1865-1951). In its March 13th, 1872 edition, the Lisbon daily newspaper “Diário de Notícias”, describes in some detail Queen Maria Pia’s outfit on the occasion of the State Visit of Brazil’s Emperor, Pedro II. According to the reporter, at the ball organized for the occasion at the Royal Palace of Ajuda, the queen presented herself in a “white satin dress of flower garland motifs, blue satin train with white lace and, on her neck, a large diamond choker”.Of Portuguese aristocratic provenance, this jewel belongs to a family whose service to the former Royal House, has in its roots major and undeniable political and diplomatic contributions from the early 19th century onwards. It is easy to imagine that the elites, by copying the Royal taste, somehow mirrored it upon themselves, be it in terms of taste and trends or in the choice of the same suppliers, whose mastery and technical virtuosity demanded a discerning and wealthy clientele. Undoubtedly rare, such jewels reflected an international taste that emerged from the core of the Royal houses and was propagated by the aristocracy, who passed on these highly valuable treasures along the line from one generation to another.THE PEARLThis rivière necklace does also stand out for one other, perhaps even more unusual detail, that consists of a diamond and pearl drop that was added in the late 19th century by an ancestor of the owner family.The pearl, of 1,7 cm length, hangs from a chain of three brilliant cut diamonds, likely to have been an earring, and it must have been added to the necklace for some unknown sentimental reason. Nevertheless, in such a diamond rivière, the pearl drop, pear shaped and unusually large, would not be overlooked.Highly fashionable natural pearls were synonym of good taste and considered, since Roman times, as rare and precious treasures. As was recorded by his biographer, Julius Caesar, well known for his romantic conquests, gifted Servilia Caepio, his favourite mistress, a pearl worth six million sesterces.The larger the pearl the higher its value. Undoubtedly famous are the pearls owned by Queen Maria Pia which, at the July 12th, 1912 auction sale of her jewels, reached astonishing prices. Such was the case of lot number 318, a very large drop pearl framed by five diamonds, which was bought for the astonishing price of 19,750 escudos, by Mr. Esmerian, a wealthy Jewish precious stones trader.VERITAS is now bringing to sale one of such exceptional jewellery pieces dating from the early 19th century, and one that, for its unusual extravagance and rarity, will undoubtedly become one of the foremost emblematic lots of our April 2021 auction.This set’s historic and inherent value, as well as its undisputed provenance, reinforce its uniqueness as a paramount example of 19th century Portuguese elite jewellery.
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